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Home FEATURES Josh Mannis Interview

Josh Mannis Interview
Written by Ryan Christian   
Thursday, 21 August 2008 09:21
Ryan interviews this recent LA resident and video artist who'll be showing @FFDG Oct 3 for "West, Wester, Westest".

"Honestly, I don't understand how this guy hasn't blown up" - Britton Bertran

Master of the Immortal Arts (2004) Digital Video, loop

You received your M.F.A from SAIC. Were you working in digital mediums then? How/ when did the whole print and video work come about?

My degree from SAIC was in Fiber and Materials Studies actually - so basically what I was doing then was making clothes that ended up in performance videos. The second one of those I ever made, which was called "Master of the Immortal Arts", necessitated some special effects, like for example doing it against a blue screen and then keying it in Final Cut Pro, and some editing, like for example cutting it up and making it into an effective loop. I began to get more and obsessed with the post production side of it, and by the time I graduated, most of the work was almost entirely made out of post production tricks, like special effects and collaging together source materials. The way I was thinking about it then was that the performance metaphor was moving from me as "star" to me as "producer / director", and more importantly it seemed like sitting in front of the computer and just going down the tunnel with it, was a more authentic analog to the experience a viewer would have sitting in front of a piece and going down the tunnel with it on that side. I think I was also feeling like all the planning and equipment and so on that had to go into pieces like that was also kind of inauthentic to the above, and was always pulling me out of the making part of it, although I feel like these days the whole thing is much more integrated and organic so I'm not really sweating it so much anymore.

Commando (2005) Digital Video, loop

Obviously you aren't preparing surfaces or anything? How do you get a new piece rolling?

This would maybe relate to the answer to the next question, but work comes out of work...

The Wipe (Extreme Blackened Grind Version) (2005) Digital Video, loop

As a primarily digital artist, do you find your studio practice immensely different from that of say a painter? What kind of problems do you encounter with digital media? What kind of time goes into constructing one of your video loops or digital collages?

I'm trying to make my practice more like a painter's practice actually - when I was at school, I had kind of a project based method, where I would fully conceive of a piece, figure out how to execute it, make it happen, and then move on to the next one, etc., and right now I feel like I've successfully transitioned back into something that's a little bit more natural feeling (for me) where its more about just going in day after day and making jazzy moves in and around one central, but evolving and living continuum of an idea of what my work is. They do take a really long time for the most part, and it involves watching them over and over again, but as the loops get tighter and more entrancing, staying inside it becomes less of a chore, and more of a deepening and seductive tunnel.

The Shining (2006) Archival Inkjet Print, 30" x 30"

I notice from time to time, you slip a little ink drawing or something like that in an exhibition. I found that peculiar. What makes you decide to do that?

The drawings you might be thinking of were responses to source images that would also end up in collages - basically excuses for just going off on a source image, which is not that different from what the collages were about now that I think about it. The drawings I'm working on now are sort of similar but entirely abstract - more about the going off part and not really in relation to a source image.

Checkers (2007) Ink on Paper, 10" x 10"

There is a definite psychedelic/ 1970's National Geographic quality about your work, would you say that is what your stuff is about (psychadelia) or does it go beyond that? What kinds of influences come through in your work?

Psychedelic art was a huge pushing off point for me, although I'm hoping history will show these cultural references as bits of evidence being deployed in a much larger argument. In a broader sense, my big project is about ways in which an image can get over on and manipulate its beholder - in both the making and the viewing of a piece. The reverse is an image that grants permission, or seems to address a viewer as an equal, or as a partner in the process of generating the meaning of the piece. I guess these are also political ideas, in the sense that they are about how an artwork, through these modes of address, generates and determines the nature of a social space inhabited by artist - piece - viewer(s), and I think it gets at what we want out of an image in the first place. Drug culture, rock culture, art culture, political culture, and etc., are all metaphors I've used in the past, to act inside of, with the aim of theatricalizing these larger themes of the overbearing image, the permissive image, the fascist image, the leftist image, etc.

Does This System Work? (2007) Archival Inkjet Print, 32" x 32"

Recently (like so many others) you've relocated from Chicago to L.A., what prompted your move, was it valley girls? How has your experience been out there comparatively? Do you think the West will start to reshape your work?

