Maguire at the 2014 Toronto International Film Festival, via Wikipedia.
Who is Tobey Maguire?
Tobias Vincent Maguire, born on June 27, 1975, is an American thespian and movie producer. He took on the leading role in Sam Raimi's Spider-Man trilogy from 2002 to 2007 and later returned to portray the character once more in Spider-Man: No Way Home in 2021.
Maguire embarked on his career with supporting roles in films such as This Boy's Life in 1993, The Ice Storm, Deconstructing Harry in 1997, and Fear and Loathing in Las Vegas in 1998. His prominent roles encompass Pleasantville in 1998, Ride with the Devil in 1999, The Cider House Rules in 1999, Wonder Boys in 2000, Seabiscuit in 2003, The Good German in 2006, Brothers in 2009, The Great Gatsby in 2013, and Pawn Sacrifice in 2014.
Maguire earned a Golden Globe Award nomination for his exceptional performance in Brothers in 2009. In 2012, he founded his own production company known as Material Pictures, contributing to the co-production of Good People in 2012, Pawn Sacrifice in 2014, and Babylon in 2022.
Tobey Maguire in Los Angeles with former President of the United States Barack Obama and actors Don Cheadle and George Clooney, along with the two close friends of the latter, via Wikipedia.
A collector like his friend Leonardo DiCaprio
Tobey, a close companion of Leo, is well-acquainted with the art scene as well. He has been spotted attending the New York Armory Show and Art Basel Miami. It was in 2007 that he acquired a piece from the Japanese artist Kaz Oshiro during his visit to the latter. That very year, he also secured a Mark Ryden drawing through a silent auction hosted by MoCA's FRESH initiative. Fast forward to 2010, Tobey conducted an interview with the graffiti artist KAWS for the pages of Interview Magazine.
Maguire greets fans at a Spider-Man 3 premiere, via Wikipedia.
Cinema, art, and fashion
In 2013, Vogue Italia conducted an interview with "Spider-Man," describing the experience as follows: Upon exiting the elevator, instead of the usual aroma of celluloid, leather sofas, and movie posters, I was greeted by an expansive, sunlit area adorned with an impressive bookcase. The bookshelves held a diverse collection, featuring not only photographic books by the likes of Robert Capa and Douglas Kirkland, biographies such as Jeff Bridges', and cookbooks encompassing both vegetarian and non-vegetarian cuisines like "Vegans Know How to Party" and Anthony Bourdain's "Kitchen Confidential," but also an array of figurines including Pinocchio and Jiminy Cricket, Kaws' striking Companion sculpture, assorted artworks by Kaz Oshiro, creations from Bathing Ape, Tokidoki, Gary Baseman, and other internationally renowned trailblazers of the Pervasive Art Movement. Before I could fully enter the room, my attention was immediately captivated by a painting from Ed Ruscha's "On the Road" series and the environmentally friendly furniture crafted by the talented Haas brothers, Simon and Nikolai.
Set aside Spider-Man for a moment. Tobey encompasses not just the hero of my youth but also an individual deeply dedicated, innovative, imaginative, inquisitive, and creatively endowed – a genuine "Renaissance man." He maintains an eclectic and gracious demeanor, all the while retaining the appearance of perpetual youth. "I found myself in need of office furniture," explains the 37-year-old resident of Santa Monica. "That's when I stumbled upon the Haas twins, designers with whom I collaborated as a producer. I encouraged them to explore unconventional materials. The tables and sofas you observe here are the fruit of their labor. At this juncture in my life, I feel compelled to lend support to deserving individuals – be they directors, writers, actors, or artists – aiding them in attaining financial independence and, more significantly, guiding them in their journey to evolve, explore novel modes of thought, and resolve practical and conceptual challenges. I aspire to collaborate with anyone possessing a meaningful message to convey. Unlike my youthful self, I am now more composed and discerning in my choices, fully aware of when to delegate and when to personally engage in a project. This is why I've embraced the role of a producer."
