{"id":504988,"date":"2021-07-05T00:00:00","date_gmt":"1970-01-01T00:00:00","guid":{"rendered":"https:\/\/numero.com\/art\/art-art\/meeting-henry-taylor-afro-american-legend-of-contemporary-art-2\/"},"modified":"2021-07-05T00:00:00","modified_gmt":"1970-01-01T00:00:00","slug":"meeting-henry-taylor-afro-american-legend-of-contemporary-art-2","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art\/art-art\/meeting-henry-taylor-afro-american-legend-of-contemporary-art-2\/","title":{"rendered":"Meeting Henry Taylor, Afro-American legend of contemporary art"},"content":{"rendered":"\n
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Henry Taylor\u2019s reputation as an artist is almost eclipsed by his rambunctious persona<\/strong> \u2013 even via Zoom, his energy is immediate and boundless and the conversation bounces to unexpected places and is punctuated by song. Born in Ventura, California in 1958, he grew up in nearby Oxnard; though he always had a certain predilection for painting, he only pursued it as a profession later in life. After taking art classes in Oxnard, with the legendary James Jarvaise, he went on to complete a BFA at the California Institute of the Arts, graduating in 1995 \u2013 until that point, he had been working as a psychiatric nurse at Camarillo State Mental Hospital.<\/p>\r\n\r\n

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Taylor is an exceptional portraitist:<\/strong> his fluidity and panache as a painter and sculptor are like no one else working in the US today. He riffs off almost anything you can imagine, incorporating everything and everyone from a racist bumper sticker his brother once saw and told him about to trash thrown in the street, his family, his friend Emory, or Jay-Z and Obama. He freely mixes fact and fiction, memory and story, movement and emotion, and there is no hierarchy between any of these things because Taylor inhabits a higher plane. His insatiable curiosity about people and life is perhaps one of the reasons his work is so special.<\/p>\r\n\r\n

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His insatiable curiosity about people and life is perhaps one of the reasons his work is so special.<\/strong><\/p>\r\n\r\n

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At the time of our interview, it\u2019s the thick of winter and the middle of another lockdown<\/strong>, and Taylor has flown from California to the tiny village of Bruton in Somerset, deep in the English countryside. It\u2019s the last of several weeks he\u2019s spent there on a residency, in preparation for his first major solo exhibition in Europe at Hauser & Wirth Somerset, run- ning until June this year \u2013 initially opened online, it includes his first ever outdoor sculpture. Taylor has exhibited consistently across the US since 1999, with his first institutional solo at the Studio Museum, Harlem, in 2007, and a mid-career survey at MoMA PS1 in 2012. In 2022, if all goes to plan, he\u2019ll have major exhibitions at the Fabric Workshop and Museum and MOCA, in Los Angeles, the city that has defined him and that he has defined. His studio is just off Skid Row in downtown LA, and its residents and regulars frequently drift in and out to see him. Sometimes he makes them a meal, sometimes he paints them.<\/p>\r\n

Num\u00e9ro art: You\u2019re the youngest of eight kids. Tell me about your siblings \u2013 I\u2019ve heard that they\u2019re extremely important to you.
\r\nHenry Taylor:<\/strong> I have a brother named Ardmore. I didn\u2019t get to know him till much later in life. He\u2019s 78, he was a professor, went to UCSB, he\u2019s a Sagittarius, wild, wacky, crazy, super-cool, love him. [Bursts into song.] Then there\u2019s William Gene, we call him Gene. He was military, he was drafted, he went to Vietnam, came back. He had his own little agenda you know… He said he invented the shag, the hairstyle. He got a doctorate in religion. He lives in Tennessee. Then, my brother Hershel Earl Taylor got shot in Vietnam at the age of 22. I read all of his letters to my mother continuously, so I felt like I had firsthand experience of the war. He died five or six years later in Germany be- cause there was shrapnel in his body and he had a heart attack. Once I was watching a Brad Pitt film and I thought about him all night. His grandson is a world-champion mo- tocross biker, which fucking blows my mind! Hershel was amazing. He wore cufflinks every day, even in high school. He was like that motherfucker from Harlem, Dapper Don. He was slick every day. One night at the MoMA PS1 dinner, I was sitting next to Jerry Speyer, who was wearing gold cufflinks, and I told him about my brother. Jerry Speyer gave me his cufflinks after that story. I didn\u2019t know who Jerry Speyer was. Then there was my sister Anna Laura, who was a civil-service worker and who I loved dearly but who died of cancer. Then there\u2019s Robert, who we call Randy: he\u2019s really smart, a straight-A student. Johnie Ray was named after the singer and he was burned all over his body, and that had a profound effect on me. Then there\u2019s my sister Evelyn, then there\u2019s me. I\u2019m Henry the Eighth I am!<\/p>\r\n\r\n

