Dave Muller quickly recognized his passion and talent for music when he became a radio DJ in the ’80s, but his genius as an artist was realized through mere serendipity. Taking a single drawing class in college led him down the path we see him on today – one in which he is a respected curator and artist creating exhibitions and works uniquely his own. Muller seamlessly melds together art and music as a lens for viewing the world around him; creating what he calls “Top Ten” paintings, which are works that include 10 vinyl cover spines based on someone’s music preferences (or what Muller assumes their music preferences might be), even completing a set for Barack Obama. His creativity in examining history and identity through alternate means gives us even more reason to get excited about what is to come for this artist, including a possible new museum show in the next few years… Read on to learn more!
Dave Muller, “Yeah, Yeah, Yeah, Yeah”, installation view, Blum & Poe, Los Angeles, 2012 © Dave Muller, courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo Photo: Joshua White.
Tell us a bit about yourself. Where are you from originally and when did art first enter your life?
I was born in San Francisco. Grew up in Novato (Marin County). Was a science/math student/athlete in high school. As a chemistry major/college radio DJ, I took my first drawing class: an elective in what I thought was going to be my final term toward my chemistry degree. That class was so interesting that I stuck around and got a double major in Art and Chemistry.
Dave Muller, “Yeah, Yeah, Yeah, Yeah”, installation view, Blum & Poe, Los Angeles, 2012 © Dave Muller, courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo Photo: Joshua White.
From where do you draw inspiration?
Life. Reading. Nature. Films. Life. Other People. Music. The World. Life.
Dave Muller, “Sublime Memory Garden”, installation view, Blum & Poe, Tokyo, 2014 © Dave Muller, courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo Photo: Keizo Kioku.
Music is a central theme in your work – if you could spend one day with any musician, who would it be?
I like to play music, so I’d like to spend it with the people I play music with in the Summer. The Bread and Puppet Theater Brass Band. Or Mike Kelley, whom I miss greatly. Music was a lot of fun with Mike.
Dave Muller, “Sublime Memory Garden”, installation view, Blum & Poe, Tokyo, 2014 © Dave Muller, courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo Photo: Keizo Kioku.
What three words do you think best describe the work that you do?
Material-based Conceptual.
Dave Muller, “Sublime Memory Garden”, installation view, Blum & Poe, Tokyo, 2014 © Dave Muller, courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo Photo: Keizo Kioku.
Is your work influenced by any art historical figures or movements?
Sure. I’m heavily influenced by my contemporaries, and African tribal sculpture, Diane Arbus, Michael Asher, John Baldessari, StephanBalkenhol, Robert Bechtle, Gene Beery, Lee Bontecou, D. Boon, Marcel Broodthaers, ChrisBurden, André Cadere, John Cage, Alexander Calder, René Daniëls, Ray and Charles Eames, Allen Ginsberg, Jack Goldstein, John Graham, David Hammons, Eva Hesse, Mary Heilmann, Barkley L.Hendricks, Roni Horn, Inuit sculpture and drawing, Neil Jenney, Larry Johnson, RayJohnson, Jasper Johns, Alex Katz, Mike Kelley, Ellsworth Kelly, Jack Kirby, Lucy Lippard, Robert Maillart, Kerry James Marshall, Agnes Martin, Gordon Matta-Clark, Marilyn Minter, ReeMorton, Bruno Munari, Bruce Nauman, George Nelson, Hélio Oiticica, Catherine Opie, Raymond Pettibon, Francis Picabia, Lari Pittman, Sigmar Polke, Jackson Pollock, RichardPowers, Richard Prince, Martín Ramírez, Charles Ray, Ad Reinhardt, Gerhard Richter, Allen Ruppersberg, Ed Ruscha, Peter Saville, Charles Schulz, Allan Sekula, Dr. Seuss, Ben Shahn, Jim Shaw, TheSituationists, Tony Smith, Robert Smithson, Paul Thek, Lilyvander Stokker, Daanvan Golden, Caetano Veloso, Andy Warhol, Lawrence Weiner, H.C. Westermann.
Dave Muller, “Sex & Death & Rock & Roll”, installation view, Blum & Poe, New York, 2018 © Dave Muller, courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo Photo: Genevieve Hanson.
You are currently working with Blum & Poe curating their virtual exhibition space. How did you come into that role and what is your relationship like with the gallery?
I’ve been showing as an artist with Blum & Poe since 1996. In 1994 I started Three Day Weekend, an artist run project space. Over the years I’ve organized at least six TDW shows at B&P. By now they feel like family.
Dave Muller, “Sex & Death & Rock & Roll”, installation view, Blum & Poe, New York, 2018 © Dave Muller, courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo Photo: Genevieve Hanson.
Has your work always taken on the style it currently embodies?
Pretty much. I mostly thought I was a sculptor when I was in school (UC Davis, CalArts). After grad school I taught myself how to draw things the way I wanted them to look.
Dave Muller, “Sex & Death & Rock & Roll”, installation view, Blum & Poe, New York, 2018 © Dave Muller, courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo Photo: Genevieve Hanson.
What one thing would you never go into the studio without? What does your process look like?
I’m useless in the studio without a solid idea. That doesn’t mean that an idea must be fully formed. I just have to trick myself into action. A final object might barely resemble an initial idea. I spend a lot of time puttering outside the studio, searching for a grain of an idea.
Dave Muller, “Now Where Were We?”, installation view, Minneapolis Institute of Art, MN, 2016-17 © Dave Muller, courtesy of the artist and Minneapolis Institute of Art.
What do you have coming up in the future?
Long Term: Some sort of survey show at the Jan Shrem and Maria Manetti Shrem Museum of Art (at UC Davis) in a few years. Short Term: Lots of painting.
Dave Muller, “Now Where Were We?”, installation view, Minneapolis Institute of Art, MN, 2016-17 © Dave Muller, courtesy of the artist and Minneapolis Institute of Art.
At the end of every interview, we like to ask the artist to recommend a friend whose work you love for us to interview next. Who would you suggest?
