JJ Manford: A Conversation
Note: the following is an annotated transcript of an interview the author conducted with the artist at his residence on the evening of May 29, 2023.
G: When did you first consider yourself a professional artist?
J: Probably when I graduated from Hunter in 2012.
Gordon: Was there a moment when you realized that you will really be doing this for the rest of your life?
J: Well, I already knew that I wanted to do this—be a professional artist—for the rest of my life in high school. However I didn’t know that I would actually able to fully support myself as an artist until the pandemic. I was confident that it would happen eventually, I just didn’t know under what circumstances, and the pandemic turned out to be one of them.
G: How old were you when the pandemic hit?
J: I was 37, I believe.
G: And now you are 40. Did you have doubts you would make it before you turned 40?
J: Yes. You could say that I had anxiety about getting an art career in order before I turned 40. Somebody once told me that that age is some sort of benchmark. If you don’t have your foot in the door by the age of 40, you’re in trouble. But I think that sort of artificial benchmark is bogus.
G: When did you feel that you had succeeded in getting your foot in the door of the art world? With your 2019 show with Derek Eller?
J: Actually thought I had my foot in the door when I had my first major show at Freight + Volume back in 2013, and of course I would be remiss if I did not give Nick Lawrence, the director, credit where credit is due. Nick believed in my work enough to give me my first bona fide gallery show in New York City.
As it turns out, my work had a lot more evolving to do, and I suppose so did I. Also I hadn’t found the right people and support system, and perhaps the timing was not right. I might add that there are many factors that make artistic success possible, and these circumstances are in constant flux in relation to time, and space, and that being ‘accepted’ into the art world, as such—which itself is something of a delusion—is only one of them.
G: Noted! I gather that there was a period when you weren’t particularly fond of the art world. Has your attitude changed?
J: Yes, it has changed. I think when you are on the outside of something, looking in, you can develop certain prejudices and superstitions that may have more to do with envy and paranoia, than with reality. I think that being a successful artist in today’s art world entails a complex equation. There are a lot of levels and communities at work at the same time. There is the market, which is sort of a community of its own.
There is the community of artists. And then there is the gallery world, the world of art dealers, which is really your most valuable support system. All of these things interact and overlap with each other at the same time, so it is not a system that is easy to navigate, nor sustain oneself in.
But really, ultimately, the job of the artist is to ignore all these things and just continue to make the best work that he or she can make.
G: How do you feel the New York art world has changed since the time when we were walking around New York after you graduated from Cornell in 2006 and you were handing out your portfolio—with mixed luck, I might add.
JJ: It’s a lot bigger, for one. Many more people have decided to get MFAs or take a stab at being an artist. There are more artists than ever. I also have observed that sadly there are fewer “middle-class” artists. I do think this has more to do with the cost of living in New York City, than with any significant paradigm shift. That being said, New York City is a hub, but I must point out that there are amazing artists making amazing things in every corner of the universe, of whom the art world is unaware.
G: Indeed. What advice would you give a young artist who is just starting out?
J: Don’t be afraid to take chances and let your faith in your work override the external criticism. Trust in yourself and don’t be afraid to make something that is considered “bad” or weird. Be aware of art history but also remember that you and only you can come up with a way of putting together materials and content that are uniquely yours.
I think it’s okay to have doubts but it becomes a problem when those doubts overwhelm a person to the point where they can’t create and feel stifled. A little self-doubt is a healthy thing,
I also think it’s important to remember that people are more likely to readily accept something when they are familiar with it, so if your work is not immediately accepted, there is a good chance you’re doing something right.
G: Do you have a lot of young artists coming to you for advice?
J: Yes, from time to time, and certainly on a regular basis when I was a teacher. At Pratt, the classroom would average about twenty students per class, but typically only two or three of them would seek out my advice and opinion on what they were making outside of the classroom. That was special, and I think it took courage for them to share this with me. Since then, I’ve done some crit groups. I also have worked with older artists who discovered art later. And of course I have continued to work with Marta, my associate, and we continue to learn from each other.
G: What role do your galleries play in your success?
JJ: The gallerists Derek Eller of Derek Eller and Harper Levine and Chris Mansour of Harper’s Books have afforded me a lot of opportunities I wouldn’t have had otherwise. They apply for art fairs and work with art advisors, they have relationships with curators, with collectors, and with museums. Both galleries have given me many benefits and positive exposure of various kinds, including on social media. I could go on.
G: OK, let’s talk about your art and your process. How has your studio location influenced your work?
JJ: It’s only now that I feel that I have a lot of space to spread out. Typically in the past, Elisa and I were used to sharing a space and it felt that we were working on top of each other. Then in 2020 we moved to our 12th street studio where we had separate spaces and we were able to concentrate on each other’s work better. In terms of where we live and work now, living in Park Slope as opposed to Bushwick, where we used to live, and working at our studio in Gowanus, I am content that I have found the right combination. I think that contentment informs my work as well as Elisa’s. The pace is a little calmer, more low-key in this neighborhood than before. So that is good.
Gordon: Please describe a typical day. Be as specific as possible.
JJ: The kids go to school at 8:20, so Elisa and I try to get up at 7. Then I go running. I try to get to the studio on average around 10. Usually, it’s around 11 because I have to run errands, pay bills, etc. When the kids are in afterschool, I am able to stay till around 4:45. Half of the days of the week I have to leave around 2. So really, on average, I only get around 3 to 4 hours a day to work.
After I leave the studio, I tend to be busy taking the kids to either music lessons or sports, or tutoring. Or I’ll have an art event to go to.