Selections from the last 35 years
Don't need art but still wanna help out "Norm's New Used Car" fund? Click below:
https://www.paypal.com/us/home @NormMagnusson
Scroll down through various bodies of work; there's a lot to see.
Commissions!! Someone asked about commissions recently! Yes! I love doing commissions.
Let's talk!
contents (arranged by bodies of work):
• Lover neon
• 'Historical' Markers
• Porn Weavings
• The Animal Allegories
• America's Seven Cardinal Virtues
• America's Seven Deadly Sins
• The Animal Alphabet
• dyscommunication
• Monsters on Postcards
• Decorating Nature
• Coloring Book Paintings
• Story Portraits
• A few random pieces
• Trees of Rhinebeck
"Oct. 2, 2016 - Feb. 13, 2017" 2019, 36" x 13" Neon. Edition of 5. $8,000
" 'Historical' Markers"
CLICK ON ANY IMAGE TO SEE IT BIGGER.
Plaques are $4,000, freestanding markers with galvanized mounting poles are $10,000
"Alice Rose"
"Pandemic Heroes" 2020, cast aluminum and acrylic paint 96" x 36" x 4"
"Jane King" 2007, cast aluminum and acrylic paint 96" x 36" x 4"
"Belakwa, NY" 2010, cast aluminum and acrylic paint 96" x 36" x 4"
"Beth" 2007, cast aluminum and acrylic paint, 96" x 36" x 4"
"Big Box Store" 2007, cast aluminum and acrylic paint 96" x 36" x 4"
"Di Dwyer"2010, cast aluminum and acrylic paint 96" x 36" x 4"
"Illegal Immigrants" 2007, cast aluminum and acrylic paint 96" x 36" x 4"
"Karen DeWitt" 2005, cast aluminum and acrylic paint 96" x 36" x 4"
"Ken Oask" 2010, cast aluminum and acrylic paint 96" x 36" x 4"
"Matt Lucash" 2006, cast aluminum and acrylic paint 96" x 36" x 4"
"Robert Oknos" 2006, cast aluminum and acrylic paint 96" x 36" x 4"
"Rob't Hass" 2008, cast aluminum and acrylic paint 96" x 36" x 4"
"Ry Brauer" 2006, cast aluminum and acrylic paint 96" x 36" x 4"
"Meri Green" 2014, cast aluminum and acrylic paint 96" x 36" x 4"
"Scottie Webb" 2014, cast aluminum and acrylic paint 96" x 36" x 4"
"Mr. Magnusson is an artist-activist. His cast aluminum markers focus our attention on pressing contemporary social and political issues, often restating the concerns or comments of ordinary Americans in carefully composed messages that are designed to make you think. He’s like a Michael Moore of the highway."
- Benjamin Genocchio, The New York Times
"Magnusson has been using the historical marker platform to support his long-time agenda of relaying socially relevant messages through art.
- Yaelle Amir, Sculpture Magazine
"Magnusson has worked for years as an artist engaged in political art, paintings and videos and installations with a social message. But it's the signs that have spread his name across the internet and into museums around the world."
- Melissa Bell, The Washington Post
"Very few artists have so consistently looked at the society around them (and the government around that society) with as insightful and creative an eye as Norm Magnusson. After four decades of looking forward to each new series, it's become clear that his painting, sculpture and conceptual work will continue to resonate and get sharper, smarter, and more inspirational."
- Harley Spiller, Ken Dewey Director, Franklin Furnace
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 (CLICK ON ANY IMAGE TO SEE IT BIGGER.)  |
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| The first finished full sized piece, framed in the top photo. "Glasses" 2020, 44" x 44" unframed, archival computer prints on acid free paper, cut into strips and woven together. Mounted on acid free foam core $7,500
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The Animal Allegories
(CLICK ON ANY IMAGE TO SEE IT BIGGER.)
"ILDLIFE UNSERVATION AREA" $16,000
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"LOKI THE TRICKSTER RACCOON" $14,000
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"AMERICAN SYMBOL" $15,000
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"SHADOWS ON THE LAWN" $8,000
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"TRICK HARE" $8,000
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"ACTUAL SIZE" $7,000
Artist's statement on this body of work:
No matter how many diversions I take, I expect that I'll always return to this style. It's the main body of my work and is my favorite kind of art: symbolic art. Metaphors, allegories, parables, whatever you want to call them, I enjoy creating them immensely.
There's a long literary history of looking to nature for symbols of human existence: the metaphysical and romantic poets, Housman, Hopkins, Whitman, Frost, Ackerman and on and on. It was not until I had been making these paintings for 7 years or so that I realized I was creating art in the fashion I'd studied as an English major, but creating metaphors with pictures instead of words.
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"America's Seven Cardinal Virtues"
CLICK ON ANY IMAGE TO SEE IT BIGGER.
(for both paintings and review excerpts)
"#2: Go (freedom)"
$8,000
"#1 Yes (optimism)"
$11,000
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"#4: Come (diversity)"
$8,000
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"America's Seven Deadly Sins"
(CLICK ON ANY IMAGE TO SEE IT BIGGER)
(for both paintings and review excerpts)
Artist's statement on this body of work:
As many artists do, I work in series. And as many artists have done before me, I decided that the seven deadly sins would make an interesting series. It quickly became apparent to me though, that I couldnít honestly embrace the Catholic list of seven: lust, greed (avarice), envy, sloth, wrath, gluttony, pride.
As an artist, pride is a happily attendant by-product of much of my work. As a father of three heavenly children, I felt that lust had really, finally served me well. As an American and a capitalist, I think that, in addition to its obvious dark side, greed can also be a motivator for good.
So I discarded the definitive list of seven and began to create my own; and as I had done for previous projects, I looked to my country for inspiration. So was born "Americaís Seven Deadly Sins."
They are not the root sins, from which all others spring (as they are in the original list) and they are not only found here in America, they are simply the most egregious traits this country has to offer.
"#4: ALLOW (THE TOLERANCE OF INTOLERANCE)"
acrylic on wood. $6,000
"#5: GROTESQUE (HOW WE DECIDE WHAT'S GOOD)"
acrylic on canvas, $6,000
"#5: MINE (KEEN SENSE OF ENVIRONMENTAL ENTITLEMENT)"
acrylic on found plywood, $5,500.
"#2: WAITING (THE PERVERSION OF THE AMERICAN DREAM)"
acrylic on board, spinning wood frame, hardware, $10,000
"#1: APART (THE DESIRE FOR RISK FREE LIVING)"
acrylic on plywood $8,000
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"Animal Alphabet"
It's a series of paintings and an award winning app for
iPhone & iPad! You can see it here:
(CLICK ON ANY IMAGE TO SEE IT BIGGER)
(for both paintings and review excerpts)
ALL PAINTINGS ARE $2,000
"Chameleon" 2001
Acrylic on canvas 16" x 20"
Sometimes it's in our best interest to blend in with the crowd. Here, a chameleon blends in with its surroundings, giving it the opportunity to make a meal of a passing ladybug. The letter "C" is hidden several times in the foliage.
"Io Moth" 2001
Acrylic on canvas 18" x 18"
In many cultures, moths are a symbol of destructiveness. They are destructive not just in the natural world, eating leaves off plants, but also in the world of man, laying their eggs in wool clothing and blankets, where the young will eat their way through the material. Here, a moth is shown flying from the wilds toward a house. The fall foliage on the ground represents both nature in its declining phase and, along with fire in the chimney of the house, the time of year when wool comes out of storage.
"Northern Red Salamander" 2001
Acrylic on canvas 18" x 18"
The ancients thought that salamanders could walk on fire, and The Physiologus, an early Christian work, symbolizes the salamander as the "righteous man who is not consumed by the fire of luxury and lust."* This painting illustrates what I thought was an interesting ancient belief.
"Rattlesnake" 2001
Acrylic on canvas 20 " x 16 "
A snake eating its own tail is a Sufi symbol of eternity. Here, I've shown a rattleshake eating its own tail, devouring that which is warning sign. Against a background of a golf course in the desert, this snake becomes a metaphor for how humans deal with the environment, enforcing our will wherever we want and paying scant attention to natural order and the warning signs along the way.
"Vampire Bat" 2001
Acrylic on canvas 18" x 18"
Certain animals just inspire fear: jellyfish, spiders, bats. And perhaps scariest of all of them is the vampire bat, which certainly does the least to warrant that fear. Vampire bats, and bats in general, rarely come into contact with humans, and even more rarely attack. Here, I've show the bat against a spiral background of contrasting colors -- a background of man-made fear.
"Xantusidae" 2001
Acrylic on canvas 16" x 20 "
Xantusidae is the night lizard family, a family of animals with four members. This piece is about how mankind interacts with nature, categorizing and collecting and frequently destroying in the process.
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CLICK ON ANY IMAGE TO SEE IT BIGGER.
Parts of this series showed in my 2019-2020 "kuh-myoo-ni-kay-shun" exhibition, the first ever solo show at the cma gallery at Mount Saint Mary College.
(Click here to view the whole series: https://dyscommunicationexhibition.blogspot.com)
Frequently, people speak to us, but instead of listening with our heads, we should actually be listening with our hearts. On these occasions, we might miss entirely what they're trying to communicate because of our successful engagement with their words and our failed engagement with their deeper meaning. Read between the lines, as they say. This piece, "horse", is about that "heart/head" problem, substituting "feeling" words for numbers in an online paint by numbers outline.
This piece is about the ability of some to willfully ignore the messages that are given to them. It always seemed strange to me, this sentence. Unnecessary, when a single "no" alone should suffice. Though it takes me immediately to the realm of sexual consent (and assault), it also evokes a baker wagging their finger over a fresh plate of brownies or a pristine cake destined for somewhere other than the immediately present hungry hordes.
I love the dreadlocked piece because it's not just about the fragility of precise communications, but also about our still mostly homogeneous Congress. Seriously, could you imagine a senator with dreadlocks? Why not? Are things changing?
Parts of this series showed in my 2019-2020 "kuh-myoo-ni-kay-shun" exhibition, the first ever solo show at the cma gallery at Mount Saint Mary College.
(Click here to view the whole series: https://dyscommunicationexhibition.blogspot.com)
“Communication Modulator”
This piece is sort of the topic sentence for this body of work, highlighting many sources of difficulty in our communication - factors such as: desired outcome of interaction; actual/perceived strengths of the speaker; likability of the speaker; personal distractions; etc.
History with the speaker, the speaker's tone of voice, etc., there are so many things that can influence how words are heard. Personally, though I consider myself to be a very sincere person, I see my innocent (and even sweet) words being taken as sarcastic or snarky much more often than I ever mean them to be that way.
“Mistakes Were Made”
When I was a kid, in 1970 or so, Richard "I am not a crook" Nixon said, with regards to the Watergate fiasco, and by way of a non-admission admission of culpability, "Mistakes were made." Even as a youngster, this phrase seemed peculiar. Not the least of it being that if I had ever tried to use this "king of non-apologies" with my mom or dad, I woulda been grounded for life! Here, I take the “desire to say something that SEEMS to be saying the right thing but in fact actually isn't” one step further, presenting the mere shadow of the words, pressed into paper.
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| "Horse" 24" x 20" Archival computer print on acid-free board, ed. of 25 $400 |
Frequently, people speak to us, but instead of listening with our heads, we should actually be listening with our hearts. On these occasions, we might miss entirely what they're trying to communicate because of our successful engagement with their words and our failed engagement with their deeper meaning. Read between the lines, as they say. This piece, "horse", is about that "heart/head" problem, substituting "feeling" words for numbers in an online paint by numbers outline.
