Mark Kostabi
American Dream
The first time I saw a painting by Kostabi I was struck by it... A metaphysical “De Chirico” background with faceless figures similar to those of Keith Haring, but more harmonious, defined and especially colorful. I knew his works of faceless characters and for me he was a faceless artist. At the beginning of his career he was histrionic, hair from punk shades, sunglasses and look 80s, was what he recommends today “be a character” : each step was a fundamental part of the artistic career that has accompanied him for over 40 years of activity.
Today Kostabi is the artist in activity with the highest production of works of art, “cross and delight of the artist”, criticized and acclaimed at the same time (or love or hate), in reality the criticism comes from those who envy his having succeeded in crowning the American dream, hope that through hard work and determination it will be possible to achieve a better standard of living and economic prosperity, whatever the starting point.
Mark is a great artist with strong creative and entrepreneurial skills, funny, wise and dispenser of advice. Few are the artists with all these qualities...
I had the pleasure of meeting him again and having a quiet chat after these pandemic months that have made difficult his usual commutes between New York and Rome, where the strong aesthetic sense of Kostabi pushed him towards one of the most beautiful areas of the eternal city, a stone’s throw from the Colosseum.
Vincenzo Chetta: Hi Mark, how’s it going? It’s been a while since we’ve seen each other, this pandemic has physically alienated all of us. How this period has been for you, both from the artistic point of view and from the personal point of view?
Mark Kostabi: I feel tremendous empathy for all those who are suffering and extremely grateful for my own situation: my life, art, music and business have been great, thriving. I am fortunate that I have not suffered. My only inconvenience is having to wear a mask, which is annoying, but necessary for humanity. I’ve been vaccinated (Pfizer) and don’t feel I need to wear the mask much anymore, but I do so to go along with the rules. (Third World problems.) Artistically I’ve been more productive and inspired than ever and I’m grateful that sales are so good! I have a long waiting list for my paintings.
V.C.: Now fortunately there are vaccines that simplify things a bit, in Italy for the entrance in museums, fairs and events is mandatory the green pass, you as you think, you think it is the best way to keep open places of culture?
M.K.: Yes, I’m vaccinated and I hope everyone else does the same. I have no fear of the vaccines. I believe in the scientists.
So far everything they said was correct. They said there would be some discomfort for about 3 days after every shot, and there was. But now I feel protected, and based on statistics, I am. I know a lot of people who are anti-vax and when I ask them why, they usually say they’re afraid. Well, I am one of many millions of reasons to prove why there is no danger in getting vaccinated. It can only help, and it will.
V.C.: Let’s get back to art. Mark, you have evolved the concept of repeatability, not to be confused with the repeatability of digital art, inserting your subjects in different contexts, even drawing inspiration from the big names of the past... Can you explain how you play on the emotionality of the message by placing the same figure in a different context, and thus obtaining a new picture and a completely different reading?
M.K.: I’m basically trying to create the most interesting art possible. I want my art to stand the test of time. Like the work of painters of Pompeii before the Vesuvius eruption. There was a certain look to all those great frescoes. I want Kostabi paintings to have that same art historical stylistic status, but with conceptual irony.
V.C.: One of your first tips (we also talked about it in BIANCOSCURO #18) is “Be a character”. Warhol the wig, Dalì the moustache, you are recognized also
“Avere un enorme ego è una cosa positiva per un artista. Il rischio sta nel vantarsi di quell’ego in modo poco attraente. Having an enormous ego is a positive thing for an artis t to have. The risk lies in boasting about that ego in an unappealing way.“
because you are the first artist with a battery of artists (finely selected) who paint for you. At first this thing made a scandal, then “Lifestyles of the Rich and Famous” dedicated an episode to you. Having only 6 collaborators you thought well to add friends to your staff to give the idea, during the shooting, to have a big factory and it was a brilliant move because you had a huge publicity for your art and you really could hire more people. What would you like to answer to your haters?
