A photo of Joe Magnano provided to Hyperallergic upon our request for an image to accompany the interview.
Shortly after last week’s incident at “Prada Marfa,” Hyperallergic interviewed Joseph Magnano, aka 9271977, the man who vandalized Elmgreen & Dragset’s sculpture in the Texas desert. Since that interview, Magnano was arrested on Tuesday “by a state trooper who learned of a criminal mischief warrant issued out of Jeff Davis County for the offense” and he was released on bail the following evening. Magnano, who studied at the San Francisco Art Institute, had moved to Waco, Texas from San Francisco to work at a local art store, according to a December 2013 article in the Baylor Lariat.
When the artwork was vandalized, I was curious why the person or people did this and what he or she was trying to say. I sensed there was a message to the action that I couldn’t decipher, so I sought out the party responsible.
The following is the interview, which was conducted with the artist over email before his arrest.
* * *
Scenes of the Prada Marfa vandalism (screenshots via YouTube)
Hrag Vartanian: Why did you choose Prada Marfa?
Joe Magnano, aka 9271977: I first visited Marfa at the end of 2013. I wanted to see what all the hype was about in that West Texas art town. Went and saw Prada Marfa, and viewed and critiqued it like any piece of art. I didn’t appreciate Prada Marfa. It seemed to portray this image of persevering the iconic, the elite, the brand. I am really interested in modernization, reorientation, and the meaning of a temporary structure. As well, watching the tourist drive up to get their picture seemed very plastic culture, amusement park like.
Getting back to my studio I began to research Prada Marfa more. It seemed that the sculpture has been having issue with TXDOT [Texas Department of Transportation] as an illegal roadside advertisement. Which led to some brainstorming. Further investigation about other vandalism and the initial purpose of the Prada project, seemed that the true vision of allowing it to decay wasn’t living up. Nor is it living up to its time, which is 2014. I see a sculpture like “Prada Marfa,” keeps society compressed into a certain reality, which isn’t necessarily true. I mean, who wants to be defined by consumerism and branding. I sure the hell don’t, so I wanted to test and reorientate the meaning of Prada Marfa.
This TOMS project didn’t really come into inception until about a little over a month ago. Originally, I wanted to paint the whole thing in rainbow colors, because of all the anti-gay bigotry taking place, but that would have taken too much paint and tanks. As well, I was concerned about the colors getting muddy.
The TOMS project seemed much more suitable with direct reasoning instead of so called “vandalism” of just painting the place. With all the buzz about saving Prada Marfa, it was guaranteed reaction.
HV: I’m guessing you’re not a fan of Elmgreen and Dragset’s Powerless Structures series, which has often been inserting types of spaces — usually through interventions — into new contexts of meaning. Are you familiar with the other works in the series?
JM: No, I’m not familiar with any of their work. I didn’t even know they made “Prada Marfa” until I researched it. Using “Prada Marfa” as a canvas was not in anyway an attack on the artists. In fact, I am grateful they created “Prada Marfa,” because without it, TOMS Marfa couldn’t have temporarily existed. I have seen Elmgreen & Dragset’s rocking horse piece. I have no idea [what] its pure meaning [is] but imagine it has something to do with the mindset of our controlling ‘adult’ figures, tearing through this world like a bunch of kids on rocking horses. At least that’s my distant interpretation. Other than that, they seem to make Western-conscience art.
HV: Can you explain “Western conscience art”? I’m not sure I understand what you may mean.
JM: Oh, that is so infinite in definition, it would be like trying to define a microcosm that you assumed didn’t change. The gist of Western conscience art would be that of western expanded history, theories, politics, religion, social compacts, etc.
HV: Do you consider your art non-Western?
JM: I’m a product of my surroundings, so my art is definitely going to have Western influences and reactions. The West is my closest audience. Though through the art making and growth process, I pursue a balanced universal and global perspective, that I hope influences the West, to be better human beings and more ethical in their practices in the global community which is why TOMS was picked as the focal point of this project.
HV: Can you tell me why you chose TOMS specifically? I initially wondered why you didn’t target Prada.
From Magnasco’s website: “Collage piece produced for the Toms Marfa Project. Placed on the front door as focal point; questioning the integrity and goodness of the company Toms and owner/celebrity spokes person Blake Myscoskie. The Toms Marfa Project was an art installation not fully lived, aborted early by local population due to ignorance. Toms corporation is under questioning because reading between the lines its corporate mission seems to repackage slavery and colonization, using the good of Christianism to sell a brand in a contemporary dialog that is easily understood to uneducated American consumers.of an advanced nation.”
