Art & Development, Art Worlds

Casey Jex Smith’s life timeline

Utah-based artist Casey Jex Smith shared a life timeline showing his time to make art compared to career and family benchmarks, student loan debt, and gallery representation.

Multiple timelines showing birth 1976 and other benchmarks, time to make art, student loan debt, gallery representation

Timeline by artist Casey Jex Smith, courtesy of the artist

He contextualized it with:

Really satisfying to create. Just trying to communicate the trade offs in life when trying to be an artist. Artists need more data points to make their decisions —more transparency and honesty from institutions they trust.

I’m always for artists having more information, being more transparent, and self-aware of their conditions in a way that is informative. This is a great visualization and generous gesture of transparency.

What I noticed about Casey’s data visualization:

  • The sharp drops in time available for art after each child was born, and the cumulative effects of reducing his time.
    • Actually, I’m impressed he’s still able to find 10 hours per week for art.
  • The staggering amount of student debt from the MFA from SFAI. How loan interest grew or stabilized the debt amount while teaching, and a reduction in the balance starts only after working at a tech company.
    • Some friends are involved in organizing adjunct instructors for fair pay at art schools—this really puts teachers’ sacrifices in perspective.
  • In the underwear-shaped part of the timeline (ha!), he had up to four galleries representing him. Each relationship lasted during a limited, post-grad-school period—the total interval almost equal to the time passed since then.
    • When I went to grad school, there was a sense that having a gallery represent you was like being “saved”—you’d be set up, and your precariousness would become limited. But that seems like setting yourself up for disappointment. Some galleries close, some relationships don’t work out. Artists are responsible for sustaining our own lifelong practices.

This is a really interesting exercise, and I hope it inspires other artists to make their own visualizations. They could be following Casey’s example, or about other aspects of their life as an artist.

For more inspiration, see the zine I made in 2015 based on an Artist’s Personal Impacts Survey I conducted.

Learn more about Casey’s work at caseyjexsmith.com. Thanks, Casey, for sharing your timeline with me and other artists!

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Art Worlds, Citizenship

It’s not often that major media covers an artist-in-residence program, or the social impact of the resulting public artworks.

This is an interesting profile of a small community in Georgia, portraits of local residents by artist-in-residence Mary Beth Meehan, and the conversations about belonging and controversies around Islamophobia that they sparked.

Read “How 17 Outsize Portraits Rattled a Small Southern Town” by Audra D. S. Burch, NY Times, January 19, 2020.

 


 

If you’re interested, learn more about the Newnan residency program. Applications are accepted on a rolling basis.

Link
A empty white walled room with a bright window in the back corner. Two tables and two office chairs. light brown carpet.
Art & Development, Research

LMCC Workspace Residency: Update #1: What, Who, Where, When, How, Why, and What I’ve Been Up To

About the first third of a nine-month residency.

In October, I started the 2019-2020 Lower Manhattan Cultural Council’s Workspace Artist-in-Residence program. It’s a huge honor. I first applied like 10 years ago. The application pool is quite competitive. I’m very humbled and grateful that it’s working out this year.

What

This year’s Workspace residents receive:

  • A semi-private studio space.
  • Weekly salon evenings consisting of studio visits with curators and arts professionals, studio visits with the cohort, professional development workshops, cohort-led activities, and more.
  • An open studio in June 2020.
  • A materials stipend of $1,300.

This is pretty typical of the program, with some variation in the fee depending on funding, and slight differences in timeline and studio space, depending on the space available.

A empty white walled room with a bright window in the back corner. Two tables and two office chairs. light brown carpet.

My studio, before move-in.

Who

This year’s cohort consists of 10 visual artists (learn more on lmcc.net). (The number of residents depends on the space available. LMCC residency programs are usually open to dance, theater, and literary arts, too; check for next year’s application in mid-January 2020.) An on-site assistant, who was a Workspace resident last year, also has a studio.

I really like the cohort! It’s an interesting group of artists working in sculpture, installation, performance, works on paper, and textiles. My cohorts are clearly invested in their practices and in building a respectful, serious, and friendly community.

The program is managed by Bora Kim. Other LMCC staff and interns help out with the program as well as marketing and events.

Where

Building & Location

The studio is located in a corporate building near Wall Street. The building itself is quite impressive. The guards and maintenance team are friendly and helpful. It’s secure and clean.

An ornate, gold, orange and red interior. Lots of embellishment on every surface. The ceiling has built-in light figures that make geometric rays of light due to the bas relief in the ceiling. The walls have a matching louvered paneling in gold. There are multiple spaces defined by transoms with ornate floral grillwork. The floors have a checkerboard of yellow and cream marble with black and white marble interspersed and used as a border. There are touches of gleaming metal.

The gorgeous Art Deco lobby at 70 Pine. View towards the mailroom and elevators.

