ROBER T M A R S
Future
relics Pa s t i s P r e s e n t
2
3
ROBER T M A R S
Future
relics Pa s t i s P r e s e n t
2
3
ROBER T M A R S
Futurelics
Contents
Pa s t i s P r e s e n t
Writings 7
GA L L ER IST ’ S STAT EM EN T TED VASSILEV
9 F U T U R E L IC S
Text and photography copyright © 2017 DTR Modern Art Galleries
ROBERT MARS
Copyright in each of the Robert Mars works of art is the property of Robert Mars. 11
Book copyright © 2017 Scala Arts Publishers, Inc. First published in 2017 by Scala Arts Publishers, Inc. 1301 Avenue of the Americas 10th Floor New York, NY 10019 www.scalapublishers.com Scala – New York – London DTR Modern Art Galleries 458 West Broadway Street New York, NY 10012 www.dtrmodern.com Boston – Palm Beach – New York – Washington, DC Distributed outside of the premises of the client in the booktrade by ACC Distribution 6 West 18th Street 4th Floor New York, NY 10011 ISBN: 978-1-78551-163-9 Library of Congress Cataloguing-in-Publication Data: a catalog record for this book is available from the publisher. All rights reserved. No part of the contents of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the written permission of DTR Modern Art Galleries and Scala Arts Publishers, Inc. ‘An Interview with Robert Mars’, © Dirty Laundry, April 2013. Reprinted with permission. http://dirtylaundrymag.com http://dirtylaundrymag.com/articles/robert-mars/
M A R S L A N DI N G BRUCE HELANDER
DESIGN
Jason Fairchild / Truesdale Group
14
PHOTOGRAPHY
Cary Whittier artist photo by Molly Quan cover: Her Spirit Bubbles, 2016 46" x 66" x 2" Mixed media on wood panel with epoxy resin front endpapers: Extra Coolness, 2012 36" x 72" x 2" Mixed media on wood panel with UV varnish
ELEANOR HEARTNEY 20
back endpapers: Steal A Little Thunder, 2012 36" x 72" x 2" Mixed media on wood panel with UV varnish
A M E R IC A N I R O N Y: R OB E R T M A R S ’ I M A G E R Y DONALD KUSPIT
22
INTERVIEW DIRTY LAUNDRY MAG
half-title page: Iron Clad Marilyn, 2011 42" x 42" x 2" Mixed media on wood panel with epoxy resin title page: Get Yours Now, 2008 36" x 60" x 2" Mixed media on wood panel with UV varnish
R OB E R T M A R S : B E T W E E N M E MOR Y A N D DE S I R E
Works 33
A M E R IC A N L A N D S C A P E
47
B R A N D I DE N T I T Y
67
CELEBRIT Y C U LT U RE
93
N E ON
109
SCULPTURE
121
P OP F OR M S
ROBER T M A R S
Futurelics
Contents
Pa s t i s P r e s e n t
Writings 7
GA L L ER IST ’ S STAT EM EN T TED VASSILEV
9 F U T U R E L IC S
Text and photography copyright © 2017 DTR Modern Art Galleries
ROBERT MARS
Copyright in each of the Robert Mars works of art is the property of Robert Mars. 11
Book copyright © 2017 Scala Arts Publishers, Inc. First published in 2017 by Scala Arts Publishers, Inc. 1301 Avenue of the Americas 10th Floor New York, NY 10019 www.scalapublishers.com Scala – New York – London DTR Modern Art Galleries 458 West Broadway Street New York, NY 10012 www.dtrmodern.com Boston – Palm Beach – New York – Washington, DC Distributed outside of the premises of the client in the booktrade by ACC Distribution 6 West 18th Street 4th Floor New York, NY 10011 ISBN: 978-1-78551-163-9 Library of Congress Cataloguing-in-Publication Data: a catalog record for this book is available from the publisher. All rights reserved. No part of the contents of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the written permission of DTR Modern Art Galleries and Scala Arts Publishers, Inc. ‘An Interview with Robert Mars’, © Dirty Laundry, April 2013. Reprinted with permission. http://dirtylaundrymag.com http://dirtylaundrymag.com/articles/robert-mars/
M A R S L A N DI N G BRUCE HELANDER
DESIGN
Jason Fairchild / Truesdale Group
14
PHOTOGRAPHY
Cary Whittier artist photo by Molly Quan cover: Her Spirit Bubbles, 2016 46" x 66" x 2" Mixed media on wood panel with epoxy resin front endpapers: Extra Coolness, 2012 36" x 72" x 2" Mixed media on wood panel with UV varnish