I've been telling people that I sometimes feel like Jack Nicholson in The Shining when Danny comes in to grab his toy truck from their room, and JN is sitting the bed looking out the window in a trance. Danny asks "Dad - do you like it here?" and JN, obviously from behind a mental wall of ice, without even looking down at him says "...I love it..." and that's precisely when you know he's completely fallen off at the lowest level of his soul. I also tell people L.A. is a living dream, and there are times when the west side makes me feel like I'm on pills to be honest... although I will say that one really serious way its changed my work is that I think a lot of us who are not from here start out with having a somewhat sardonic stance toward pop culture, Hollywood, TV, etc., and I think living here makes all of that stuff instantly NOT funny - I think it was really healthy for my art practice actually.

The Wig (Blue Version) (2007) Ink on Paper, 12" x 12"

Any noteworthy projects in the near future for you????

Right now I'm going through kind of an orthodox return to the more lo fi costume based videos from back in the day, so I'm looking forward to more sewing, more video editing, and a lot more drawings...

The Whip (Orange Version) (2008) Ink on Paper, 18" x 18"

The Wipe (Black Version) (2008) Ink on Paper, 18" x 18"

Name drop list??????

When I'm working on a piece that involves excessive repetition or mindless labor, like all of them for example, I usually have a movie going in the background, so here are some faves from recent months, although this is definitely not my top ten of all time list or something like that...

1) John Huston - The Bible
2) William Klein - Mode en France
3) Powell and Pressburger - The Red Shoes
4) King Vidor - The Fountainhead
5) Robert Altman - The Long Goodbye
6) Chris Hegedus and DA Pennebaker - The War Room
7) Bob Fosse - All That Jazz
8) Bennett Miller - The Cruise
9) David Cronenberg - The Fly
10) William Friedkin - Cruising

Do your parents like your work?

My parents are super supportive lefty types and have always been extremely cool about everything I've done no matter how boring, ugly, tasteless, etc. Both my dad's parents were painters of a Modernist bent, so thats always been the background to my idea of being an artist.

Downward Dog (2007) Digital Video, loop

Music Is... (2008) Digital Video, loop

www.joshmannis.com {moscomment}

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contact FF

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IMG_9585_sm

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Wednesday, 16 June 2010 17:39


 

 


 

 

 

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Gator Skater +video

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GOLD BLOOD, MAGIC WEIRDOS

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FRENCH in Melbourne

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Henry Gunderson at Ever Gold, SF

Ever Gold opened a new solo show by NYC based Henry Gunderson a couple Saturday nights ago and it was literally packed. So packed I couldn't actually see most of the art - but a big crowd doesn't seem like a problem. I got a good laugh at what I would call the 'cock climbing wall' as it was one of the few pieces I could see over the crowd. I haven't gotten a chance to go back and check it all out again, but I'm definitely going to as the paintings that I could get a peek at were really high quality and intruiguing. You should do the same.


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Serge Gay Jr. @Spoke Art

The paintings in the show are each influenced by a musician, ranging from Freddy Mercury, to Madonna, to A Tribe Called Quest and they are so stylistically consistent with each musician's persona that they read as a cohesive body of work with incredible variation. If you told me they were each painted by a different person, I would not hesitate to believe you and it's really great to see a solo show with so much variety. The show is fun, poppy, very well done, and absolutely worth a look and maybe even a listen.


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.


Sun Milk in Vienna

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


"How To Lose Yourself Completely" by Bryan Schnelle

I just wanted to share with you a piece I recently finished which took me 4 years to complete. Titled "How To Lose Yourself Completely (The September Issue)", it consists of a copy of the September 2007 issue of Vogue magazine (the issue they made the documentary about) with all faces masked with a sharpie, and everything else entirely whited out. 840 pages of fun. -Bryan Schnelle


Tyler Bewley ~ Recent Works

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Kirk Maxson and Alexis Mackenzie at Eleanor Harwood Gallery

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.


Jeremy Fish Solo Show in Los Angeles

Jeremy Fish opens Hunting Trophies tonight, Saturday April 5th, at the Los Angeles based Mark Moore Gallery. The show features new work from Fish inside the "hunting lodge" where viewers climb inside the head of the hunter and explore the history of all the animals he's killed.


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.


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