Dionysus 1973

Curator: This is George McNeil's "Dionysus," created in 1973 using mixed media, including charcoal. Editor: Whew! That's... intense. It's like a grin stretched to the breaking point. A chaotic charcoal explosion, yet somehow resolved. Curator: McNeil was deeply involved with Abstract Expressionism, particularly its gestural qualities. This piece exemplifies how he translated those principles into figuration. His aim wasn't classical portraiture but a raw expression of energy. The god of wine, theater, ecstasy. Editor: It’s definitely ecstatic…or maybe terror-struck! That open mouth… Is it laughter or a scream? And the eyes! There's a real psychological charge to it. I keep thinking about McNeil's own context at the time. It came during a turbulent political era in the U.S. and it makes me consider this as a potent representation of inner chaos, reflecting a broader social unease. Curator: Exactly! You can see McNeil's understanding of the stage, in the almost performative distortion. The brushstrokes, thick with charcoal, feel almost sculptural, giving Dionysus a tangible presence. Consider McNeil's place within the broader art market. He never achieved the level of fame of some of his contemporaries, but pieces like this showcase a willingness to embrace dissonance. Editor: And what’s so great about his "Dionysus," and why I find myself responding to it, is how relevant and relatable that willingness to express the grotesque feels today. Even across the decades, "Dionysus" remains an interesting reminder that facing yourself, chaos and all, is how you find some peace, some understanding. Curator: I agree entirely. It’s a potent reminder that great art can reside outside of established popularity. Editor: Art with teeth, quite literally in this case!