JM: Well, back in September I had the opportunity to help a friend with their business. We sold TOMS at a Mary Kay convention in Dallas. Hundreds of pairs of shoes were sold daily; being purchased by these fanatical women caked in make-up and dressed in clothes that resembled table cloths and garnished in cheap made in China jewelry. It was fanatical. Women would get hysterical if we didn’t have their size of TOMS. They would buy multiple pairs just to have them. They bragged about how many pairs they had. Like it was a competition. And most of them thought they were saving the world through their purchases. I have never seen such chaos for a pair of shoes.
A friend and I got [the idea for] a joke from these women’s behavior and the idea of TOMS. We wondered the environmental impact of TOMS. We could imagine a pair of TOMS being stuck in the throat of a hippopotamus in some jungle region. TOMS, floating down the Amazon. We wondered if the people getting free TOMS even used them as shoes. Perhaps TOMS were used as hermit crab catchers or a tool holder.
I learned more about TOMS through my friend’s business, located in predominantly a conservative Christian region. Many of the local young people, full of brilliance, and a bit dumbfounded to the real world, would come in looking for their TOMS. Personally, I wasn’t buying the hype. I wasn’t sold on the concept, ONE FOR ONE. I’m not sold on the idea of helping others through consumerism. I am not sold on the idea of outsourcing production to China with cheap labor. It’s not my vision of the globe or America, as an America-born artist.
I didn’t target Prada because Prada is so 2005. Prada is too high-end for the majority of Americans. TOMS isn’t though. TOMS fits the mainstream bill … considering all the austerity and cooperate governing that takes place; America seems to have become more of a TOMS brand, instead of Prada.
Image from Magnano’s website (via 9271977.com)
HV: Can you explain what you did at Prada Marfa and the various sentences, blue paint, banners, and the sun-like sculpture on the ground?
MJ: Well, if were talking about assembly and the night of production … it was rainy and windy. I assumed the cameras were working so I got out of the car with a ski mask on and sprayed it down. Once that took place and I secured the location, I guided my partners whom were driving with no lights with a flashlight to the back of the building to continue with the operation. All the giant billboards were ergonomically sized and cut for quick placement. We took to hand the billboards with some quick bonding Loctite, securing it in place with duct tape. Next phase was to place “take one” boxes with the artist statement. Finish up with the plaque and the banners. The banners which were a pain in the ass, because it was raining and we had to watch for traffic hanging the things with zip ties. Each banner had five Bibles, so they weren’t too light. After that it was time to finish the paint job. The paint tanks that had the imagery of the three stooges we took to Marfa and left in front of Eugene Binder Gallery, as a souvenir to him.
[Editor’s note: There is a more complete explanation with images on Magnano’s website.]
HV: Will there be any other actions? Is this the first? And how do you identify yourself to others?
MJ: … Well if actions mean more art, for sure. For this particular project, postcards were made as well, and we took a trip to TOMS flag ship store in Venice and posted up posters. You know, life needs questioning, and it’s the job of the artist (or at least the artist I want to be), you got to do your best to tear away the fabric of time, otherwise things become too systemic. Before you know it, we’ll begin thinking the world is flat again.
Art making is interesting, and the reactions it gets is wild. I once did a project in San Francisco that addressed the abuse of feminism and male victimization, which drove the neighborhood crazy. People wanted it removed. So, I then turned the project into something about homogenization and gentrification. Projects like this just call and are spontaneous. A bit out of my comfort zone to make work like this, considering my age, but life isn’t just about being comfortable. I hope those that see the purpose behind this last project appreciate it.
Is it any surprise that the “artists” who want to use Prada imagery with so little interpretation and seemingly so little distaste for its elitist symbolism in both a world and a nation with ballooning poverty and obscene inequality would toss a shit fit over it being vandalized?
So tiresome, an artist’s urge to “change the world.” So tiresome, duchampian art about art.
I never saw him saying anything quite that ambitious. He was responding to another artist’s urge to brand.
This Is Why We Can’t Have Nice Things.
Prada Marfa being objectively “nice?”
Atleast aka9271977 had something to say in his remake not convinced it is vandalism, more like a public reconstruction
I was expecting much less than what was delivered. He speaks the same art-academese as well as anyone else, thereby reinforcing his point in the context of the monster of appropriation and art intervention projects that was already created decades ago.
Having lived in Marfa for the past 9 years I am glad to see that what was called “vandalism” by Ballroom Marfa is actually a well thought act by an artist who has something to say.