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| "NO MEANS NO" 42" x 42" Acrylic on canvas $7,500 |
This piece is about the ability of some to willfully ignore the messages that are given to them. It always seemed strange to me, this sentence. Unnecessary, when a single "no" alone should suffice. Though it takes me immediately to the realm of sexual consent (and assault), it also evokes a baker wagging their finger over a fresh plate of brownies or a pristine cake destined for somewhere other than the immediately present hungry hordes.
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| "dreadlocked" 48" x 48" Acrylic on front pages from the New York Times on canvas. $8,000 |
I love the dreadlocked piece because it's not just about the fragility of precise communications, but also about our still mostly homogeneous Congress. Seriously, could you imagine a senator with dreadlocks? Why not? Are things changing?
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| "Fake News" Etched glass, 48" x 20" $4,000 |
One side of this glass has the word "lies" on it, the other shows the word "facts". The effect is one of almost complete obfuscation, where neither word is quite clear and each is obscured by the other. I will be making a larger version of this and so this is, in effect, an artist's proof.
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| "Know thyself" 39" round. Acrylic on canvas. $8,000 |
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| "Announcement" 21" x 18" Sharpie on acid-free watercolor paper. $6,000 |
Well, it's always political season somewhere, it seems, and the speeches are always flying and it reminds me of how easy it is to zone out in the middle of a sermon or a lecture or a political speech perpetrated upon the public by anyone other than the most talented and dynamic orator. (Maybe you even zoned out a little bit in the middle of that last sentence!) What happens when there are too many words (sometimes even a :60 commercial is too verbose) is that the words lose their intended effect, at the minimum, and lose all their power and even meaning, in the extreme. Here above is a speech by a politician announcing their presidential bid (you gotta love the singular "their" & "they" - the source of this speech is unimportant to my concept.). It's word piled up on top of word, the communication of their thoughts buried and suffocated under their enormous mass. I transcribed the speech top to bottom and then started again at the top. It only took 5 passes to write the entire speech on this piece of paper, but the effect is just what I had hoped for.
"Sure", below, illustrates the baggage that seems to inevitably materialize during any long-lasting relationship. With a boss, with a spouse, with a sibling, or even with a public figure (see "President Donald Trump addresses a joint session of congress" further below). This baggage is created from years of hearing the words that someone actually says and measuring them repeatedly against what they turn out to actually mean, or what you repeatedly think they actually mean. In "Sure", the simple reply to the unrepresented, implied question of where to go for dinner is shown to be rich with the baggage of the personal history between speakers.
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| "Sure" archival computer print. 21" x 30" edition of 10. $2,000. |
This print illustrates the baggage that seems to inevitably materialize during any long-lasting relationship. With a boss, with a spouse, with a sibling, or even with a public figure. This baggage is created from years of hearing the words that someone actually says and measuring them repeatedly against what they turn out to actually mean, or what you repeatedly think they actually mean. In "Sure", the simple reply to the unrepresented, implied question of where to go for dinner is shown to be rich with the baggage of the personal history between speakers.
"EVERYTHING IS JUST FINE" Acrylic on watercolor paper, medical gauze. 30" x 20" $3,000.
"THE PENIS MIGHTIER THAN THE SWORD." Acrylic on bedspread. 48" x 48". $8,000
(detail below)
"I'm sorry. A thousand times I'm sorry" "I'm sorry" written 1,000 times in graphite on watercolor paper. 19" x 26" $6,000
Words and phrases can be overused to the point of completely losing their sharp edge as carriers of thought and sentiment. In this piece, I've written "I'm sorry" 1,000 times on a piece of nice thick watercolor paper.
"Siri transcription of NPR report on the bombing at the Brussels airport" cotton muslin on prayer rug. 75" x 34" $16,000
"Siri transcription of NPR report on the siege of theMalheur National Wildlife Refuge" Fuzzy camo material letters on smooth camo material background. 86" x 54" $16,000 (unframed)
"President Donald Trump addresses a joint session of congress"
archival computer print, 40" x 30" $2,500
archival computer print, 40" x 30" $2,500
(verbatim from prepared transcript - below: highlighted words only)
Tonight, as we mark the celebration of our vandalism of truth, liberty and justice --I am here to deliver a message to the middle class. It’s been a little over a month since my inauguration, and I want to take this moment to announce the government corruption and deregulation that threatens the future of their financial dreams. For the American family that loses their jobs, their income, or a loved one, because my Administration — a network of lawless Christians — will be making it easier for companies to abandon protective policy and depress wages, we do not truly care. Mandating no choice is the plan for women’s health, and to advance the common good, a woman should not be free to choose and must not have a voice. Finally, to keep America Safe we must, as the Bible teaches us, all share faith in and all salute the same God. From now on, America will be guided by our vision. God bless you, and God Bless these United States.
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CLICK ON ANY IMAGE TO SEE IT BIGGER
(Click here to view the whole series.)
"Christina's trip" acrylic on thrift store print. 20" x 28" $2,500
"Louise" acrylic on thrift store print. 22" x 22" $2,500
I started doing these with the kids about the time I was writing a young adult book skewering proverbs. I shoehorned these postcards in as illustrations for the book, which can be seen here: Monstrous aphorisms.
Each postcard is watercolor on postcard, dimensions vary, but they're all about 4" x 6" unframed and 5" x 7" or so framed. Each one is unique and is for sale for $400 framed, $380 unframed.
Same size giclée prints on archival paper are for sale (unframed) for $75. Inquire within.
The first several pieces below are not on post cards but are on thrift store finds.
THESE ARE AVAILABLE FOR SALE THROUGH
THE BETSY JACARUSO GALLERY IN RHINEBECK, NY.
"S.S. Unipuss" 2016, Acrylic on yard sale painting, 24" x 33"
ORIGINAL SOLD - prints available.