ELEANOR HEARTNEY 20
back endpapers: Steal A Little Thunder, 2012 36" x 72" x 2" Mixed media on wood panel with UV varnish
A M E R IC A N I R O N Y: R OB E R T M A R S ’ I M A G E R Y DONALD KUSPIT
22
INTERVIEW DIRTY LAUNDRY MAG
half-title page: Iron Clad Marilyn, 2011 42" x 42" x 2" Mixed media on wood panel with epoxy resin title page: Get Yours Now, 2008 36" x 60" x 2" Mixed media on wood panel with UV varnish
R OB E R T M A R S : B E T W E E N M E MOR Y A N D DE S I R E
Works 33
A M E R IC A N L A N D S C A P E
47
B R A N D I DE N T I T Y
67
CELEBRIT Y C U LT U RE
93
N E ON
109
SCULPTURE
121
P OP F OR M S
You seem to have nostalgia for a time before you were born. Why do you think that is? What interests you about American culture from the 1950s and 60s?
I do have nostalgia for the years before I was born. I attribute it to a few things. First is the apparent influence of the many facets of design and art from that era. When we look at everything from architecture, typography, and automotive and furniture design, there is a definite influence from the mid-century. Second is there is an inherent mystique in the years before I was born, with a culture that influenced future generations. From my perspective, America at that time conveyed a tone of hope and prosperity. People had pride in their work and pride in our country. It seemed that even though there was tremendous struggle going on with civil rights and wars, there was still an overall positive outlook.
Your work focuses a lot on Americana and the icons of this country. How do viewers from other countries relate or respond to your work?
Most of my images are strongly rooted in American themes but I also have some foreign icons that have had a huge impact on American culture. With that said, about 50 percent of my collector base is from France,
England, Italy, Switzerland, China, and Germany. I believe there is a connection to the America of the past in many foreign countries and the icons I choose carry a universal appeal.
Flying Horse Gas Pump, 2012 65" x 32" x 24" Mixed media on found object with UV varnish
Caravan, 2004 14" x 11" x 2" Mixed media on canvas with UV varnish
Electric Body, 2016 46" x 46" x 2" Mixed media on wood panel with epoxy resin
24
ROBERT MARS
F U T U R E L I C S : PAST I S P R ES E N T
25
You seem to have nostalgia for a time before you were born. Why do you think that is? What interests you about American culture from the 1950s and 60s?
I do have nostalgia for the years before I was born. I attribute it to a few things. First is the apparent influence of the many facets of design and art from that era. When we look at everything from architecture, typography, and automotive and furniture design, there is a definite influence from the mid-century. Second is there is an inherent mystique in the years before I was born, with a culture that influenced future generations. From my perspective, America at that time conveyed a tone of hope and prosperity. People had pride in their work and pride in our country. It seemed that even though there was tremendous struggle going on with civil rights and wars, there was still an overall positive outlook.
Your work focuses a lot on Americana and the icons of this country. How do viewers from other countries relate or respond to your work?
Most of my images are strongly rooted in American themes but I also have some foreign icons that have had a huge impact on American culture. With that said, about 50 percent of my collector base is from France,
England, Italy, Switzerland, China, and Germany. I believe there is a connection to the America of the past in many foreign countries and the icons I choose carry a universal appeal.
