Dana Schutz's first proper London exhibition, 'One Big Animal' at Thomas Dane Gallery, is a splodgy, orgiastic celebration of paint. The American artist, whose 2017 painting of Emmett Till caused a scandal, returns with thick gobs of gooey pigment and deeply political imagery.
The works in the first gallery feature giant-headed cyclopses and baying crowds. In one painting, figures stomp senselessly towards something off canvas, brandishing fists and leaving a trail of trash. Another shows a figure receiving a huge mask in an initiation ritual before a horde of ugly supporters. The commentary on a divided, angry America and mob mentality is unmistakable.
In the second gallery, Schutz shifts focus to those in power. Shadowy figures stuff their mouths with grapes and steak in a sombre dining room; a cardinal and a man in green recline in golden chairs. Elsewhere, a couple consoles each other in a landscape filled with corpses, and a naked woman lies forlorn in bed.
The paintings are ultradense with allusions to Odilon Redon, Philip Guston, James Ensor, and Paul McCarthy, as well as nods to pop culture and art history. Two clear narratives emerge: the people in power and the crowds they bait. Schutz's own experience of controversy – her painting 'Open Casket' was protested at the Whitney Biennial – adds weight to her exploration of mob mentality and exploitation.
Despite the shadow of that scandal, Schutz continues to produce brilliant, sickly, gloopy painting at the highest level. 'One Big Animal' is a must-see for those who appreciate high-level art-nerd stuff and political commentary.