"The Right Reverend Dr. Murakami" 2016, Acrylic on garage sale painting, 26" x 22"
$2,500
"Green boy" 2013 Watercolor on thrift store print, framed size 12" x 9" SOLD
(prints available)
"Four pupils" 2013 Watercolor on tag sale painting, framed size 11 1/4" x 12 3/4" $900
"Man's best friend" 2013 acrylic and watercolor on thrift store print, framed size: 16 1/2 x 20" $1,500
"Forbidden fruit" 2013 watercolor on thrift store print, framed size 8" round. $650
"Hey kid, keep offa my flowers" 2013 Watercolor on thrift store print, framed size 18" x 12" SOLD
(prints available)
"Keralan sea creature" SOLD (prints available)
"Cooper Lake quartet"
"Undercover bridge"
"Eiffel terror" (I have new postcards; will be custom painted)
"Lady golfers"
"All along the watchtower"
"Here, birdie, birdie."
"Motel monster"
"Mill house monster"
"Pick up ghost"
"Alien with crab claw"
"Fire Island fun" SOLD
"Snow bunnies"
"South of South of the border" SOLD (prints available)
"Reservoir dog"
"Hunger pains"
"Christina's trip" acrylic on thrift store print. 20" x 28" $2,500
"Louise" acrylic on thrift store print. 22" x 22" $2,500
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"Decorating Nature"
CLICK ON ANY IMAGE TO SEE IT BIGGER
(books are for sale for $50 each - allow 3 weeks delivery)
Below is a small selection from this series in which I've done over 180 pieces.
fig. 166: a Magnolia x soulangeana leaf lets its soul shine at twilight.
("Decorating nature" prints are available, prices range from $300 (15" x 10") to $2500 (60" x 40")
View the entire series here: http://decoratingnature.blogspot.com
fig. 165: the colorful s. niccolls fungus is quite formidable.
fig. 185: Sycamore Anthracnose is an alluring but dangerous fungus.
fig. 183: after the hurricane, exotic oak apples fell to earth.
fig. 173: leaf spot is a common affliction of mountain laurel.
fig. 163: leaves of the "brighter horizons" tree stand out amidst autumnal decay.
fig. 160: a colorful attempt to hide the ravages of age.
fig. 144: a tuft from the neighbor's hydrangea, blown over in a storm.
fig. 158: a parasitic jaune leaf invades a walnut stem.
There are sooooo many more "decorating nature" pieces. You can see them all here.
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CLICK ON ANY IMAGE TO SEE IT BIGGER.
All 68" X 46" paintings in this series are $8,000.
SOLD
Circulars 2003
Circulars 2003
Mixed media on canvas 68" x 46"
(Grocery store circulars/Elizabeth Taylor Coloring Book)
On the packaging of celebrity.
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Delta of Venus 2001
Acrylic on canvas 68 x 46"
("Delta of Venus"/"Coloring Book of the 50 States")
On the naturalness of the desire for sexual adventure.
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Fun Clothes 2001
Acrylic on canvas 68 x 46”
(“Lolita”/”Barbie and Ken” Coloring Book)
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Save me 2001
Acrylic on canvas 68 x 46”
(The Village Voice’s Escort Ads/”Superman” Coloring Book)
My first feminist painting.
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Silent Spring 2001
Acrylic on canvas 68 x 46"
("Silent Spring"/"National Parks A Book to Color")
On our strange relationship with nature.
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Vacation 2003
Mixed media on canvas 68 x 46"
("TV Guide" listings/"Things that go to color")
Our sorry surrogate for real experience: television.
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America's explosive issues
Mixed media on canvas, each 24" x 24"
from top: "Abortion rights", "Homosexuality", "The death penalty" and "Racism"
(these pieces are $4,000 each)
Artist's statement on this body of work.
(these pieces are $4,000 each)
Artist's statement on this body of work.
For me, one of the hardest parts of making art is striking the proper balance between clarity and poetry. Creating symbolism is relatively simple; creating symbolism that’s neither too obvious nor too obscure is relatively difficult.
To this end, I have, for years, painted for that mythical person I’ve called “the thoughtful viewer,” trying to create metaphors that are neither bang-you-over-the-head obvious nor so difficult that they require my explanation to be understood.
With this body of work, I’ve found a happy middle ground, creating a series of paintings that can be deciphered without my input. The formula that allows this to happen is to simply juxtapose two elements out of which comes a third: a point of view. Here’s how I arrived at this formula.
It began with a desire to somehow incorporate some of the coloring books of my youth into a piece of art. I had a small collection of coloring books from the early 60’s and as I looked through them I was struck by how gender stereotypes were presented. The “Annette Funicello Coloring Book,” which had belonged to my sister, was all about being pretty, getting married and making a home. The “Fighting Men in Action” coloring book, which was mine, was all about masculine aggression and the cool machinery of war.
At first, I thought that simply copying selected images from these books onto a large canvas would be enough to convey meaning. But then, from either a desire to make them more “mine,” more clever, or more clear, I decided that they would work better if they were not just copied onto plain white canvas, but onto pages from meaningful books. So I found “Women and Self-esteem,” and “Anger Kills,” pulled them apart, glued their pages to the canvas, sanded them smooth and copied the coloring book images onto them. These two pieces became “Shopping for Clothes” and “Pitching a Hand Grenade”, both on the theme that gender stereotypes are reinforced from a very young age and that this is not necessarily a healthy thing.
After these first two pieces were created, I was very enthusiastic about the format: two elements in each painting; one of them defining the topic, and its juxtaposition against the other creating a point of view on that topic. It’s simple, readable, and aesthetically pleasing, and so I pursued it, creating works on other themes such as feminism (“Save Me”), environmentalism (“Silent Spring”), the desire for sexual adventure (“Delta of Venus,”), advertising (“Makes me like milk more,”) and faith ("The age of fable"). I also started considering ways to make the pieces more aesthetically interesting within the format, and you’ll see that the surfaces are varied.
The paintings in this series are fun to look at and fun to think about, and while there are precedents in Lichtenstein, Rauschenberg and Warhol, the most important precedent for me is my own art movement, the one I’ve called “funism,” whose simple tenets are as follow:
•Art should be as much fun to look at as it is to think about.
•Art should be intellectually engaging without being intellectually elitist.
•Art should invite interpretation.
Vis-à-vis these criteria, this body of work succeeds; I hope my “thoughtful viewer” agrees.
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"Story portraits"
I've never seen anything like this; it's fun and unique and is always enormously touching for the recipient. You (who commissions this "portrait") identify the objects that are important elements in the subject's life and send me pictures of those objects. I paint little watercolors (see examples below) and write a story about the subject that weaves in those objects or references to them. I put them together in an illustrated book kinda way (see almost any Dorling Kindersley book) and make a one-off archival print of it at about 30" x 22" or so, sign it and give it to you to surprise them. (framing can be arranged) It's a pretty cool gift, if I do say so myself.
For Kim, from Jill:
For Bob, from Molly:
I've never seen anything like this; it's fun and unique and is always enormously touching for the recipient. You (who commissions this "portrait") identify the objects that are important elements in the subject's life and send me pictures of those objects. I paint little watercolors (see examples below) and write a story about the subject that weaves in those objects or references to them. I put them together in an illustrated book kinda way (see almost any Dorling Kindersley book) and make a one-off archival print of it at about 30" x 22" or so, sign it and give it to you to surprise them. (framing can be arranged) It's a pretty cool gift, if I do say so myself.
For Kim, from Jill:
For Bob, from Molly:
some of the little watercolors that went into Bob's Story Portrait:
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A few random pieces
(CLICK ON ANY IMAGE TO SEE IT BIGGER.)
"13 attempts to photograph a red ball thrown up against a blue sky - October 21" Archival computer print. 30" x 24". $2,500
"ab blob #3" 36" x 36" acrylic on canvas. $6,000
"ab blob #4" 36" x 36" acrylic on canvas. $6,000
"pess/op" dimensions variable. Archival computer print. priced by print size
"Trees of Rhinebeck"
"TREES OF RHINEBECK"
Posters: $40, limited edition (100) fine art prints on archival paper: $250.
20% of profits go the the Rhinebeck Village Tree Commission.
Paypal and all credit cards accepted.
Prints are available of most artworks.
Archival giclée prints are on 505gsm gorgeous watercolor paper and the prices (sizes vary)
are in accordance with these below:
40 x 60" = $1500 36 x 44" = $1200 36 x 24" = $750
30 x 24"= $600 16 x 24"= $450 18 x 12" = $300 15 x 10" = $225
Awards / fellowships
Ulster County Executive Award for Art in Public Places, 2017
Pollock-Krasner Foundation Grant (sculpture) 2016-2017
NYFA (sculpture) 2015
NYSCA through CSRC (installation) 2014
Lower Manhattan Cultural Council (installation) 2008
Pollock-Krasner Foundation Grant (painting) 1998-1999
Public art projects
2020
2019 Inaugural exhibition, Emporium Sculpture Park, Hyde Park, NY
“Habitat for Artists”, Woodstock, NY
2018 The Wassaic Project, Wassaic, NY
“Habitat for Artists”, Woodstock, NY
2017 Wilderstein Biennial, Wilderstein Estate, Rhinebeck, NY
2016 – 17 “High Falls sculpture park” c/o Wired Gallery, High Falls, NY
2014 “O, pioneers” The Lawn on D, Boston, MA
“Miners” Snyder House Historical Site, Rosendale, NY
“On this site stood” Center for Sustainable Rural Communities, Schoharie, NY
2013 “Hidden gallery walk” Palenville, NY
“I want to sleep with America” Woodstock, NY
2012 “Far and wide” Woodstock Artists Association Museum, Woodstock, NY
“Historical tense”, Artspace, New Haven, CT
2011 “O+ Festival”, Kingston, NY
2010 “The art of inspiration”, Sculpture installation, Time Warner Bldg, N.Y., NY
“Sculpture Key West Invitational,” Key West, FL
2009 “Sculpture Key West 2009,” Key West, FL
2008 “Strange bedfellows” Le Petit Versailles, NYC
2007 “On this site stood,” The Aldrich Museum of Contemporary Art, Ridgefield, CT.
2006 “The Byrdcliffe Outdoor Sculpture Show,” Woodstock, N.Y.
“Unexpected Catskills” Byrdcliffe Arts Colony, Woodstock, N.Y.
2005 “Karen DeWitt,” Historical marker with political content installed on
Heart’s Content Road in Greene County, N.Y.
2004 “Do unto others,” “Practice what you preach” Two :30 videos that aired 96 times on national tv leading up the Nov., 2004 election.
2003 “Jesus loves you, Bush doesn’t” Viral internet project
2000 “Pull toy” Cow Parade, Riverside Park, N.Y., N.Y.
Solo University & Museum Exhibitions
2015 “Funism” SUNY Ulster, Muroff-Kotler Gallery, Stone Ridge, NY
2011 “Public service public art project” The Pember Museum, Granville, NY
2007 On this site stood" The Main St. Sculpture Project of
The Aldrich Museum of Contemporary Art, Ridgefield, CT.
2003 “Metaphorical Menagerie” The Pember Museum, Granville, N.Y.
2001 “Image and Allegory,” The University of Mississippi, Oxford, MS
2000 “Norm Magnusson -- American Painter” The Springfield Art Museum, MO
Solo Gallery Exhibitions
2019 “kuh-myoo-nih-kay-shun”, cma gallery, Newburgh, NY
2013 “Decorating nature” Evolve Design Gallery, Woodstock, NY
2009 “Descent into the political” Bard College at Simon’s Rock, Great Barrington, MA
2008 “America's Seven Cardinal Virtues” Van Brunt Gallery, Beacon, N.Y.
