Interview | Jonathan Griffin

March 18, 2013

Carl Andre

What is the most important thing to say about Carl Andre? Carl can’t remember. ‘What was it I once said?’ he responds when I ask him which, of all his contributions to the history of art, he is most proud of. ‘I didn’t make a great contribution but all I did was add the … It was something like …’ He tails off. ‘My mind is gone. I have no memory,’ he says simply and equitably. At 77, Andre is one of the most important living artists in America. Melissa Kretschmer, his wife, cuts in. She accompanies us throughout our conversation; nearly three decades Andre’s junior, she is better able to recall some of the details that evade her husband. Read the rest of this entry »

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November 21, 2012

Frames of Reference

In recent years, the work of self-taught artists has come to be contextualized within larger narratives of contemporary art. How is Outsider Art best understood and what does this definition mean when ‘inside’ and ‘outside’ become blurred? How does it relate to fraught issues of education and exclusion, originality and exploitation? Jonathan Griffin invited Robert Gober, Matthew Higgs, Paul Laffoley and David Maclagan to discuss these questions.

John Hiltunen, Untitled, 2012, collage, 30 × 21 cm

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August 17, 2012

Thomas Houseago

At Thomas Houseago’s studio building in east Los Angeles, which spans a full city block beside the giant concrete trench known as the LA River, the road is closed to traffic. The mechanical arm of a refuse truck is lifting metal dumpsters and tipping their contents into its hopper. White plaster dust billows across the street. Houseago’s team is cleaning up. Once a week, the piles of plaster, hessian, clay, broken sculptures and cracked casts that accumulate in the studio are swept together and cleared out. Houseago used to do this himself; then, when it began to take two days out of each week, he delegated it to assistants. Now he employs a staff of 20, and has five foundries in the US working to cast his prolific output of sculptures in high-strength Tuf-Cal casting plaster or clay into dark bronze or pale, silvery aluminium. Galleries in New York, London, Zurich, Brussels and Glasgow try to keep up with the demands of a growing network of private collectors, as well as those of museums, including the Stedelijk in Amsterdam and the Museum of Contemporary Art in LA.

April 20, 2012

Urs Fischer

Urs Fischer, Problem Painting, 2011
© Urs Fischer Photo by Mats Nordman

Your new series of silkscreens, ‘Problem Paintings’, overlays Hollywood publicity shots with objects such as screws, nails, fruit and vegetables. Has Hollywood always been an influence?

I think you’d have to live in the forest not to have been influenced by Hollywood. You turn on a TV and you’re in Hollywood. I think the entertainment industry and advertising industry shapes everybody these days. It’s like the Catholic Church; Hollywood is like the Vatican. It shapes how you imagine the world to be, who you want to be, what’s good, what’s bad. But that’s for all of us. So, to answer your question, no more than anybody else. Read the rest of this entry »

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January 16, 2012

Undead and/or Dead Living: The New Social Category

Mateo Tannatt on Zombies

Mateo Tannatt’s diverse artworks are hard to summarise in general terms. However, one frequent point of departure for the artist is the idea that public urban space – particularly corporate space – is a stage for involuntary performance by all those who use it. Tannatt has made installations, photographs, paintings and films; for the recent Performa 11 biennial in New York, he devised Pity City Ballet, a performance resembling a television talk show which took place in the lobby of the Saatchi & Saatchi headquarters in Manhattan. The following exchange, with the art critic Jonathan Griffin, developed over the weeks leading up to that performance. Griffin and Tannatt are both based in Los Angeles. Read the rest of this entry »

October 4, 2011

Ed Ruscha

Ed Ruscha may now regret saying, in 1966, that ‘being in Los Angeles has little or no effect on my work’. He’s been pedaling back from this characteristically contrary statement ever since. After all, the city has been his muse ever since he arrived from Oklahoma City in 1956. What he was perhaps trying to say is that he’s not an ambassador for Los Angeles – a city that, for all its brittle self-absorption, he admits that he loves. ‘Palm trees have a narcotic effect on me’ he says, speaking from his Culver City studio. ‘And all this tropical vegetation. Mix that with, what have you, fast food and movies, and the forward motion of things out here, with respect to artists, it’s a pretty jumpy scene.’ Read the rest of this entry »

Category: Interview

Mateo Tannatt on Zombies