Last month, the Crystal Bridges American Art Museum opened “Kaws: Family,” an ambitious survey that brings together the popular artist’s diverse work and provides the most comprehensive picture of his practice to date. “Kaws: Family” comes from Crystal Bridges of the Ontario Gallery of Art in Toronto, where the idea of working on the subject matter gives the “artist’s sense of breadth,” but the show has a unique feel in a rural setting. I walked out of Uber in Ozarks, entered the museum, and found myself back to Williamsburg in Brooklyn, a community that now feels incredible Kaws Aesthettic. We had a discussion with Alejo Benedetti, who planned the Crystal Bridges Iteration.
Let’s start talking about the origins of the show, starting in Canada, and then expanding here. What is the gap in the Canadian show and where do you see opportunities to expand?
certainly. I want to start by saying that the exhibition at AGO in Toronto is great, which is why we are so excited to accept it. They did a great job in the exhibition surrounding this concept of family, and it was a perfect starting point. Knowing that our space is so different, we have more space dedicated to 4,000 square feet. Moreover, our space is meandering, which provides an opportunity to group and tilt things into different parts. For example, Toronto’s “Men’s Best Friends” section is smaller – it’s an epic work, but here we have the opportunity to expand. Also, when I went to the artist’s studio and brainstormed with him, we talked about what the show makes sense and how it can expand in different directions. One thing he focused on was Monster Cereal Moment, which is brand new to the show.
What is his relationship with pop culture, especially with The Simpsons And grains, take his job?
Even though it was the position of Kaws for a long time before this show, one of the things that has always resonated is his understanding of the power of pop culture and how characters exist in a larger cultural mindset. For specific characters, e.g. The Simpsons or Snoopy, but it also shows how he uses the visual language of the comics people connect with. For many people, it is an entrance point and once they see them they are connected to the work. Kaws’ greatness is that he is not there. He uses this connection to allow you to think about emotions and interactions and attract audiences into it. It begins with a reverence for popular culture, but more deeply. Kaws respect rather than mock pop culture. He is perhaps the biggest fan of the Simpsons. He often tells stories in Japan and sees the characters of the Simpsons everywhere. This is a recognition for him-the typical American nuclear family can be identified worldwide.
You have a great Jeff Koons out there and I wonder: Kaws is a perfect background for American pop art?
This is a good question. Recently, the Warhol Museum did a great show, pairing the kaws and Warhol together, so there must be a conversation there. Some of Kaws’ work was in the “Pop Forever” show in Paris, so these conversations are in progress. I think pop art is often associated with very specific moments, with Warhol, Lichtenstein and Rosenquist being heavy hitters. Kaws’s work is sure to talk to that history. Art history shows that pop art is a moment, and everything that comes with it is helped. While I wouldn’t have placed Kaws directly during that period, his work certainly intersects with mass media and popular culture, which is a source of inspiration for many artists today. Obviously, Kaws isn’t shy about being involved in pop culture, he deliberately leans it.
Yes. I’m considering Koons’ Hulk sculpture, its strong surface nature, while Kaws struggles to get the opposite, trying to tell you that these topics are heavier than you expected.
Think about how this work exists throughout the continuum, but his approach is unique, which is exciting and fun. He treats his subject in a very sincere way.
Q: You are in Ozarks now, which is a little different from the urban environment where Kaws is famous for. What challenges (if any) are you facing in a more rural environment?
We are in Ozarks, which makes the museum very unique. Northwest Arkansas has a strong artistic tradition. The museum opened in 2011 and has the appetite for this job. People in the area should connect with it. Kaws is usually associated with urban environments, but a few years ago he began creating works that could have traveled. These holiday works, such as large inflatables, are often placed in unexpected environments (at the foot of a mountain or in the wilderness), and they are equally suitable in these spaces. When we first talked about bringing this exhibition here, Kaws was excited because he had never been to Arkansas and wanted to see what it was. It’s exciting considering his introduction to his work on the new territory. This work is not shocking and it is great to bring these urban works to such a place.
Q: How does it feel to work with Kaws in this exhibition in person?
Very good. He is very considerate and he knows very well how his work works and interacts with other works. It’s great for the curator because despite his position in the art world, he is not a person with a huge self. He is happy to work with him. We collaborated on the show and while it was definitely his show, the things we discussed worked better in our space. He is confident and attentive in these suggestions and we work together to ensure everything is right. Working with him was a great experience.
This interview has been condensed and edited.
