Peter Booth (1981) Painting.

From the Art Gallery Handbook (1999) via the Art Gallery of New South Wales, Australia:

Along with a handful of other repellent images unleashed by him, Peter Booth’s ‘Painting’ stands out as one of the indisputable benchmarks of its era. Born and educated in Sheffield, the young Booth arrived in Australia in 1958, continuing his studies in Melbourne, the city which remains his home. His early creation of hard-edged abstract paintings led to his inclusion in The Field exhibition in 1968, a turning-point for him as much as for modern Australian art. By the late 1970s, fearing he had reached an impasse with a body of completely monochrome works, and pre-empting an international revival of figuration in painting, Booth plunged into a fevered period of grimly morbid invention. Humanity was portrayed as a race of victim-idiots tormented by the bloodied and bloodthirsty monsters of its own imagining. Bosch and Goya are Booth’s antecedents, though not his prototypes, for there is something utterly of the twentieth century in these ghoulish spectres of modernity.

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