“Youth Culture in America” Muddycup Gallery, Kingston, N.Y.
2006 “America’s Seven Deadly Sins” Van Brunt Gallery, Beacon, N.Y.
2004 “Figures of speech in paint” Inquiring Mind Gallery, Saugerties, N.Y.
2003 “Vacation” Spike Gallery, N.Y., N.Y.
2002 “After the 11th” BridgewaterFineArts, N.Y., N.Y.
2001 “The Animal Alphabet” Bridgewater/Lustberg/Blumenfeld, N.Y. 2001
1999 “Central Park Animals - Then and Now” The Arsenal Gallery, Central Park, N.Y. , N.Y.
1998 “American Paintings” Bridgewater/Lustberg Gallery, N.Y.
1997 “Norm Magnusson” J.J. Brookings Gallery, San Francisco, CA.
“Travelogue” Bridgewater/Lustberg Gallery
1996 “Norm Magnusson” Picturesque Gallery, Akaroa, New Zealand
1995 “Bestiary” Bridgewater/Lustberg Gallery
1994 “The Normandy Paintings” Bridgewater/Lustberg Gallery
1993 “Recent paintings” The Gallery Upstairs at Flamingo East, NYC
1992 “Norm Magnusson” The Gallery Upstairs at Flamingo East, NYC
Group Museum Exhibitions
2015 “The Stories we tell” Samuel Dorskey Museum, New Paltz, NY
“Nature Inc” The Rockland Center for the Arts , Nyack, NY
2013 “Current hues of the Hudson” The Museum at Bethel Woods, Bethel, NY
2011 “Far and wide” Woodstock Artist’s Association Museum, Woodstock, NY
2009 “Food” Muroff Kotler Visual Arts Gallery, SUNY Ulster, Stone Ridge, NY
2005 “Over the top - Under the rug” The Shore Institute of Contemporary Arts
2003 “Genetic expressions: Art after DNA” Hecksher Museum, Huntington, NY
2000 “Animals in Art” The Anchorage Museum of History and Art, Alaska
Selected Gallery Group Shows
2019 “eco art” The Idea Garden, Kingston, NY
“Protest art”, Time and Space Limited, Hudson, NY
2018 “Reflected Spirit” Omega Institute, Rhinebeck, NY
“Political Art” The Gallery@Chatham, Chatham, NY
“Radius 50” WAAM, Woodstock, NY
“Sol invictus - interregnum” Greenkill, Kingston, NY
2017 “Radius 50” WAAM, Woodstock, NY
“Smoke signals” Tivoli Art Gallery, Tivoli, NY
“Tear down relics” Cross Contemporary Gallery, Saugerties, NY
“11 Jane Happening” 11 Jane St. Gallery, Saugerties, NY
2016 “Exquisite porch” morean arts center, St. Petersburg, FL
“abc@WFG: an exploration of text-based art” WFG Gallery, Woodstock, NY
“O+Art” The Anvil Gallery, Kingston, NY
2015 “Group show“ Wired Gallery, Stone Ridge, NY
2014 “re:Purpose“ WFG Gallery, Woodstock, NY
“Works on paper” Atwater Gallery, Rhinebeck, NY
“Playing with a full deck” GCCA, Catskill, NY
2013 “Museum of controversial art” BAU Gallery, Beacon, NY
“The Kingston Museum of Controversial Art” KMoCA, Kingston, NY
“Cut & Paste” Muroff-Kotler Gallery, SUNY Ulster, Stone Ridge, NY
“These animals are driving me to abstraction” WFG Gallery, Woodstock, NY
“Winter solstice show” Ai Earthling Gallery, Woodstock, NY
2012 “FU” WFG Gallery, Woodstock, NY
“Zoom In” imogen Holloway gallery, Saugerties, NY
“From Wall St. to Main St.” GCCA, Catskill, NY
2011 “SpoOk”, Oo Gallery, Kingston, NY
“SpOor”, Oo Gallery, Kingston, NY
“Change of climate”, Suite 503 Gallery, NY, NY
“Rock City Pop Up”, Van Brunt Projects, Woodstock, NY
“Route 28 or thereabouts” Van Brunt Projects, Beacon, NY
2010 “Define the decade” GCCE, Catskill, NY
“SKW inside” Lucky Street Gallery, Key West, FL
“Mill Street Loft invitational”, Poughkeepsie, N.Y.
“Group show” Kleinert James Art Center, Woodstock, N.Y.
2009 “Decorating nature” Gallery 668, Battenville, N.Y.
“spctclr vws” One Brooklyn Bridge, Brooklyn, NY
“Inaugural” Van Brunt Gallery, Beacon, NY
2008 “Hudson Valley Invitational” Van Brunt Gallery, Beacon, N.Y.
“Animal allegories” Gallery 668, Battenville, N.Y.
“Wild thing” Ira Wolk Gallery, Napa, CA
2007 “Variations on a rainbow” Le Petit Versailles, N.Y., N.Y.
“About face: artists not afraid of U-turns” GCCA, Catskill, N.Y.
2006 “New Hudson Room” Van Brunt Gallery, Beacon, N.Y.
2005 “Compared to what” Gallery OneTwentyEight, N.Y., N.Y.
“This is not an archive” Bard College, Annandale-on-Hudson, N.Y.
2004 “Ambush” VanBrunt Gallery, N.Y., N.Y.
“Happy Art for a sad world” Spike Gallery, N.Y., N.Y.
2002 “Reactions” Exit Art, N.Y., N.Y.
2001 “Biennial” Bradford Brinton Memorial, Big Horn, Wyoming
2000 “Animals as Symbol” Curated online exhibition, Guild.com
“Salon” HereArt, N.Y., N.Y.
1999 “Urbiculture” Sylvia White Gallery, N.Y., N.Y.
“A big show of small work” Bridgewater/Lustberg/Blumenfeld, N.Y.
“Portraits 2” Jorgenson Gallery, N.Y., N.Y.
“Wish you were here” Elsa Mott Ives Gallery, N.Y., N.Y.
“Framed” Elsa Mott Ives Gallery, N.Y., N.Y.
1998 “Open your heart” Leo Castelli Gallery, New York, N.Y.
“A big show of small works” Bridgewater/Lustberg, New York, N.Y.
“Anima Mundi” Bridgewater/Lustberg, New York, N.Y.
1997 “Whit, Whimsy & Humor” Castle Gallery, New Rochelle, N.Y.
“Winter show” J. Cacciola Gallery, New York, N.Y.
“PhotoSoho” Buhl Foundation, New York, N.Y.
“Art walk ‘97 Show” J.J. Brookings Gallery, San Francico, CA.
“A big show of small work 2” Bridgewater/Lustberg, NYC
1996 “A big show of small work” Bridgewater/Lustberg, New York, N.Y.
“Summer exhibition” J. Cacciola Gallery, New York, N.Y.
1995 “Creative Conflict” Elsa Mott Ives Gallery, New York, N.Y. “High/Low/Art Soup” Renee Fotouhi Fine Art, East Hampton, N.Y.
“Animal Kingdom” The Union League Club, New York, N.Y.
“Open your heart” Christinerose Gallery, New York, N.Y.
“Preview of 1995” J. Cacciola Gallery, New York, N.Y.
1994 “Then and Now” Bridgewater/Lustberg Gallery, New York,N.Y.
“Summer 1994” J. Cacciola Gallery, New York, N.Y.
“Accidental Tourist” Bridgewater/Lustberg Gallery, New York, N.Y.
“Garden in the Gallery” Elsa Mott Ives Gallery, New York, N.Y.
1994 “Group Show” Galerie Antoinette, Paris, France
1993 “Celebration of Victor Hugo” Galerie Les Etelles, Villequier, France
“Group Show” Galerie Antoinette, Paris, France
Curation
2017 “Abstract Evocative”, WAAM, Woodstock, NY
2016 “abc@WFG: an exploration of text-based art”, WFG Gallery, Woodstock, NY
2016 “Beautiful Nonsense”, RoCA, Nyack, NY
2014 “re:Purpose”, WFG Gallery, Woodstock, NY
2013 “The Museum of Controversial Art”, BAU, Beacon, NY
2013 “The Kingston Museum of Controversial Art”, KMOCA, Kingston, NY
2012 “FU”, WFG Gallery, Woodstock, NY
Lectures/Workshops/Classes
2018 “Influences and inspiration” The Omega Institute for Holistic Studies, Rhinebeck, NY
2017 “The Hudson Valley Celebrity Series - Norm Magnusson” The Gallery in Rhinebeck, NY
2016 “Clarity vs. poetry” Morton Memorial Library, Rhinecliff, NY
“25 years of artistic practice” Pecha Kucha, Online from Beacon, NY
2014 “Descent into the political” Kleinert-James Gallery, Woodstock, NY
“Nature art” Rockland Country Day School, Congers, NY
2013 “Decorating Nature” Rhinebeck Science Foundation, Rhinebeck, NY
2010 “Define the decade” Greene County Council on the Arts, Catskill, NY
2009 “Animal alphabet” Woodstock Day School, Saugerties, NY
2008 “Art that’s changed the way I see the world around me” Woodstock Day School
2001 “Image and Allegory” The University of Mississippi, Oxford, MS
2000 “Metaphorical menagerie” The Springfield Art Museum, MO
Performance art
2020
2019 “Swipe Right/Kill the head” The Morton Library, Rhinecliff, NY (scheduled)
“Swipe Right/Kill the head” WAAM, Woodstock, NY
2017 “The Signs in our Lives/Swipe Right” Cocoon at the Cuneen-Hackett,
Poughkeepsie, NY
2016 “The Signs in our Lives/Swipe Right” Cocoon at the Cuneen-Hackett,
Poughkeepsie, NY
2015 “The Signs in our Lives” Hudson Opera House, Hudson, NY
Selected Bibliography
“Magnusson’s Monologues”, Paul Smart, Woodstock Times, June 27, 2019
“Museum Exhibit Celebrates the Diversity of Local Artists” Poughkeepsie Journal, August 9, 2017
“Abstract Evocative at WAAM” Woodstock Times, April 13, 2017
“100 Amazing Ideas” Rodale’s Organic Life, Feb/March 2017
“Local Artist with big success” Living Rhinebeck, October, 2016
“Double take: New art show highlights familiar incongruity” Rockland Co. Times, Feb. 18, 2016
“Beautiful nonsense: a show at the Rockland Center for the Arts” Chronogram, Feb, 2016
“Art for the fun of it” Blue Stone Press, September 4, 2015
“Funism at SUNY Ulster” Woodstock Times, September 3, 2015
“Magnusson’s Decorating Nature” Woodstock Times, January 15, 2015
“Edible imprint: ‘Historical’ marker: Scottie Webb” Edible Hudson Valley, Summer, 2014
“ ‘Historical’ signs are really an art installation” Times Journal, June 3, 2014
“Woodstock artist opens local exhibit at the Schoharie Hive” Schoharie News, June 2, 2014
“Animal allegories”, Animal Imagery Magazine, Spring 2012.
“The I-75 Project: Offering up food for thought at every rest stop”, HolyKaw.alltom.com,
Nov. 15, 2011.
“The I-75 Project”, ArtOlution (art/revolution) October, 2011
“The I-75 Project”, Idea.IdeaBing.com, Sept. 27, 2011
“America’s Seven Deadly Sins: The Political Art of Norm Magnusson”, Tikkun.org, Sept. 24, 2011.
