The Art of James Magee: A Journey Through Chaos and Sublimity
Fragmented Power and Ordered Chaos
In the realm of contemporary art, few creators have managed to encapsulate the duality of chaos and order as profoundly as Texas artist James Magee. His works evoke a sense of weight and power that feels both fragmented and decayed, yet they are meticulously arranged to create a strange sense of sublime beauty. Magee’s artistic journey was not just a reflection of his creative genius but also a testament to his personal struggles and triumphs.
A Lasting Impression at the Nasher Sculpture Center
My first encounter with Magee’s work occurred in 2010 during a show at the Nasher Sculpture Center, where a collection of his smaller pieces was on display. Accompanied by a book published by the late Rick Brettell, featuring an insightful essay by Nasher curator Jed Morse, the exhibition introduced me to Magee’s unique aesthetic. His use of industrial materials—scratched and rusted steel, rubber, shattered glass—combined to form weighty yet hauntingly beautiful assemblages. This juxtaposition of beauty and decay created what can only be described as a "terrible beauty," a hallmark of Magee’s artistic philosophy.
The Hill: A Personal Magnum Opus
Magee’s magnum opus, "The Hill," stands as a monumental testament to his vision. Located an hour and a half outside El Paso, this complex of four temple-like stone buildings is the culmination of over 40 years of intense personal investment. The project was so deeply personal to Magee that he rarely opened it to the public, allowing only small groups to experience its profound atmosphere.
A Visit to The Hill
After the Nasher exhibition, I had the rare opportunity to visit The Hill. Nestled in the desolate expanse of West Texas, the site features four imposing buildings that form a Greek cross, bordered by stone berms. As we approached, the heavy steel doors creaked open, their groans echoing against the rugged stone walls, setting the stage for what lay inside.
Upon entering, each building exuded the aura of an austere shrine. Inside, triptychs revealed a mesmerizing array of industrial and natural elements, creating a visceral experience that was both terrifying and sublime. The power of these creations, housed within the rugged stone structures, left an indelible mark on my memory.
The Poetry of Magee’s Art
In addition to his visual artistry, Magee composed related poems that mirrored the complex imagery of his sculptures. Tall and imposing, with long white hair and a beard, he recited his verses almost like incantations, adding another layer of depth to the experience. The interplay between his written and visual art created a rich tapestry that invited viewers to explore the depths of his creative mind.
A Multifaceted Life
Born in Fremont, Michigan, Magee’s journey was anything but conventional. He studied history and French at a small Presbyterian college before earning a law degree from the University of Pennsylvania. His career was a patchwork of legal work for organizations like the United Nations and the Quakers, interspersed with jobs as a security guard and cab driver. It was during these varied experiences that he began crafting sculptures from the detritus found in a Staten Island junkyard.
Magee’s life was also marked by exploration of New York’s vibrant and often gritty gay scene in the 1970s. He candidly shared his experiences, noting that love and relationships were universal, transcending gender. This openness and fluidity in his personal life were reflected in his art, which often grappled with themes of identity and existence.
Artistic Alter Egos
In a fascinating twist, Magee developed two artistic alter egos: Annabel Livermore and Horace Mayfield. Livermore’s painted landscapes and dreamscapes served as a counterpoint to Magee’s more muscular and aggressive works, showcasing the breadth of his creative expression. This duality allowed him to explore different facets of his artistic identity, enriching his overall body of work.
The Legacy of The Hill
The inception of The Hill came to Magee in 1977, and after a stint in the oil fields of the Permian Basin, he settled in El Paso in 1981. Over the years, he acquired more than 2,000 acres of land, gradually constructing the buildings and creating the artworks with the help of only a few assistants. The sheer scale and ambition of this project reflect Magee’s relentless drive and dedication to his craft.
As we reflect on Magee’s passing on September 14 at the age of 79, questions arise about the future of The Hill. Dallas architect Gary Cunningham, a member of the Cornudas Mountain Foundation established to support Magee’s work, acknowledges the uncertainty surrounding the site. However, he assures that Magee left clear instructions in his will regarding the future of his beloved creation.
A Gentle Giant
Despite the formidable power of his art, those who knew Magee often describe him as easygoing and friendly. Cunningham notes that Magee was "kind and gentle," regardless of which artistic persona was on display. His fierce dedication to his work was matched only by his passion for life and the people around him, making him a beloved figure in the art community.
James Magee’s legacy is one of complexity, beauty, and a deep connection to the human experience. His work continues to resonate, inviting us to explore the chaotic and sublime aspects of existence through the lens of his extraordinary vision.