And it's precisely this fervor for artistic expression in all its diverse forms that led him to, for instance, opt to be the face of the Prada Men's collection (F/W 2011/12) a few seasons back. "Why Prada?" he queried. "Because I don't see myself solely as an actor; rather, I consider myself a connoisseur of the art of acting, deeply passionate about narrating particular tales. Prada epitomizes this multifaceted essence precisely. I deeply admire Miuccia's affinity for art and architecture – she's an artist whose imagination knows no boundaries, a bona fide patron of the arts who infuses fervor into every facet of her life, both professionally and beyond. She's a person who ardently champions what she believes in. And I firmly believe that in life, it's crucial to champion one's ideals unwaveringly, regardless of the challenges that arise. If you believe in an idea, you must also safeguard it at all costs."
Maguire at the 2006 San Diego Comic-Con, via Wikipedia.
KAWS Interview By Tobey Maguire
Guided by the renowned actor Tobey Maguire, KAWS openly discusses his formative years, his transition into the realm of art, as well as his professional journey in street art and toy design.
TOBEY MAGUIRE: I'm intrigued by your early experiences—the genesis of KAWS. Let's begin there.
KAWS: I was born in Jersey City, and I suppose that's where it all began. During my youth, I dabbled in sports but never truly connected with them. I took up ice hockey because there was a rink nearby, but once I outgrew my gear, my parents asked, "Are you serious about this?" and I replied, "Not really." I think my inclination towards skating and graffiti came about because both are solitary pursuits. You can take them wherever you want without the need for a team.
MAGUIRE: Did you have a background in drawing? Did you take art classes as a child?
KAWS: In elementary school, I struggled—not in terms of behavior but in terms of being somewhat illiterate. My fifth-grade teacher suggested to my mom, "Maybe he could explore art?" However, I didn't have any prior experience. Even in high school, I didn't consider pursuing art as a path. It remained a hobby that I leaned heavily into.
MAGUIRE: So, it was more of your immersion in skate culture as a teenager that eventually led you to art?
KAWS: Absolutely. Jersey City is incredibly close to Manhattan. You could hop on the PATH train for just a dollar, so you could enjoy a whole day of skating for only $2, going from Brooklyn Banks to Tompkins Square Park. I would meet countless kids from various boroughs, and that naturally led to my involvement in graffiti. I became immersed in that scene.
MAGUIRE: How did you come up with the name KAWS?
KAWS: There's no profound meaning behind it. It's simply a combination of letters that I found appealing—K-A-W-S. I felt that they had a pleasing synergy and flowed well together.
MAGUIRE: It's intriguing, almost suggesting the idea of being a catalyst or causing something. Was there no such thought behind the name?
KAWS: No, I chose that name precisely because I felt it had no specific connection. Believe me, editors later had a blast with it. In every article, it was always something like "KAWS and effect" or "KAWS célèbre."
MAGUIRE: Let's pause and ponder for a moment. What was your driving force? [KAWS laughs] I mean, back then in your life, were you aiming for success, financial gain, or simply sharing your art? What was your motivation? What was your approach?
KAWS: For a long time, I didn't know. The graffiti was almost like a game that I stumbled upon and happened to excel at. I woke up with a desire to do it, and it consumed my thoughts as I drifted off to sleep. When I was in school, my mind was fixated on painting. I guess that's the only thing I've ever truly been focused on. When I started painting over advertisements, it struck me that the ad placed the artwork in a specific time frame. You could examine a dozen walls, and an untrained eye might struggle to differentiate between the '80s and '90s. When you paint over ads, it clicks—especially with the phone booths I was working on. There were those Calvin Klein ads featuring Kate Moss or Christy Turlington. I think that's when I realized it was more about communication. There was a conversation embedded in it.
MAGUIRE: A conversation with other graffiti artists or with a wider audience?
KAWS: Both. Graffiti is peculiar in that sense. You put a lot out there, but you don't receive as much in return because not many people know who's behind it. You have your circle of about ten guys who recognize you as the artist. For instance, this morning, as I was walking my dog, I noticed that my new assistant tagged the rooftop across the street on his way out yesterday. He's only been working with me for about two days, and I saw his signature up there and thought, "Wow, I recognize that."
MAGUIRE: Was that the starting point of your career in fine art?
KAWS: Well, after I took a break from school for a semester, I put together a portfolio and headed over to the School of Visual Arts (SVA) to apply. Back then, I wasn't aware that they pretty much accept anyone willing to pay the tuition. If you're not seeking a scholarship at an art school, admission is relatively straightforward. I chose to major in illustration, thinking I could land a job in that field while still pursuing my personal artwork. When I shared some of my graffiti with a teacher, I distinctly remember him saying, "Quit wasting your time. You need to concentrate." Obviously, I dropped his class.