LMCC encourages residents to learn more about lower Manhattan. One salon evenings was a walking tour led by a member of the city’s landmarks commission. I especially loved visiting 70 Pine, a stellar example of Art Deco. (As a landmarked building, there is a public mandate to make the lobby accessible to the public. Anyone can visit. Don’t miss the bas-relief on the elevator doors.) I’ve also been going on walks, exploring Oculus, the 9/11 Memorial, and longtime neighborhood businesses.

The transportation options are ridiculously convenient: the N/W, 1, and 4/5 subway stations are all very close. I’ve also taken the ferry, rode Citibike, and walked to the studio from Queens.

The Studio

The cohort shares a large carpeted office space, which is divided into studios with tension-pole partitions sheathed with Homasote.

My studio is about 16′ long by 8′ wide. It’s sunny, with a large window facing east. LMCC provided two work tables and two office chairs.

a office with carpet and two folding tables side by side, with an office chair. there's a small ironing board with a bandana on top, and an iron. There are drawings on the wall, and various clipboards, pencils, colored pencils, etc on the table.

A view of my studio, recently.

Two residents have enclosed offices with glass doors. In a large open space in the center, we’ve put a table and chairs to gather for meals. There’s also smaller lounge areas and a conference room. There’s a kitchen with a fridge, electric kettle, microwave, dishes, silverware, and sink (there is no separate work sink). There is a computer and scanner/printer available (it’s been useful for me lately for making copies of drawings to do quick color studies). Residents occasionally work in common spaces when they need to spread out. It feels like there’s plenty of space.

Carpeted office space divided into artist studios with office chairs around a table in the middle. Various art studio supplies: shop vacuum, bin of fabrics, dolly, etc around.

LMCC Workspace studios, one wintry day.

Having an art studio in a corporate building entails a little extra coordination when moving large items in or out, and using the one small, staff-operated freight elevator. LMCC has a dolly we can borrow, which helps.

When

Our first day was October 7. We received immediately received IDs, access codes, and permission to move in. (I love it when there’s no delay!) The program ends after the open studios at the end of June 2020.

Residents have 24/7 access to space.

Salon evenings are held weekly, except on holidays. I’m happy to be there each week, especially because a former resident told me about how much he looked forward to them. There’s a great variety of programming and cohort-building activities.

How

I really like the program for its combination of space and programmatic support. They invest in community-building. The first salon evening was speed intros, where residents got to introduce ourselves and our practices to each other via projected images of our work. Some LMCC staff attended too (which is nice considering that it’s after work for them). LMCC often supplies refreshments, which help lend conviviality.

LMCC asked us to suggest potential guests to invite for studio visits. The final line-up includes many curators from major NYC institutions. Studio visit evenings usually feature a few guests. Each guest are scheduled for four, thirty-minute, one-on-one visits with residents. Residents may have one to three visits per evening. When you aren’t paired with an outside guest, you do studio visits with other cohort members.

Early in the program, when a salon evening was canceled due to a holiday, I asked the cohort if they’d like to have a potluck anyway. We did. It was fun to get to know the other artists in a more relaxed setting. I’m really grateful everyone shares an interest in getting to know and support each other.

A computer printout pinned to a white wall. Text reads:

Skill Share Pictionary Set Up instructions

I had the opportunity to lead an activity one salon evening. I made up an activity called Skill Share Pictionary (learn more on my Glint Project Instagram takeover).

Fellow resident Naomi Safran-Hon initiated the idea of having a group exhibition in the foyer. It was pretty impressive that the cohort organized our group show in about 20 minutes. I appreciate our group’s cooperation, initiative, and flexibility.

Why

Here’s why I applied, as written my application. (My brevity is due to LMCC’s strict word count limits.)

I’ll develop new works exploring resilience, vulnerability, authenticity, and connectedness.

I’ll research and present findings via calligraphy, sign painting, and drawings. Then, I’ll create garments with pockets that reveal or secure aspects of one’s identity, and hybrid books-games-interactive objects in textiles and paper for fostering brave spaces.

WHY WORKSPACE?

I need different perspectives to ground these subjective concepts, and mutual support and rigorous feedback.

WHY NOW?

It’s time to grow my craftsmanship, my fluidity between thinking and making, and my ethics of social engagement.

WHAT ARE YOUR EXPECTATIONS?

To grow. To do my part to cultivate authenticity, vulnerability and connectedness.


What Have I Been Up To?

I started by trying to define what I meant by resilience, and how it is connected to authenticity and vulnerability. These latter two concepts are things I kept thinking about in my projects on belonging. Being able to express yourself authentically, and being able to be vulnerable, were often characteristic of spaces of belonging. At the same time, belonging allows you to be more vulnerable, and more authentic.