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Randy also gave you the idea for one of the main sculptures that\u2019s displayed in your current show.<\/strong>
\r\nI made this sculpture here of a guy running with a leather jacket. [Bursts into song.] You see this sculpture? So one day my brother Randy said, \u201cHenry! I saw a bumper sticker that read \u2018I couldn\u2019t find me no deer so I shot me a nigga.\u2019\u201d It was probably in Texas or somewhere. And I made this sculpture which is here now. Randy started a Black Panther chapter. That sculpture has a leather jacket on it, and for a minute there I wasn\u2019t sure about the jacket, but then a lot of people said, \u201cHey, your brother had us wear leather jack- ets like Huey Newton.\u201d What else do you want to know?<\/p>\r\n\r\n

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C\u2019est Randy qui vous a donn\u00e9 l\u2019id\u00e9e de l\u2019une des principales sculptures pr\u00e9sent\u00e9es dans cette exposition.<\/strong>
\r\nJ\u2019ai r\u00e9alis\u00e9 ici cette sculpture d\u2019un type en train de courir, v\u00eatu d\u2019une longue veste en cuir. [Il se met \u00e0 chanter.] Vous voyez ? Un jour, mon fr\u00e8re m\u2019a parl\u00e9 d\u2019un autocollant qu\u2019il avait vu sur une voiture et qui disait : \u201cJe n\u2019ai pas trouv\u00e9 de cerf, alors j\u2019ai abattu un N\u00e8gre.\u201d<\/em> Il avait d\u00fb voir \u00e7a au Texas, ou un truc dans le genre. Et moi, j\u2019ai fait cette sculpture, qui maintenant est ici. Dans les ann\u00e9es 60, Randy avait fond\u00e9 une branche locale du mouvement Black Panthers. J\u2019ai mis une veste en cuir \u00e0 cette sculpture… au d\u00e9part, j\u2019ai h\u00e9sit\u00e9, mais pas mal de gens m\u2019ont dit : \u201cTu sais, ton fr\u00e8re nous faisait porter des vestes en cuir, comme Huey P. Newton [le cofondateur des Black Panthers].\u201d <\/em>Que voulez-vous savoir d\u2019autre?<\/p>\r\n\r\n

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\u201cI\u2019ve been a listener all my life \u2013 being the youngest you don\u2019t always get to talk, so you observe.\u201d<\/strong><\/em><\/p>\r\n\r\n

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Well, you were the youngest, so were you always the cute one, the one that got all the attention?<\/strong>
\r\nYou think I\u2019m cute? Golden nugget, that was my nickname! I never thought I was cute. I always had this high forehead and people used to grab my head and shout, \u201cNUGGET!\u201d<\/em> So honestly I never felt like that. But I was the youngest and you get to hang out with a lot of people. I got to hang out with my dad who was actually a painter, an industrial painter, and from an early age, five or six years old, I went to hang out with him and watch him paint. I was very close to my mom. My parents divorced and I lived with my dad when I was 19 and there\u2019s things I know about him that my siblings don\u2019t. He told me all kinds of things, like about the day my grandad got shot, when my dad was nine years old, and what he did. I felt very privileged, for lack of a better word. My mom would ask me to come wash her back, sitting nude in the bathtub. Everything was so fucking natural. My mom would tell me stories, like about where she got the scars on her knee. She talked about objects like scars. I met people on Skid Row who told me they were the first Rodney King riot-victims and showed me the scar on their head where they\u2019d been beaten with a flashlight. It made me a listener, too. I\u2019ve been a listener all my life \u2013 being the youngest you don\u2019t always get to talk, so you observe.<\/p>\r\n