Very courageous of him considering that he is now under arrest for his act. Saddened but not surprised to see the “dialogue” stops right there and the Ballroom did not even dream of listening and incorporating his stance into the fabric of their project. It also made me more aware of the Toms company so he entirely fulfilled his role as an artist in my book. Bravo !
thanks for the support
I like your guts.
http://youtu.be/2-m6cJhlnAw
here is a small video I made for an artist friend of mine and got some bad reactions in Marfa because the dog was pissing on the “sacred cube”. I innocently thought it was funny but in Marfa modern art is very serious business…beware
Two things that made me laugh out loud:
1. My audience,
2. job of the artist (or at least the artist I want to be),
You have neither an audience nor are you an artist. You’re just a flunky with a bucket of paint and a roll of duct tape. Joe Magnanonanoasshole, why don’t you go and die in a fire!
This is about one thing, vandalizing someone else’s artwork, you don’t like it, well that’s your right but you have no right to vandalize it. I started reading the interview and after the first paragraph I wondered why anyone would want to talk to you.
It is a real toss-up as to what is more obnoxious Prada Marfa, Toms
Marfa or some of the bull#*%! this kid says in this interview. Unlike
Tom’s, Prada at least comes by its consumerism honestly and unlike
Joseph Magnano, Elmgrene & Dragset seem to come by their
obnoxiousness more honestly as well. Putting aside all the artschool
mental masterbation happening up there in the interview, it doesn’t seem
to me that either work has to much to say that is actually interesting.
I don’t really see any difference here except that E&D play a
little closer to the art worlds vest. On a meta level both artists made
wise choices, in particular Tom’s the shoe corporation well represents
the failure of intention vs. reality that is Tom’s Marfa. Both Tom’s and
Tom’s Marfa are ethically problematic. Both Tom’s the work and the for
profit corporation seem to be trying to save the world in the most self
aggrandizing way possible. It’s a cute stunt but it wears off quickly
and leaves a bad taste in the mouth. If Magnano had managed to “tear
away the fabric of time,” to create something that wasn’t more firmly
planted in a moment then the very object his art sought to subvert, that
would have really been something, but as it stands it seems a complete
failure. If it stood out in the open rather then hiding behind a passing
trend to gain some apparent moral high ground that would be great too.
This work is more then just bad it’s cowardice masquerading as heroics
(uhhg haven’t we had enough of the heroic artist yet) it is more vain
and dishonest then the vain and dishonest object it tries to supplant.
thats a cute reply. It shows your cyncism and hopelessness towards humanity. At least we know where you stand. You ready to come out of the shadows of being anon.
Now what up there suggests a hopelessness towards humanity? I have a great deal of hope for humanity, I just don’t have the gaul to assume they need me in particular (or you) to save them. I assume that is my most “balanced universal and global perspective”, but I will defer to you as you seem to be the expert. Perhaps you should do a bit more research on post colonial perspectives in the west and globally when you were considering the moral standing of this piece. Or better yet you could ask Tom’s if you could fly to where the sad children live after you buy your next pair so you can get a snapshot of yourself gifting them the shoes. My name is John, and I am a registered user. I would give you my home address but you have shown a proclivity towards disrespecting other peoples things for personal gain.
Alright guy, I don’t think you understand or took the time to understand the project. please feel free (or not) to check it out at 9271977.com/biggerthanthebrand
Hey,,,I’m just doing what I am called to do as a human. I am a steward of this Earth, as everyone should be. If I can get dialog started on a global level within the first world issues; this little project called Toms Marfa, with its imperfections, is a start to greater projects with perfection.
Its like cooking: you first burn and overcook shit, then before you know it youer working in Michelin star restaurants. So long as you continue to persevere. But each of us has their own set of priorities. Freewill.
Ohh the irony
I have to say TOMS Marfa is not a success. Unfortunately, it looks more cobbled together than composed… perhaps if it hadn’t been raining the artist’s intentions would have come through more clearly… but as it stands it looks poorly thought out and the impact on this viewer is little more than disgust at the defacing of another piece of art. Which is a shame, I rather like the idea of using TOMS to update the Prada Marfa piece to show that consumerism with a conscience is still consumerism… however, as I said, that point is not clearly made in this instance and covering up another person’s art with worse art is not the path I would have chosen.
That said, art is tricky. To break new ground you have to walk the fine line between ingenuity and insanity and you put your work out there never knowing which side you’ll come out on.