This was never the plan. Before graduating I was offered a position at a well established brand-identity firm on the East coast, but school had left me exhausted with the idea of pursuing a career in the field. I was passionate about making films, though, so I turned down the job offer and went off to pursue my dream while delivering furniture on the side. After a year, the money dried up, and it became obvious to anyone with a set of eyes and ears that directing wasn’t my forte. I went back to work doing what I knew best, and for over a year and a half laid out catalogs and charts for biomedical equipment at a small agency near where I grew up. Eventually, the economy sagged, and my hours were steadily reduced until I was finally let go.
So I committed myself to making a movie poster a day. Or at least trying. I didn’t want to run away from my problems, but stewing in them only prolonged the mess I was in. My days needed focus and structure. All that mattered was finding purpose and making the process fun: to create a project similar to what I’d done in college, but without having to adhere to anyone’s definition of good design other than my own. This project was for me, and I had enough going on already that I didn’t need to throw hesitation or concern over other people’s opinion into the mix. But I did want to be held accountable to some degree, so all of the work was uploaded to a no frills website that only a few friends were given the address to.
Honesty Is Still In Style, a 2012 artist book by the Australia-based artist Keg de Souza. See more of her work here.
a book about collecting family stories and blurry childhood memories
One of the myths we have about creativity is that sometimes we have a calling, that you know that every day of your life, when in truth, half of writing a first draft is very much about failure.
I used to believe in the myth of the big idea: The big idea hits and you never look back. It’s sort of like when you meet a couple that’s been together for a long time and the question you ask is “How did you guys meet?” And there’s always a great story. But the real question — and the one that hopefully you’re too polite to ask — isn’t “How did you guys meet?” but “How did you stick together?” That’s the story of writing a book. How did you stick with it? How did you get through the day-to-day? I think one of the reasons you get so many questions about process — “Do you plot?” “How do you do it?” “How do you do it every day?” — is because people want to believe there’s a way to take the pain out of the process of writing. And there really isn’t. You’re going to have days that are terrible.
|—||Advice on writing your first book from Leigh Bardugo and other published authors. Complement with the collected advice of literary icons and Neil Gaiman on why you should finish things. (via explore-blog)|
Friends! Thank you so much for your support of GENERation PrinterOSITY: relief for those affected by Typhoon Haiyan. Just met with the awesome folks at McClain’s Printmaking Supplies who will be generously offering a $10 gift certificate to every artist who donates a print. Gamblin Artists Colors will be taking prints until December 9th. Email me at firstname.lastname@example.org if you have any Qs or mail prints directly to:
Gamblin Artists Colors
c/o Joy Mallari
323 SE Division Place
Portland, OR 97202.
Please include your email (for your gift certificate) and a suggested starting price. I’ll keep you posted on the online and silent art auctions. Thank you thank you again and feel free to spread the word: GENERation PrinterOSITY!!
Aquatint step by step for the apple prints, prior to cutting out the apple shapes.
This week’s Modern Art Notes Podcast features Vija Celmins.
Celmins’ work is prominently featured in "Damage Control: Art and Destruction Since 1950" at the Hirshhorn Museum and Sculpture Garden. The exhibition, which was curated by Kerry Brougher and Russell Ferguson, explores the ways in which artists considered and used the Cold War-era threat of destruction in their work. Five of Celmins’ works about World War II and post-war destruction are included in the exhibition, which is on view through May 25, 2014.
In 2014, the Latvian National Museum of Art will hold an exhibition of Celmins’ work as the flagship event of Riga’s turn as the 2014 European Capital of Culture. Celmins was born in Latvia in 1938, but along with her family was forced to flee the country in 1944. The Celminses came to the United States — specifically Indianapolis — in 1948.
The image above is one of Celmins’ famed prints of a spider web. Titled Web 2 (2000) it’s in the collection of the Metropolitan Museum of Art. On this week’s program, Celmins and host Tyler Green discuss the way Celmins uses these webs to present something delicate and impenetrable up against the picture plane.
Celmins’ work has been the subject of numerous major museum exhibitions, including a 1992 retrospective organized by the Institute of Contemporary Art, Philadelphia, a 1980 retrospective organized by the Newport Harbor Art Museum, a 2006 drawings retrospective organized by the Centre Pompidou in Paris and “Television and Disaster, 1964-68,” organized by the Menil Collection.
How to listen: Download the show to your PC/mobile device. Subscribe to The MAN Podcast at: