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Home FEATURES Frank Magnotta Interview

Frank Magnotta Interview
Written by Ryan Christian   
Monday, 31 March 2008 05:14
This guy has not only rocked America's finest galleries from P.S.1 to Cohan and Leslie, and all over Chicago. He has also landed himself in the freshest art book to date (in my opinion) Vitamin D and even better, he is currently working on his best drawing ever.

I'm not going to try and be fancy this time. I am not going to use some kind of memorable story or creative analogy to illustrate how super fucking magical and awesome (yes, actually awe inspiring) this man's drawings are. It's really a plain and straightforward issue here people, there are no arguments.

Cliff's Notes, 2004, Graphite on paper, 60 x 50 inches Courtesy of Cohan and Leslie, NY

Also, be very careful of this guy. I once went to a group show fall spring and saw him, single handedly, with one drawing, turn every other piece in the show into camouflage! You couldn't even tell they were there anymore. I had not been exposed to a mesmerizing power that could isolate my attention like that since I bought the Wu Tang Clan's 36 Chambers on cassette tape from a grocery store in Colorado in 7th grade and listened to it in the back of my parents van for days on end. Damn! I just broke the only 2 parameters I set for myself. Old habits die-hard for me and new ones maybe even harder, like staring at Frank Magnotta's drawings.

This guy has not only rocked America's finest galleries from P.S.1 to Cohan and Leslie, and all over Chicago. He has also landed himself in the freshest art book to date (in my opinion) Vitamin D and even better, he is currently working on his best drawing ever.

Tell us a little bit about yourself, Frank.

I grew up in Grand Rapids, Michigan in the 70's, in the midst of a recession. Back then, my friends and I would wander around downtown, through all these empty modernist plazas and parking lots. I remember having an uncanny feeling in those cold, abstract spaces. It felt a little like a being in a De Chiricho painting. Since us kids were virtually the only people around, there was a strange sense of possession and identification amidst all the alienation. It must've stuck with me, seeing the way that my work has developed and why architecture has been important to me. After a youth of wandering around Grand Rapids I went to Hope College and then moved to Minneapolis. One winter there was enough for me, so after that I went to the University of Illinois at Urbana-Champaign, where I got my M.F.A. Then, in 1997, I moved to New York.

Monster, 2003, Graphite on paper, 50 x 60 inches, Courtesy of Cohan and Leslie, NY

As far as I can tell, everything you have ever made is pretty huge. Why the scale choice?

Regarding the scale- it's a way to make a monumental work. But there is something paradoxical in it, since these monuments can only exist on paper. The drawing resides in an ambiguity, between physical and conceptual worlds. The scale creates a tension. Architecture that typically towers over us is shrunken down to human proportions. So in a way the drawings are big and small at the same time.

How do you approach a 5 by 5-foot piece of paper when it is blank?

I'm not really daunted by blank paper. I do a lot of prep work before I start so I usually have a good idea of which direction I want to go in. Maybe it is my mathematical or sculptural background, but I really think concretely about what I'm going to do before beginning. I admire people who can just go off on blank paper; personally I don't think that way. After planning I usually sketch a structural framework on the paper to give me guides to work and play with.

Post, 2007, Graphite on paper, 50 x 60 inches, Courtesy of Cohan and Leslie, NY

Do you sit or stand to draw on it?

I used to work on the wall standing, but that became too exhausting. I was heading straight for Carpal Tunnel. Now I use an adjustable drawing table that I built. My best sculpture to date!

Why drawings?

I've always liked the lightness of drawing. However complex, intricate, and large the drawings get they can never escape the fact that they are still on paper. For me, the material offsets the scale and monumentality of the image.

And finally why all black and white?

Honestly, I've never really thought or been interested in color. I swear I dream in black and white, so, to me, this lack of color represents a more internal process. In a way the neutrality gives the work a coolness as well as a distance from the very colorful and dynamic media that it's culled from.

Breakout, 2004, Graphite on paper, 50 x 68 inches Courtesy of Cohan and Leslie, NY

Also given how elaborate your work is, how do you decide if a piece is finally resolved?

It is tough, but probably not as tough as resolving an abstract painting. I usually have a concept and an overall structure that I start with, but things change and develop through the process as I layer and combine more elements. In general I'm satisfied with a drawing once there is a certain energy or unsettledness in the image.

What, in your eyes, is your finest drawing? Do you think you might have made your ultimate masterpiece yet?

Usually I'm most excited about whatever I'm currently working on. I don't think I could finish a piece, if I that wasn't the case. My view of that piece may change over time, but I really don't know if the work itself changes qualitatively. I'd like to think that all my works are in a dialogue together, and the conversation just gets fuller as more pieces enter the discussion.