Is that where the storytelling came in? Observation is so important when it comes to painting portraits…<\/strong>
\r\nI think I thought about painting when I was five years old, but I never did it. I was already seeing stories, I was peeping in and out. I wanted to be a writer, but I\u2019m too angsty for that, it takes too much discipline.<\/p>\r\n\r\n

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How about your dad? You once made a film about him witnessing your grandfather getting shot when he was just a child.<\/strong>
\r\nMy dad used to call his sons bullets. Where the fuck did that come from? It didn\u2019t occur to me until 20 years later, when I was on a residency in Texas and they said I could make a film. What I\u2019m saying is that a lot of shit doesn\u2019t resonate right away \u2013 he called us bullets because his dad got shot, he got six boys, and there are six bullets in a re- volver. My dad was creative like that \u2013 I thought of him like a poet. I put words of his on the wall when I graduated from CalArts. He was challenging people all the time. Sometimes we don\u2019t acknowledge people. On my birth certificate it says \u201cFather\u2019s occupation: painter.\u201d Didn\u2019t mean much to me. Then I said, \u201cDamn, ain\u2019t that a trip! Used to watch him paint. Walls, and shit. There\u2019s something there.\u201d <\/em>You see your dad run, may not be sprinting, patterns. My dad did, my brother, who was a barber, cut faster than anyone, so speed became a big factor in my painting. I always wanted to paint fast. I\u2019d think about him.<\/p>\r\n\r\n

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You\u2019re known both for your speed and as a very resourceful artist.<\/strong>
\r\nSometimes you\u2019ve got to learn to work with what you\u2019ve got. When you\u2019re poor, you\u2019ve got to get creative, you\u2019ve got to learn to roll with it, how to be egalitarian or whatever. You used to go to the drugstore and there was only Viks 44, now you\u2019ve got DayQuil, NightQuil, AfternoonQuil. I\u2019m just saying, they make shit too convenient. But you know what, when you do it the old-fashioned way, it tastes better. It\u2019s like painting: sometimes when shit\u2019s straight out the tube it needs a little something extra.<\/p>\r\n\r\n

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You\u2019ve painted a portrait of yourself for this show in Somerset, which is rare for you.<\/strong>
\r\nI got here and thought about music a lot. I was reading into Peter Noone [the lead singer of 1960s British pop group Herman\u2019s Hermits]. If I was in Arizona I might think about the Hopi or whatever. I tend to think about the peo- ple who live in the land, so when I came here I thought about rock\u2019n\u2019roll, I thought about Chuck Berry, Little Richard. But I didn\u2019t want to overthink it, I just wanted to work. I ran into Peter Noone years ago, and he probably thought I was some homeless motherfucker when I stopped him in the street shouting, \u201cHey! Stop!\u201d He was shocked. \u201cI\u2019m Henry the Eighth I am!\u201d I\u2019ve been listening to that song since I was five years old! Then I learned about the king and I was just having fun. So I made that painting. Being truthful, I don\u2019t like self-portraiture, but this seemed \u00e0 propos or something, but normally I don\u2019t give a fuck about self-portraits. I always do them, you know, on the low \u2013 I might wake up in the morning and paint a portrait of myself in the bathroom mirror, simply to study. Just like a work out or doing sit-ups.<\/p>\r\n

What about portraits of other people, which in a way are self-portraits \u2013 they\u2019re your vision of other people, not how they see themselves. Do people ever react strangely when they see how you\u2019ve painted them? <\/strong><\/p>\r\n\r\n

Oh hell yeah, all the time! People are very conventional. I always give the example that if van Gogh, Picasso, Dubuffet, Goya, all those motherfuckers were there painting at Disneyland and then you had the guys from the local art schools, people would go for the likenesses. \u201cI ain\u2019t paying for something like that with my eyes looking all fucked up!\u201d<\/em> People always respond when someone goes against the grain. I think of Jimi Hendrix at Woodstock when he plays The Star-Spangled Banner. We all know what the song sounds like. Or like Marvin Gaye. We\u2019re gonna put some funk on it. I\u2019m gonna put me on it. But there\u2019s so many things. My seventh-grade teacher once told me you had 70 conceptions at the same time, so many things going \u2013 you might think we\u2019re trying to appease, but we might see something else, like a sycophant, you can be surrounded by yes people. So sometimes I might fuck your shit up! I was painting everyone on a train in Texas once, and the first few came out all accurate and all of a sudden it started getting crazy. And people were saying, \u201cI want mine to look like hers!\u201d<\/em> That\u2019s where redundancy comes in. We want to describe things, it feels comfortable, but the moment we can\u2019t put a finger on it, when we get lost, we\u2019re fucked. It\u2019s nice to fuck it up. I always want to make something beautiful, but I can\u2019t help it if I get lost. I think about Picasso in his earlier career \u2013 representation is important, likeness is important. Everyone starts out representational, but then you fuck it up. That also takes confidence, or at least some kind of freedom, some sort of intuition. We have this tendency when we view something to want to know what it is, what we\u2019re looking at… [Breaks into song.] Oh sorry, I can\u2019t do that!<\/p>\r\n\r\n

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\u201cEveryone starts out representational, but then you fuck it up.\u201d<\/strong><\/em><\/p>\r\n\r\n

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What is success to you?<\/strong><\/p>\r\n\r\n

If I can get closer to the truth, or some shit. I contradict myself, I do all that shit, cos I\u2019m always learning. One day someone says, \u201cOh what shoes you got, they\u2019re kinda funny,\u201d<\/em> then a few days later you\u2019ve got the same goddamn pair. Whoever is keeping his tongue is keeping his life. Maybe I succumb or I acquiesce to some influence, but I try to really just do me. Sometimes I don\u2019t feel I\u2019ve done shit. It ain\u2019t like I\u2019m Kobe Bryant or Lionel Messi. I\u2019m making paintings, that\u2019s all. Some may like them some may not. Hell, I may not like half the shit I do! And I\u2019m always trying to do something different. I feel like it\u2019s best to be lost before you get found. I don\u2019t mind making scrambled eggs every morning, but the paintings gotta be something else, I\u2019ve got to be free somewhere else. I don\u2019t know if that answers the question. I don\u2019t know if you can make anything of this.<\/p>\r\n\r\n

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And what are you afraid of?<\/strong><\/p>\r\n\r\n

Not getting to the truth. Some things can be really easy, and I don\u2019t think there\u2019s anything wrong with enjoying. What I\u2019m afraid of is not having fun. I don\u2019t worry about being serious, because I\u2019m already deep. I come from that. That\u2019s always gonna permeate. It\u2019s important to take chances in painting, it doesn\u2019t hurt you. My fear is not taking chances; I want to take chances always. I don\u2019t want to look at some- thing and say, \u201cWoulda, shoulda, coulda.\u201d <\/em>It\u2019s like telling someone, \u201cI love you,\u201d<\/em> those are just words, but I had to say it. Sometimes you just gotta paint it.<\/p>\r\n\r\n

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After his solo show at Hauser & Wirth Somerset, Henry Taylor will present a new show at Hauser&Wirth Southampton (New York), from July 1st to August 1st.<\/strong><\/p>\r\n\n

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Henry Taylor\u2019s reputation as an artist is almost eclipsed by his rambunctious persona<\/strong> \u2013 even via Zoom, his energy is immediate and boundless and the conversation bounces to unexpected places and is punctuated by song. Born in Ventura, California in 1958, he grew up in nearby Oxnard; though he always had a certain predilection for painting, he only pursued it as a profession later in life. After taking art classes in Oxnard, with the legendary James Jarvaise, he went on to complete a BFA at the California Institute of the Arts, graduating in 1995 \u2013 until that point, he had been working as a psychiatric nurse at Camarillo State Mental Hospital.<\/p>\r\n\r\n