Flying Horse Gas Pump, 2012 65" x 32" x 24" Mixed media on found object with UV varnish
Caravan, 2004 14" x 11" x 2" Mixed media on canvas with UV varnish
Electric Body, 2016 46" x 46" x 2" Mixed media on wood panel with epoxy resin
24
ROBERT MARS
F U T U R E L I C S : PAST I S P R ES E N T
25
What do we have to look forward to with your work in the future? Any big plans?
The past few years have been very busy trying to fulfill obligations to my galleries’ demand for work and I am feeling the changes come through in small steps, but I am happy where I am in my transitions. The neon will definitely be a concept that
I explore further. I want to build on the found sculpture pieces I started this year and I have my first solo museum show in December at the Coral Springs Museum of Art in Florida. It will coincide with Art Basel Miami which will be major for exposure.
What is some sort of truth you’ve discovered, or a revelation that you’ve had making art?
I have had many revelations over the years as an artist, but I think the biggest one has been understanding how to convey a feeling using symbolism, color, and composition. Figuring out how to connect with the
viewer and communicate ideas in a greater way, and in an almost subliminal way. It allows me as an artist to strip away conventional ideas and explore underlying themes in my work in a more subliminal manner.
american landscape
Last question: if you could join one band from any time period, which would it be? Captivated exhibition, Coral Springs, December 2012
32
ROBERT MARS
Jimi Hendrix Experience. What Hendrix did on guitar was mind-blowing and yet still cohesive as a traditional
rock song. Plus he made some of the greatest rock songs in history.
F U T U R E L I C S : PAST I S P R ES E N T
33
What do we have to look forward to with your work in the future? Any big plans?
The past few years have been very busy trying to fulfill obligations to my galleries’ demand for work and I am feeling the changes come through in small steps, but I am happy where I am in my transitions. The neon will definitely be a concept that
I explore further. I want to build on the found sculpture pieces I started this year and I have my first solo museum show in December at the Coral Springs Museum of Art in Florida. It will coincide with Art Basel Miami which will be major for exposure.
What is some sort of truth you’ve discovered, or a revelation that you’ve had making art?
I have had many revelations over the years as an artist, but I think the biggest one has been understanding how to convey a feeling using symbolism, color, and composition. Figuring out how to connect with the
viewer and communicate ideas in a greater way, and in an almost subliminal way. It allows me as an artist to strip away conventional ideas and explore underlying themes in my work in a more subliminal manner.
american landscape
Last question: if you could join one band from any time period, which would it be? Captivated exhibition, Coral Springs, December 2012
32
ROBERT MARS
Jimi Hendrix Experience. What Hendrix did on guitar was mind-blowing and yet still cohesive as a traditional
rock song. Plus he made some of the greatest rock songs in history.
F U T U R E L I C S : PAST I S P R ES E N T
33
48
49
Golden Sparklers, 2017, 46" x 46" x 2", Mixed media on wood panel with epoxy resin
48
49
Golden Sparklers, 2017, 46" x 46" x 2", Mixed media on wood panel with epoxy resin
50
51
We Want To Fly, 2014, 40" x 80" x 2", Mixed media on wood panel with epoxy resin
50
51
We Want To Fly, 2014, 40" x 80" x 2", Mixed media on wood panel with epoxy resin
Her Spirit Bubbles, 2016 46" x 66" x 2" Mixed media on wood panel with epoxy resin
78
Natural Light Audrey, 2016 40" x 60" x 2" Mixed media on wood panel with epoxy resin
79
Her Spirit Bubbles, 2016 46" x 66" x 2" Mixed media on wood panel with epoxy resin
78
Natural Light Audrey, 2016 40" x 60" x 2" Mixed media on wood panel with epoxy resin
79
88
89
Staring At The Sun, 2015, 35" x 70" x 2", Mixed media on wood panel with epoxy resin
88
89
Staring At The Sun, 2015, 35" x 70" x 2", Mixed media on wood panel with epoxy resin
Conquer The World, 2017 54" x 46" x 1 5/8" Mixed media on Popforms wood panel with epoxy resin
128