Cardinal M.M. Daggy, 2006, Graphite on paper, 50 x 42 inches, Courtesy of Cohan and Leslie, NY

Dominic Molon described your work as "post everything". Would you agree with that?

I like the phrase, but I think of my work as being immediate, so would that be post? Maybe it is more present, more now. Present everything? I mean present in the sense that I'm bringing together all of these related, but somehow disparate, elements from our contemporary culture and combining them into aberrant constructions. In a way I'm trying to understand and give form to our boundless mediated culture.

How do you go about conceiving these elaborate structures, both architecturally and biologically? I have tried to imagine what it would be like if you were to construct a real building, like a fast food establishment.

For the buildings, I typically start by collecting logos and graphics from related societal or cultural sources. By combining the logos and giving them depth I'm able to create structures that represent a collective space. In the U.S. I'm not sure that we really build monuments any more, but in a way popular culture is the great ephemeral American monument. I'm interested in giving form to that.

The portraits were created in a similar process to the architecture, but instead of creating structures that represented a social body, I turned it inward. I was interested in how the logos both formed and deformed the individual.

The Bank Dick, 2006, Graphite on paper, 50 x 43 inches Courtesy of Cohan and Leslie, NY

Concerning the character based drawings; the titles allude to specific roles that these characters fulfill. Is there some sort of developing narrative or hidden meaning there?

I don't know if there is a narrative per se, but there is a correlation between the type of character and how that character was built. Each character is an amalgamation of graphics from certain types of institutions that are prevalent today and that affect our daily lives. For example, by combining medical and pharmaceutical graphics I created the portrait "The Happy Accident" which reads as a patient wrapped in gauze.

The Happy Accident, 2006, Graphite on paper, 50 x 43 inches, Courtesy of Cohan and Leslie, NY

Name drop list (bands movies food artists anything you think the people at large might enjoy)

Artists that had a big influence on me and that I'm big fans of are Jim Shaw, Pieter Bruegel, Albrecht Durer, Piranesi, James Ensor, Ivan Albright, Ed Ruscha, Richard Artschwager, and Fischli and Weiss. I recently saw "Even Dwarfs Started Small" by Werner Herzog. It was possibly one of the most disturbing and enthralling movies I've seen. I couldn't look away. It was in black and white too. I've been making my way through the complete set of "Kids in the Hall" which is hilarious. It makes me want to move to Canada. George Saunders, Steven Millhauser, are authors I like a lot and feel I have some kinship with. The Weakerthans song "Virtute the Cat Explains Her Departure" has been playing a lot in my kitchen.

Anything exciting going on in the near future for you?

I've just started a new drawing tentatively called "USA Today" which I'm excited about. I've always been fascinated by that publication and this drawing is based on it. This is it. The one. Best ever.

The Baroness, 2006, Graphite on paper, 50x43 inches, Courtesy of Cohan and Leslie, NY

cohanandleslie.com/
amazon.com/Vitamin-D-Perspectives-Drawing-Themes/dp/0714845450 {moscomment}

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contact FF

Jeremy Fish Opening a Solo Show in August at FFDG
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Check photos from his last San Francisco solo show in 2012, and mark your calendar for August as his next solo show opens at FFDG.

Beering with Fish at his favorite watering hole, Zeitgeist

 

//////////
Wednesday, 16 June 2010 16:39


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///
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//////////
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+SF

+NYC

+LA

FULL CALENDARS: BAY AREA | NYC | LA

 


 

 

 

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NYCHOS Mural on Ashbury and Haight

NYCHOS completed this great new mural on the corner of Haight and Ashbury in San Francisco on Tuesday. Looks Amazing.


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With rising rent in SF and knowing mostly other young artists without capitol, I desired a way to live rent free, have a space to do my craft, and get to see more of the world. Inspired by the many historical artists who have longed similar longings I discovered the beauty of artist residencies. Lilo runs Adhoc Collective in Vienna which not only has a fully equipped artists creative studio, but an indoor halfpipe, and private artist quarters. It was like a modern day castle or skate cathedral. It exists in almost a utopic state, totally free to those that apply and come with a real passion for both art and skateboarding


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While walking our way across San Francisco on Saturday we swung through the opening receptions for Kirk Maxson and Alexis Mackenzie at Eleanor Harwood Gallery in the Mission.


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The Albatross and the Shipping Container

Beautiful piece entitled "The Albatross and the Shipping Container", Ink on Paper, Mounted to Panel, 47" Diameter, by San Francisco based Martin Machado now on display at FFDG. Stop in Saturday (1-6pm) to view the group show "Salt the Skies" now running through April 19th. 2277 Mission St. at 19th.