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His insatiable curiosity about people and life is perhaps one of the reasons his work is so special.<\/strong><\/p>\r\n\r\n

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Taylor is an exceptional portraitist:<\/strong> his fluidity and panache as a painter and sculptor are like no one else working in the US today. He riffs off almost anything you can imagine, incorporating everything and everyone from a racist bumper sticker his brother once saw and told him about to trash thrown in the street, his family, his friend Emory, or Jay-Z and Obama. He freely mixes fact and fiction, memory and story, movement and emotion, and there is no hierarchy between any of these things because Taylor inhabits a higher plane. His insatiable curiosity about people and life is perhaps one of the reasons his work is so special.<\/p>\r\n\r\n

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L’\u0153uvre embl\u00e9matique d’Henry Taylor, \u201cThe times that ain’t a changing, fast enough!\u201d (2016) repr\u00e9sente le meurtre de l’Africain-Am\u00e9ricain Philando Castile par un policier lors d’un contr\u00f4le routier en 2016.<\/figcaption>\n <\/figure>\n \n

At the time of our interview, it\u2019s the thick of winter and the middle of another lockdown<\/strong>, and Taylor has flown from California to the tiny village of Bruton in Somerset, deep in the English countryside. It\u2019s the last of several weeks he\u2019s spent there on a residency, in preparation for his first major solo exhibition in Europe at Hauser & Wirth Somerset, run- ning until June this year \u2013 initially opened online, it includes his first ever outdoor sculpture. Taylor has exhibited consistently across the US since 1999, with his first institutional solo at the Studio Museum, Harlem, in 2007, and a mid-career survey at MoMA PS1 in 2012. In 2022, if all goes to plan, he\u2019ll have major exhibitions at the Fabric Workshop and Museum and MOCA, in Los Angeles, the city that has defined him and that he has defined. His studio is just off Skid Row in downtown LA, and its residents and regulars frequently drift in and out to see him. Sometimes he makes them a meal, sometimes he paints them.<\/p>\r\n\r\n

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Num\u00e9ro art: You\u2019re the youngest of eight kids. Tell me about your siblings \u2013 I\u2019ve heard that they\u2019re extremely important to you.
\r\nHenry Taylor:<\/strong> I have a brother named Ardmore. I didn\u2019t get to know him till much later in life. He\u2019s 78, he was a professor, went to UCSB, he\u2019s a Sagittarius, wild, wacky, crazy, super-cool, love him. [Bursts into song.] Then there\u2019s William Gene, we call him Gene. He was military, he was drafted, he went to Vietnam, came back. He had his own little agenda you know… He said he invented the shag, the hairstyle. He got a doctorate in religion. He lives in Tennessee. Then, my brother Hershel Earl Taylor got shot in Vietnam at the age of 22. I read all of his letters to my mother continuously, so I felt like I had firsthand experience of the war. He died five or six years later in Germany be- cause there was shrapnel in his body and he had a heart attack. Once I was watching a Brad Pitt film and I thought about him all night. His grandson is a world-champion mo- tocross biker, which fucking blows my mind! Hershel was amazing. He wore cufflinks every day, even in high school. He was like that motherfucker from Harlem, Dapper Don. He was slick every day. One night at the MoMA PS1 dinner, I was sitting next to Jerry Speyer, who was wearing gold cufflinks, and I told him about my brother. Jerry Speyer gave me his cufflinks after that story. I didn\u2019t know who Jerry Speyer was. Then there was my sister Anna Laura, who was a civil-service worker and who I loved dearly but who died of cancer. Then there\u2019s Robert, who we call Randy: he\u2019s really smart, a straight-A student. Johnie Ray was named after the singer and he was burned all over his body, and that had a profound effect on me. Then there\u2019s my sister Evelyn, then there\u2019s me. I\u2019m Henry the Eighth I am!<\/p>\r\n\n

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L’\u0153uvre embl\u00e9matique d’Henry Taylor, \u201cThe times that ain’t a changing, fast enough!\u201d (2016) repr\u00e9sente le meurtre de l’Africain-Am\u00e9ricain Philando Castile par un policier lors d’un contr\u00f4le routier en 2016.<\/figcaption>\n <\/figure>\n \n

Randy also gave you the idea for one of the main sculptures that\u2019s displayed in your current show.<\/strong>
\r\nI made this sculpture here of a guy running with a leather jacket. [Bursts into song.] You see this sculpture? So one day my brother Randy said, \u201cHenry! I saw a bumper sticker that read \u2018I couldn\u2019t find me no deer so I shot me a nigga.\u2019\u201d<\/em> It was probably in Texas or somewhere. And I made this sculpture which is here now. Randy started a Black Panther chapter. That sculpture has a leather jacket on it, and for a minute there I wasn\u2019t sure about the jacket, but then a lot of people said, \u201cHey, your brother had us wear leather jackets like Huey Newton.\u201d<\/em> What else do you want to know?<\/p>\r\n\r\n

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\u201cI\u2019ve been a listener all my life \u2013 being the youngest you don\u2019t always get to talk, so you observe.\u201d<\/strong><\/em><\/p>\r\n\r\n

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Well, you were the youngest, so were you always the cute one, the one that got all the attention?<\/strong>
\r\nYou think I\u2019m cute? Golden nugget, that was my nickname! I never thought I was cute. I always had this high forehead and people used to grab my head and shout, \u201cNUGGET!\u201d<\/em> So honestly I never felt like that. But I was the youngest and you get to hang out with a lot of people. I got to hang out with my dad who was actually a painter, an industrial painter, and from an early age, five or six years old, I went to hang out with him and watch him paint. I was very close to my mom. My parents divorced and I lived with my dad when I was 19 and there\u2019s things I know about him that my siblings don\u2019t. He told me all kinds of things, like about the day my grandad got shot, when my dad was nine years old, and what he did. I felt very privileged, for lack of a better word. My mom would ask me to come wash her back, sitting nude in the bathtub. Everything was so fucking natural. My mom would tell me stories, like about where she got the scars on her knee. She talked about objects like scars. I met people on Skid Row who told me they were the first Rodney King riot-victims and showed me the scar on their head where they\u2019d been beaten with a flashlight. It made me a listener, too. I\u2019ve been a listener all my life \u2013 being the youngest you don\u2019t always get to talk, so you observe.<\/p>\r\n\n

\n \"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
L’\u0153uvre embl\u00e9matique d’Henry Taylor, \u201cThe times that ain’t a changing, fast enough!\u201d (2016) repr\u00e9sente le meurtre de l’Africain-Am\u00e9ricain Philando Castile par un policier lors d’un contr\u00f4le routier en 2016.<\/figcaption>\n <\/figure>\n \n \n
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L’\u0153uvre embl\u00e9matique d’Henry Taylor, \u201cThe times that ain’t a changing, fast enough!\u201d (2016) repr\u00e9sente le meurtre de l’Africain-Am\u00e9ricain Philando Castile par un policier lors d’un contr\u00f4le routier en 2016.<\/figcaption>\n <\/figure>\n \n

Is that where the storytelling came in? Observation is so important when it comes to painting portraits…<\/strong>
\r\nI think I thought about painting when I was five years old, but I never did it. I was already seeing stories, I was peeping in and out. I wanted to be a writer, but I\u2019m too angsty for that, it takes too much discipline.<\/p>\r\n\r\n

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How about your dad? You once made a film about him witnessing your grandfather getting shot when he was just a child.<\/strong>
\r\nMy dad used to call his sons bullets. Where the fuck did that come from? It didn\u2019t occur to me until 20 years later, when I was on a residency in Texas and they said I could make a film. What I\u2019m saying is that a lot of shit doesn\u2019t resonate right away \u2013 he called us bullets because his dad got shot, he got six boys, and there are six bullets in a re- volver. My dad was creative like that \u2013 I thought of him like a poet. I put words of his on the wall when I graduated from CalArts. He was challenging people all the time. Sometimes we don\u2019t acknowledge people. On my birth certificate it says \u201cFather\u2019s occupation: painter.\u201d Didn\u2019t mean much to me. Then I said, \u201cDamn, ain\u2019t that a trip! Used to watch him paint. Walls, and shit. There\u2019s something there.\u201d <\/em>You see your dad run, may not be sprinting, patterns. My dad did, my brother, who was a barber, cut faster than anyone, so speed became a big factor in my painting. I always wanted to paint fast. I\u2019d think about him.<\/p>\r\n\n