MAGUIRE: I recall my childhood in Los Angeles when I regularly encountered graffiti. Over time, I began to recognize the tags of different artists. They started to leave an impression. There was a whole mystique around them: "Who is this individual?" I understand you mentioned that you don't directly communicate with your audience, but if you persist and excel, there's a lot of chatter about you. There's an aura surrounding KAWS and his identity.
KAWS: Graffiti is akin to building a career. And there's a dialogue with fellow artists out there, primarily other graffiti writers, as many people who don't paint simply see it as a blur. After I began painting over advertisements, I started taking photographs of the final pieces. When you engage in graffiti, you leave your work on the streets, so I wanted to document it. [KAWS shows Maguire some early work on his computer.] I captured that one at night and returned to photograph it during the day.
MAGUIRE: Is that the Got Milk? campaign?
KAWS: Yes, that was in '97. It was right there on Houston Street, where West Broadway transitions into LaGuardia Place. I thoroughly enjoyed working on that spot. I believe one reason the artwork resonated so well was that in the '90s, advertisements began to wield a much stronger presence. They started adorning entire building facades along Houston Street, taking over walls that had been adorned with graffiti for years. It became a focal point for me to reclaim some of those locations.
MAGUIRE: What's intriguing is that you weren't simply ignoring the advertisement; you were actively collaborating with it. You incorporated it—a kind of forced collaboration. Did you ever encounter any trouble with the police while working on one?
KAWS: No, not while doing graffiti. I did get caught once while putting up a sticker. I had to spend a night in jail, not at Central Booking but at the Sixth Precinct downtown. [laughs] However, I eventually grew tired of just painting over ads. I began taking white paper and painting it in, so at night, it would almost glow like a massive lightbox. Remember when Marc Jacobs staged that show on Houston and Sixth Avenue in 2000? I recall the day before the event; they were setting up an entire basketball court, and I hit both walls there. It was the perfect influx of people. Then, I met this photographer, David Sims, who had shot numerous campaigns I had worked on. He invited me to London and had produced a lot of prints for me. So, I began painting acrylic over actual photographs, leading me to work on real magazine features. The entire project began to expand, and I didn't place any limits on it.
MAGUIRE: How did you initially venture into creating toys?
KAWS: I had always been a fan of pop artists and the limited editions they produced with Gemini G.E.L. However, I never imagined that someone would actually approach me to create a sculpture. But in '97, when I visited Tokyo, I started building relationships with some individuals there and began collaborating with various companies. The opportunity to create a toy emerged. There was a company called Bounty Hunter that was producing some of the first toys that were a bit unconventional. Prior to that, my concept of a toy was more aligned with brands like Kenner or Hasbro. However, they were crafting limited runs of 500 toys. The moment I saw them, I thought, "These are akin to those Gemini editions." It's just that people have a different perspective on what constitutes a toy. I needed to find a way to visualize my work in three dimensions. That's when my project expanded. I created rotation drawings, and they returned with a sculpture that I would fine-tune.
MAGUIRE: Do you perceive a toy and a sculpture as essentially similar?
KAWS: The main differences lie in the materials and scale, that's all. I've worked on bronze sculptures where I auto-body-paint them in various colors. These materials are more traditional and fit within the context of fine art history. However, in my mind, it's essentially the same three-dimensional process. I remember taking the toys to the New Museum to sell them on consignment. Colette in Paris also sold some on my behalf. I used the proceeds to produce my next toy. Subsequently, I launched my own website in 2002 and began selling directly to customers. This provided me with the resources to continue creating toys.
MAGUIRE: You essentially granted yourself the liberty to deviate from the conventional path to a fine-art career and instead opted to forge your own trail. Quite a bold choice.
KAWS: I suppose my primary objective has been to find a way to navigate life while creating things.
MAGUIRE: You have your own store in Tokyo, correct?