M.K.: Hating is the wrong street and only leads to more misery for those who choose it. It’s better to consider the situation of the others who you are potentially hating. I too have been tempted to hate certain people, but it’s a waste of time. Better to lead by example and ignore the haters or offer to help pay for their kid’s college education. V.C.: I’ve been reading this on Facebook lately: ”About 15 years ago, an angry, ex-East Village art dealer (who still owes me $150) yelled at me in the Pink Pony restaurant on Ludlow Street, saying: “You’re not an artist! You’re just a businessman!”. Today, an ex-Brooklyn based art critic, now based in Canada, sent me a message saying: “You made money as a business person. You are not respected as an artist.”
This post has generated many reactions and many comments on Facebook and relates to my introduction. I see the gallerist envious of your success, and the critic instead just tries to disassemble you calling you “unfulfilled artist”, what’s your opinion? M.K.: Unfortunately these attitudes persist. Many people waste their time attacking others instead of being proactive in improving their own lives. This self-destructive dynamic is encouraged by the fact that the media profits form telling tales of conflict. I work for the day that humanity learns that we’re all at the same dinner party and we all toast: “To life!”
V.C.: You say that many artists talk too much and don’t listen to anything, I think it is really appropriate, some artists have huge egos, but if this is good on the one hand, on the other this listening capacity fossilizes their career. You too happened to know some very good artists who were not successful for their closed mind? M.K.: Having an enormous ego is a positive thing for an artist to have. The risk lies in boasting about that ego in an unappealing way. Humility is appealing, but you must not appear weak. The best thing is to know you’re the best ,within yourself, but not to brag about it publicly. Only speak about yourself when you’re asked to.
V.C.: I saw on Youtube a video of Tedx Talks where you expose your valuable tips for artists (see also BIANCOSCURO #18) on that occasion you added 2 very precious: “Believe in yourself” and “Don’t
forget friends”...
M.K.: Sì, Yes, I truly believe in these two additional, less aggressive rules. I’m so grateful for all my friends who have helped me along the way: Gino Natoni, Gene Luntz, Paul Kostabi, Walter Robinson, Lisa Rosen, Gene Pritsker, Paul Bridgewater, Molly Barnes, Don Lagerberg, Enrico Baj, Tony Esposito, Lucio Dalla, Heidi Follin, Wilfredo Arias, Shelly Fireman, Thomas McEvilley, George Segal, Suzanne Vega, Greesi Desiree Langovits and Ornette Coleman. V.C.: A great exhibition of yours has just ended: “From Renoir to Kostabi”, Park West Museum, Honolulu, Hawaii, can you give us some curiosity about this event?
M.K.: I’ve had the honor to work with many great galleries, like Molly Barnes, Ronald Feldman, Larry Gagosian, Martin Lawrence Galleries, Semaphore, Stux, Gio Marconi, Studio d’Arte Raffaelli, Pio Monti, Guastalla, Galleria Mirò, Trifoglio Arte, Tri Art, Farina Art Group and many others, but recently I’ve also started working with Park West Gallery, famous for operating on over 100 cruise ships, hotel auctions and telecasts. They have over 1,000 employees and a vast, interesting infrastructure for selling and delivering art to a much wider public, compared to traditional channels of art marketing. They are now routinely selling my paintings for $150,000 and more. It’s been a fun, inspiring and profitable adventure, working with Park West, since January 2020 – despite the obstacles of the pandemic.
V.C.: Among your next exhibitions, you’ll have one in November at Kingston Pop Museum (Kingston, New York): “The Kostabi Brothers”, Can you tell us about this show you’re doing with Paul??
M.K.: John Stavros is the director of that museum. I love Kingston! One of my best friends, the great photographer Jean Kallina, lives there. Also the great bassist Tony Levin, who I’ve had the honor to collaborate with on music, lives in Kingston. John Stavros was a guest on my game show, The Kostabi Show, a TV show in New York where celebrities compete to title my paintings for cash awards. Since then, he became friends with my brother, Paul Kostabi, also an artist who I collaborate with. They both live north of Manhattan and somehow this show came to be. I can’t wait!
Paul Kostabi has also recently started working with Park West Gallery, so expect more museum shows for Paul and rapidly rising prices! Maybe even a BIANCOSCURO cover story! V.C.: Thank you Mark, of course, having Paul as Biancoscuro cover story will be a big honor! It is always a pleasure to talk to you and have your works on BIANCOSCURO pages. We are always happy with the time spent talking about art with you. ▲