The Marsh Barge - Traveling the Mississippi River from Minnesota to the Gulf of Mexico

For some reason I thought it would be a good idea to quit my job, move out of my house, leave everything and travel again. So on August 21, 2013 I pushed a canoe packed full of gear into the headwaters of the Mississippi River in Lake Itasca, Minnesota, along with four of my best friends. Exactly 100 days later, I arrived at a marina near the Gulf of Mexico in a sailboat.


Flavio Samelo's Downtown Sao Paulo Murals

Our buddy Flavio Samelo down there in Brazil does all kinds of great work including this recent mural project in downtown Sao Paulo in front of one of the most important modern buildings of Oscar Niemeyer from the 60's, THE COPAN.


John Trippe, FFDG and Fecalface.com Founder, Stepping Down From Daily Operations

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High 5s - Get Your Feet Wet

I purchased one of the first digital cameras when Fecal Face went online in 2000. It was a massive Kodak with 2 mega pixels


"Touching Base" by Schuyler Beecroft

San Francisco based Schuyler Beecroft emailed over the great new series of paintings he's completed entitled "Touching Base", 16x20in on mounted wood panel. Like them.


Flume - Space Cadet (ft. Ghostface Killah & Autre Ne Veut)

Buddies Jay Howell & Jim Dirschberger did this great video produced by Forest City Rockers.


Fire Shelter for Papay Gyro Nights 2014

Last year we posted photos from another one of Simon Hjermind Jensen's Fire Shelters he's made in Copenhagen. This time around the Copenhagen based artist/ designer created one for the Papay Gyro Nights 2014 way up in on the Orkney Islands in Northern Scotland.


"Portrait of a Slugger 19" by Hiro Kurata

Beautiful painting by NYC based Hiro Kurata now on display at SF's FFDG through April 19th as part of the group show "Salt the Skies".


"Veins of Octulen" by Curiot at FFDG

"Salt the Skies" opened on the 21st at FFDG and features this great piece by Mexico City based Curiot (Favio Martinez) whose sold out 2013 show Age of Omuktlans ran at FFDG. His forthcoming solo show is slated for March 2015.


Rome's Alice Pasquini ~Mural+

Rome based multimedia artist Alice Pasquini emailed over a recent mural completed in the historic working class neighborhood of Rome called Tufello.


Project M/3 in Berlin curated by NUART

BERLIN --- Project M is a temporary art project with the objective to improve the neighborhood, to push creativity and to connect people. At regular intervals Urban Nation with director Yasha Young invites a group of internationally reclaimed contemporary urban artists to re-design the facade and shop windows of a prominent residential building in Berlin, while it is being reconstructed.


John French with Hasselblad by Lola Dupre

"John French with Hasselblad", photo collage/ hand cut paper on wooden panel, by Lola Dupre which will be part of tomorrow's opening of "Salt the Skies" at FFDG in San Francisco. 2277 Mission St. (6-9pm) - RSVP here.


"Salt the Skies" at FFDG Opening Fri, Mar 21st

FFDG's spring show "Salt the Skies" is set to open on Friday, March 21st (6-9pm) -- Featuring works by Brett Amory, John Felix Arnold, Mario Ayala, Jud Bergeron, Curiot (Favio Martinez), Christopher Burch, Lola Dupre, Michelle Fleck, Matt Gonzalez, Hiro Kurata, Marty Machado, Mark Mulroney, and Nicomi Nix Turner


Brian Barneclo's 225' Food Chain Mural

San Francisco based Brian Barneclo was commissioned in 2006 to paint a HUGE mural on the side of Foods Co on Shotwell at 14th Streets. After some time on its own, it got pretty taxed by misc graffiti and pigeon shit.


A short documentary following the late artist, Shawn Whisenant

Shawn Whisenant is a born and raised San Francisco Bay Area artist whose art can be found lurking in the streets or galleries and museums across the USA, Australia, and Europe. He has been working on the streets of the Bay Area since the mid 1990's, where his images continue to endure on walls, mailboxes, and other surfaces around the city. He enjoys making books and stickers, taking photos, painting signs, and moving about in the city’s shadows. In the streets and galleries, his work has seen many different forms. From rare-hand crafted books, to skateboard films and a signature pair of Osiris shoes, his creating doesn’t end with painting. RIP Shawn Whisenant.


John Felix Arnold @BRIC House, Brooklyn

In the year or so that I've known Felix, almost every one of his shows has had a live musical element and it seems perfect that he would be included in a show called Art Into Music. He commandeered the corner of the gallery to create an installation that houses not only his drawing, but also an entire drum kit, amps and a dude playing a guitar. The warm wood paneling stands out in contrast to the matte grey boom-box tower and the muted wall of album covers and looks like a beacon calling to the crowd saying "this is what you shoud be looking at." However, it's not in a "look at me" attention-starved desperation, more like a welcoming invitation into his world.


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