KAWS: That's right. We have partnerships with various establishments, but we maintain one flagship store there. In the late '90s, I was involved in numerous projects in Japan. Companies like Hectic and Undercover approached me for a clothing line collaboration. Nigo at A Bathing Ape also invited me to work on clothing. Many friends at the time questioned why I was investing so much energy in Japan. They perceived it as a transient opportunity. They saw Japan as a place where individuals could make quick profits without compromising their reputation, almost like a scenario from "Lost in Translation." However, when I visited, I encountered individuals around my age who were excelling in their pursuits. They were diligently working and producing exceptional work. To me, that's where the action was happening. Subsequently, it began to gain momentum in the United States. I believe this was influenced by musicians like Pharrell fully embracing it and spreading the word.
MAGUIRE: Eventually, Pharrell began acquiring your artwork.
KAWS: Yes, that connection came through Nigo. Nigo has been one of my most ardent supporters. In his Tokyo home, the only paintings you'll find are mine. Besides my artworks, what he's truly passionate about collecting are Bentleys. He owns some incredible cars, and his house is nothing short of extraordinary. Have you seen that series of package paintings I created? I developed those because I observed that these individuals in Japan were avidly collecting toys. I had friends who were spending $3,000 on a Star Wars prototype figure. They weren't collecting art; they were collecting toys. So I created those package paintings where I mass-produced the packaging surrounding the artwork, but each painting itself was done individually. This was my way of bridging the gap between these two worlds. I realized that these individuals are true experts in the items they collect. They can examine a toy and say, "Oh, this is from '76. It was released in three different versions." It dawned on me that this kind of obsessive collecting isn't fundamentally different from art.
MAGUIRE: How many package paintings did you create in that initial series?
KAWS: Approximately 40. Prior to that, I was mainly painting over advertisements. However, when Nigo began commissioning me, I started producing vastly different large-scale paintings, like the Kimpsons series.
MAGUIRE: Yes, the Kimpsons. And what do you call the other characters?
KAWS: I refer to them as the Kurfs, which is a play on "Smurfs." I appreciate the Simpsons because they offer instant recognition. You could be in a different country and exclaim, "D'oh!" and everyone would immediately understand what you're referring to. I found that aspect amazing. It's also a quintessentially American cartoon.
MAGUIRE: What about SpongeBob? Where does he fit in?
KAWS: I initially began creating SpongeBob paintings for Pharrell. Later on, I started working on smaller paintings that became much more abstract. SpongeBob was something I wanted to explore due to my admiration for its graphical shapes. However, when I'm painting SpongeBob, I'm not necessarily thinking, "Oh, I loved this episode." In all honesty, I've never even watched it.
MAGUIRE: Did you believe this would finally garner the attention of the art world?
KAWS: The art world is a unique realm of its own. It wasn't until late 2008 that I truly began concentrating on developing a body of work for a formal exhibition. My first one took place at Emmanuel Perrotin in Miami. Then I had a show at Gering & López in New York, followed by one with Honor Fraser in L.A. in February 2009. I went from having no exhibitions to a new one every two months. I thoroughly enjoyed designing the store, and now I have a strong passion for designing significant exhibitions, such as the one I'm currently preparing for at the Aldrich.
MAGUIRE: You've received tremendous support along the way. To what extent has your success been driven by adhering to your own artistic vision, and how much has it been influenced by individuals who encouraged you to take bold steps?
KAWS: I consider myself extremely fortunate to have encountered people who could comprehend my interests and were willing to give them a chance. Some years ago, when I discussed the idea of exhibitions with certain individuals, they came in, saw the package paintings and my toys, and remarked, "This seems very commercial." I think they failed to grasp that I didn't create these toys solely for financial gain. The toys are an integral part of the art itself. It's what I genuinely want to do. Regardless of how things unfold in the gallery world, I'll always have a desire to create products.
MAGUIRE: Is there a particular artist who has had a significant influence on you?
KAWS: I draw inspiration from pop artists like Oldenburg and [Tom] Wesselmann. Then there are artists like Murakami, who significantly expanded the possibilities of acceptance and cross-disciplinary projects. That made it somewhat easier for my work to be understood. And, of course, Jeff Koons. I admire his work and appreciate his perfectionist mindset. It's incredibly extravagant.
MAGUIRE: Indeed, audacious and captivating.
KAWS: I had this peculiar show in 2000 at an uptown gallery, and Koons came and introduced my work to Dakis [Joannou]. Dakis purchased two paintings. I remember thinking, "Holy shit, I've made it! This is it!" And then I didn't exhibit again for eight years.
Selena Mattei