“Work in progress: Interstate 75”, CSPA Quarterly issue 6, 2011
“#110 The I-75 Project, activism with a smile”, ThisGivesMeHope.com, Aug. 4, 2011.
“Political art dots local museums’ landscape” Granville Sentinel, May 12, 2011.
“Artist erects social markers in Granville, NY” Rutland Herald, May 6, 2011.
“Rewriting history with a wink” Utne Reader, April 13, 2011
“Street signs and pixilated leaves: the art of Norm Magnusson” Washington Post, Oct. 29, 2010
“Art of Social Conscience: The I-75 Project by Norm Magnusson” LaughingSquid.com, Oct. 25, 2010
“Just a little bit subversive”, CommonDreams.org, Oct. 21, 2010
“Gentle, public activism: Magnusson’s I-75 Project”, TheSocietyPages.org, Sept. 22, 2010
“Markers of American Decline”, ProvisionsLibrary.com, Sept. 22, 2010
“Signs of trouble on the I-75”, osocio.org, Sept. 9, 2010
“Decorating nature by Norm Magnusson”, Wine and Bowties, Feb. 20, 2010
“Artist adds colors to nature” GreenPacks, Feb. 19, 2010
“Mother nature’s forest canvases, kicked up a few colorful notches” Greenwala, Feb. 16, 2010
"Decorating nature series", GreenMuze, 15 February, 2010
“Political descent”, Woodstock Times, November 5, 2009
”Norm Magnusson’s ‘historical markers’”, Woodstock Times, July 31, 2008
“Norm Magnusson” Sculpture, June 2008
“On this site stood a man with a message” The New York Times, Sep. 30, 2007
"Signposting America," Eyeteeth: A journal of incisive ideas, Aug. 18, 2007
“Standing ground – The Aldrich goes Americana, sort of”, Bedford Mag., July 2007
"Parting shot: Norm Magnusson," Chronogram, August, 2007
“Magnusson’s markers highlight social issues,” Ridgefield Press, July 12, 2007
“I saw the sign”, Modern Painters, June 2007
”Norm Magnusson - On this site stood,” American Towns, June 3, 2007
“On this site stood: culture jamming history,” Art Threat, May 29, 2007
“Énoncé de l’artiste,” Esse arts + opinion, Spring-summer 2007
"Painting politics," The Woodstock Times, August 3, 2006
“A blossoming of political art” The Huffington Post, June 6, 2006
“Art that pushes the limits of studio walls,” Atlanticville Press, September 7, 2005
“Caution: angry artists at work,” The New York Times, August 27, 2004
“Vacation,” The New York Times, September 12, 2003.
“Norm Magnusson,” The Week, August 29, 2003.
"Images of a beautiful era, and of scientific breakthroughs," The NY Times, July 27, 2003
"Pember Museum has Art Exhibit," The Granville Sentinel, February 19, 2003
“Artist’s ‘funism’ provides lesson behind each animal,” Springfield News Leader, Oct.18, 2000
"The Artist’s Way," Adweek, August 16, 1999
"Norm Magnusson," Review, March 1, 1997
"Travels with Magnusson," Where New York, February, 1997
"Ecological awareness with paint and a brush," The Villager, February 12, 1997
"From the Big Apple to Akaroa," The Press (Christchurch), March 27, 1996
"Fun-ism in art," The Beta Theta Pi Magazine, Spring 1996
"Museum/Gallery Notes," Wildlife Art News, Sept./Oct. 1995
"Norm Magnusson," Cover, September, 1995
"Viel Rauch um nichts," Der Vogel, August 18, 1995
"Raw News," Raw Vision, Summer 1995
"Animal Rites," The Villager, June 28, 1995
“Norm Magnusson," The New Yorker, February 28, 1994
“Scene Change,” The Villager, February 16, 1994
“Dimanche, les ecoliers invitaient aussi a voter," Le Courier Cauchois, March 27, 1993
“La peinture sur le chemin des ecoliers," Le Courier Cauchois, January 23, 1993
“A la decouvert d’un peintre americain avec les ecoliers de Villequier,"
Paris Normandie, 1/22/93
“A Self-taught Village Artist Creates a ‘Funism’ Style," The Villager, Sept. 9, 1992.
“Enjoyable and Accessible Art," The Villager, August 19, 1992
Museum Collections
Anchorage Museum of History and Art - Anchorage, Alaska
The Museum of Modern Art - New York, N.Y.
(Franklin Furnace/Artist’s book collection)
The Museum of the City of New York - New York, N.Y.
The New-York Historical Society - New York, N.Y.
The Pember Museum - Granville, N.Y.
Public/Corporate Collections
AmSouth Bank - Birmingham, Alabama
Fidelity Insurance - Boston, Mass.
Kenneth Cole - New York, N.Y.
Kohler - Kohler, WI
Simmons, U.S.A. - Atlanta, Georgia
Selected Private Collections:
Mr. and Mrs. Jason and Elyssa Ackerman Woodstock, NY
Mr. William Burback Garrison, NY
Mr. and Mrs. Kristen and Johann Eveland New Canaan, CT. Mr. Kenneth Cole New York, NY
Mr. and Mrs. Ione and Marshall Crenshaw Rhinebeck, NY
Ms. Kim Dickens Los Angeles, CA
Mr. and Mrs. Marty and Jen Flanagan Atlanta, GA
Alison and Stephane Gerson Woodstock, NY
Mr. Joe Reece Los Angeles, CA
Ms. Jill Sobule Los Angeles, CA
Mr. & Mrs. Andy and Kate Spade New York, NY
Mr. Theo Spencer New York, NY
Dr. & Mrs. Harlan Waksal Telluride, Colorado
Tanya Wexler & Amy Zimmerman New York, NY
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