Nicole Eisenman: What Happened at MCA Chicago

Nicole Eisenman. Triumph of Poverty, 2009. Oil on canvas. 65 x 82 in (165.1 x 208.3 cm). Collection of Stephen and Bobbi Rosenthal, New York, NY. Image courtesy Leo Koenig Inc., New York.

By CLARE GEMIMA July 9, 2024

Nicole Eisenman's What Happened serves as a vivid milestone retrospective currently on display at Chicago’s Museum of Contemporary Art. Curated by Monika Bayer-Wermuth and Mark Godfrey, with contributions from the museum’s own Jadine Collingwood and Jack Schneider, the exhibition spans Eisenman's prolific career from 1992 to the present. It offers a profound exploration of her multifaceted oeuvre, addressing themes of social politics, lesbian liberation, and the interplay between public and private life. What Happened exemplifies Eisenman's thematic breadth and artistic evolution over three decades, showcasing her remarkable journey and enduring impact on the contemporary art world.

One standout piece, Triumph of Poverty, (2009), offers a poignant commentary on societal inequities and the human condition. This large-scale oil painting depicts a chaotic scene where figures struggle amidst symbols of wealth and destitution, reflecting Eisenman's deep engagement with socio-political issues. The composition captures a visceral sense of struggle, with figures appearing trapped in a relentless cycle of wealth and poverty, echoing broader critiques of capitalist structures and fraught systemic injustices.

The painting also draws upon Pieter Bruegel the Elder's The Blind Leading the Blind (1568), deepening its exploration of humanity's enduring struggles and the cyclical nature of societal flaws. Bruegel's masterpiece, housed in the Museo di Capodimonte in Naples, vividly portrays the Biblical parable from the Gospel of Matthew 15:14 through meticulously composed figures afflicted with various eye ailments. This composition enhances the sense of imbalance and disorientation, as seen in the lower right quadrant of Triumph of Poverty, where six small figures topple like dominos under their misguided leadership. Painted in the final year of Bruegel's life, the work resonates with a sorrowful tone likely influenced by the turbulent political climate of his era, inspiring numerous subsequent works of literature and art since its creation.

Nicole Eisenman. The Drawing Class, 2011. Oil and charcoal on canvas. 65 x 82 in. (165.1 x 208.3 cm). The Art Institute of Chicago, Gift of Society for Contemporary Art. Image courtesy the artist and Vielmetter Los Angeles. Photo: Robert Wedemeyer.

The Drawing Class, (2011) electrifies Eisenman’s mastery of oil and charcoal, and merges figuration with elements of dark, gruesome fairy tales in a rather starved and androcentric studio setting. One drawing student holds his pencil with hairy claws, a recurring motif throughout the show, while the central figure -- the life model -- resembles a blobfish in melting despair. Nothing about her appears lively. From the morbid black splotch on her sternum, to her battered and terracotta form, she is stilly abject.

Even the viewer's perspective features another student with abnormally large, bitten-to-shreds thumbnails. Eisenman’s deliberate distortions critique the absurdity of the traditional male gaze, compelling viewers to confront the life model's unsettling, corpse-like appearance. This portrayal highlights the dated and humiliating norms female artists have had to face throughout the course of art history. Instead of presenting an idealized, voluptuous Odalisque, Eisenman offers an organic shape marked by a bleak, black heart.

Artist Amy Sillman notes, "The gaze is critical [in Eisenman’s work]. We look at someone as they look at someone or something, creating instant shame at the self-consciousness involved in being seen, being judged, being aware of the moment."

Eisenman's ability to infuse serious subjects with a candid touch of humor is refreshing in the often serious and self-important art world. This blend of incisive commentary and playful irreverence underscores her distinctive creative brilliance.

 Nicole Eisenman. Fishing, 2000. Oil on panel. 43 x 56 in. (121.9 x 142.2 cm) Craig Robins Collection, Miami. Photo: Bryan Conley, © 2023 Carnegie Museum of Art, Pittsburgh.

Eisenman deftly interweaves timeless themes with a contemporary sensibility, exploring the human condition across intimate and political dimensions. Enriched by a sharp intellect and an unrelenting commitment to social critique, Eisenman imbues her subjects with profound psychological depth and emotional resonance.

Nicole Eisenman's What Happened transcends mere exhibition; it stands as a profound testament to the artist’s ability to provoke and inspire introspection. Through her nuanced manipulations of narrative and character, Eisenman compels viewers to delve beyond her canvases, and extrapolate meaning from the complex human experiences she documents or otherwise constructs -- no matter how delusionally radical or unrealistic they may seem. WM