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L’\u0153uvre embl\u00e9matique d’Henry Taylor, \u201cThe times that ain’t a changing, fast enough!\u201d (2016) repr\u00e9sente le meurtre de l’Africain-Am\u00e9ricain Philando Castile par un policier lors d’un contr\u00f4le routier en 2016.<\/figcaption>\n <\/figure>\n \n \n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
L’\u0153uvre embl\u00e9matique d’Henry Taylor, \u201cThe times that ain’t a changing, fast enough!\u201d (2016) repr\u00e9sente le meurtre de l’Africain-Am\u00e9ricain Philando Castile par un policier lors d’un contr\u00f4le routier en 2016.<\/figcaption>\n <\/figure>\n \n

You\u2019re known both for your speed and as a very resourceful artist.<\/strong>
\r\nSometimes you\u2019ve got to learn to work with what you\u2019ve got. When you\u2019re poor, you\u2019ve got to get creative, you\u2019ve got to learn to roll with it, how to be egalitarian or whatever. You used to go to the drugstore and there was only Viks 44, now you\u2019ve got DayQuil, NightQuil, AfternoonQuil. I\u2019m just saying, they make shit too convenient. But you know what, when you do it the old-fashioned way, it tastes better. It\u2019s like painting: sometimes when shit\u2019s straight out the tube it needs a little something extra.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

You\u2019ve painted a portrait of yourself for this show in Somerset, which is rare for you.<\/strong>
\r\nI got here and thought about music a lot. I was reading into Peter Noone [the lead singer of 1960s British pop group Herman\u2019s Hermits]. If I was in Arizona I might think about the Hopi or whatever. I tend to think about the peo- ple who live in the land, so when I came here I thought about rock\u2019n\u2019roll, I thought about Chuck Berry, Little Richard. But I didn\u2019t want to overthink it, I just wanted to work. I ran into Peter Noone years ago, and he probably thought I was some homeless motherfucker when I stopped him in the street shouting, \u201cHey! Stop!\u201d <\/em>He was shocked. \u201cI\u2019m Henry the Eighth I am!\u201d<\/em> I\u2019ve been listening to that song since I was five years old! Then I learned about the king and I was just having fun. So I made that painting. Being truthful, I don\u2019t like self-portraiture, but this seemed \u00e0 propos or something, but normally I don\u2019t give a fuck about self-portraits. I always do them, you know, on the low \u2013 I might wake up in the morning and paint a portrait of myself in the bathroom mirror, simply to study. Just like a work out or doing sit-ups.<\/p>\r\n\n

\n \"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
L’\u0153uvre embl\u00e9matique d’Henry Taylor, \u201cThe times that ain’t a changing, fast enough!\u201d (2016) repr\u00e9sente le meurtre de l’Africain-Am\u00e9ricain Philando Castile par un policier lors d’un contr\u00f4le routier en 2016.<\/figcaption>\n <\/figure>\n \n

What about portraits of other people, which in a way are self-portraits \u2013 they\u2019re your vision of other people, not how they see themselves. Do people ever react strangely when they see how you\u2019ve painted them? <\/strong><\/p>\r\n\r\n

Oh hell yeah, all the time! People are very conventional. I always give the example that if van Gogh, Picasso, Dubuffet, Goya, all those motherfuckers were there painting at Disneyland and then you had the guys from the local art schools, people would go for the likenesses. \u201cI ain\u2019t paying for something like that with my eyes looking all fucked up!\u201d<\/em> People always respond when someone goes against the grain. I think of Jimi Hendrix at Woodstock when he plays The Star-Spangled Banner. We all know what the song sounds like. Or like Marvin Gaye. We\u2019re gonna put some funk on it. I\u2019m gonna put me on it. But there\u2019s so many things. My seventh-grade teacher once told me you had 70 conceptions at the same time, so many things going \u2013 you might think we\u2019re trying to appease, but we might see something else, like a sycophant, you can be surrounded by yes people. So sometimes I might fuck your shit up! I was painting everyone on a train in Texas once, and the first few came out all accurate and all of a sudden it started getting crazy. And people were saying, \u201cI want mine to look like hers!\u201d<\/em> That\u2019s where redundancy comes in. We want to describe things, it feels comfortable, but the moment we can\u2019t put a finger on it, when we get lost, we\u2019re fucked. It\u2019s nice to fuck it up. I always want to make something beautiful, but I can\u2019t help it if I get lost. I think about Picasso in his earlier career \u2013 representation is important, likeness is important. Everyone starts out representational, but then you fuck it up. That also takes confidence, or at least some kind of freedom, some sort of intuition. We have this tendency when we view something to want to know what it is, what we\u2019re looking at… [Breaks into song.] Oh sorry, I can\u2019t do that!<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

\u201cEveryone starts out representational, but then you fuck it up.\u201d<\/strong><\/em><\/p>\r\n\n

\n \"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
L’\u0153uvre embl\u00e9matique d’Henry Taylor, \u201cThe times that ain’t a changing, fast enough!\u201d (2016) repr\u00e9sente le meurtre de l’Africain-Am\u00e9ricain Philando Castile par un policier lors d’un contr\u00f4le routier en 2016.<\/figcaption>\n <\/figure>\n \n

What is success to you?<\/strong><\/p>\r\n\r\n

If I can get closer to the truth, or some shit. I contradict myself, I do all that shit, cos I\u2019m always learning. One day someone says, \u201cOh what shoes you got, they\u2019re kinda funny,\u201d<\/em> then a few days later you\u2019ve got the same goddamn pair. Whoever is keeping his tongue is keeping his life. Maybe I succumb or I acquiesce to some influence, but I try to really just do me. Sometimes I don\u2019t feel I\u2019ve done shit. It ain\u2019t like I\u2019m Kobe Bryant or Lionel Messi. I\u2019m making paintings, that\u2019s all. Some may like them some may not. Hell, I may not like half the shit I do! And I\u2019m always trying to do something different. I feel like it\u2019s best to be lost before you get found. I don\u2019t mind making scrambled eggs every morning, but the paintings gotta be something else, I\u2019ve got to be free somewhere else. I don\u2019t know if that answers the question. I don\u2019t know if you can make anything of this.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

And what are you afraid of?<\/strong><\/p>\r\n\r\n

Not getting to the truth. Some things can be really easy, and I don\u2019t think there\u2019s anything wrong with enjoying. What I\u2019m afraid of is not having fun. I don\u2019t worry about being serious, because I\u2019m already deep. I come from that. That\u2019s always gonna permeate. It\u2019s important to take chances in painting, it doesn\u2019t hurt you. My fear is not taking chances; I want to take chances always. I don\u2019t want to look at some- thing and say, \u201cWoulda, shoulda, coulda.\u201d <\/em>It\u2019s like telling someone, \u201cI love you,\u201d<\/em> those are just words, but I had to say it. Sometimes you just gotta paint it.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

After his solo show at Hauser & Wirth Somerset, Henry Taylor will present a new show at Hauser&Wirth Southampton (New York), from July 1st to August 1st.<\/strong><\/p>\r\n\n

\n \"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
\u201cHammons meets a hyena on holiday\u201d (2016) est une autre peinture iconique d’Henry Taylor dans laquelle il rend hommage \u00e0 l’artiste africain-am\u00e9ricain radical David Hammons.<\/figcaption>\n <\/figure>\n \n ","protected":false},"excerpt":{"rendered":"

Henry Taylor\u2019s reputation as an artist is almost eclipsed by his rambunctious persona \u2013 even […]<\/p>\n

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