Dozens of small pieces of paper tacked to a white wall. Some of text on the paper are headers written in a black calligraphy marker, such as adversity, risk, exposure, discomfort, pain, loss, failure, fear, blame, shame, othering, disconnection, vulnerability, hopelessness, depression, anxiety, authenticity, hope. Then there are numerous small pieces of paper written in pencil but it's too small to read. Then there's yellow tape lines connecting various parts.

A mind map on resilience.

I have been working and re-working a large mind-map, trying to see these connections and fill in what else I know about related concepts about hope, growth mindset, belonging, sports psychology, shame, etc.

I’ve also been reading more mass market books by psychologists with academic affiliations or longtime clinical practices. I’m proud to say that this year I’ve been more intentional about supporting indie booksellers and libraries.

Cover of a book, with a big red heart on an ivory background. The title and author name with subtitle:

Emotional First Aid, by Guy Winch, PhD

I read Emotional First Aid by Guy Winch, a longtime NYC therapist. I loved that it explains the logical sources behind squishy feelings (violation of rights results in anger, or a fear of violating other’s rights or standards results in shame) and logical responses to those feelings (reflective writing exercises that reframe situations, or deliberate, detailed strategies to repair relationships). (I first came across this book at the San Francisco Public Library, in the Chinese section. I wish more mental health books were translated into different languages. BTW the English version is available at the Queens Public Library.)

Cover of a book with a photo of a gnarled tree atop a rock. Subtitle: Seven keys to finding your inner strength and overcoming life's hurdles.

The Resilience Factor, by Karen Reivich, PhD, and Andrew Shatté, PhD.

My suspicion that resilience relates to optimism was validated when I stumbled upon The Resilience Factor by Karen Reivich, PhD and Andrew Shatté, PhD via the Queens Library. Reivich and Shatté were students of Martin Seligman, whose book on optimism was the first positive psychology book I ever read, way back in 2010. Reivich and Shatté build upon Seligman’s explanatory style—the idea that people explain adversities with beliefs, which shape consequences or actions, therefore different responses become possible by examining the beliefs. This book organizes a lot of mental habits and strategies that I find insightful and worthy of sharing. I’ve been working on some drawings (see a few sketches on Instagram), with my Positive Signs series as an early predecessor.

Cover of book, no images, but there are three bars of color: purple, blue, green. Mostly white background. Updated Edition. Subtitle: The new pyschology of success: How we can learn to fulfill our potential. sticker: 2 million copies in print. list: parenting, business, school, relationships. small blurb.

Mindset by Carol. S. Dweck, PhD

I’m also reading Mindset by Carol Dweck, PhD (which I got with credit from selling books at the Strand). This is book has had a huge influence on education and I’ve been meaning to read it for a while. People with growth mindsets are willing to take risks in order to grow. People with fixed mindsets are afraid to be exposed as inadequate. I’m starting to see through-lines between optimism, resilience, vulnerability, and courage.

To take a break from reading, I practiced a lot of hand lettering and calligraphy using markers, dip pens, and brushes. It was  fun to dive into different letterforms (my reference book: Hand Lettering by Thy Doan, also from the Strand).

I also just got loose in my sketchbook inspired by Syllabus by Lynda Barry (Strand), which I’ve expounded upon in a previous post.

All this note-taking, lettering practice, and drawing added up into completing a 250-page sketchbook in two months—a record time for me.

Fancy handlettering on a dot grid sketchbook page in pink, blue and black marker. Text reads: Resilience is a mindset that enables you to seek out new experiences and to view life as a work in progress.

Sketch book page: lettering practice with a quote on resilience by Karen Reivich and Andrew Shatté.

My proposal mentioned sewing. I have some ideas about textiles and garments. I’m letting those ideas marinate as I synthesize all this information and lettering forms. My sewing machine and materials are at the studio, and I’m looking forward to diving in over the next six months.

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Art Competition Odds

Art Competition Odds: Lighthouse Works’ 2020 Spring and Summer Fellowship Program

Lighthouse Works’ fellowship program received over 500 applications for 15 fellowships awarded for the upcoming Spring and Summer.

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Selected artists comprise less than 1:33, or 3% of applicants.

See all Art Competition Odds.

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Impressions

Top Seven: Syllabus, Glass Blowing, Parasite, Color Pen

Seven things I’m loving right now.

1. Lynda Barry’s Syllabus: Notes from an Accidental Professor

The simultaneous experience of looking, reading, and thinking in this mostly-hand-lettered and hand-drawn notebook explaining her curriculum and lessons on leading classes combining image and word made me want to reach out for my notebook and pencils and fill every page with abandon. I’ve been using exercises in my own studio to loosen up, and filing away other ideas to try with future workshop participants. Syllabus is published by the illustrious Drawn and Quarterly. I am working my way through it, to savor each section.

You can see Lynda Barry’s Face Jam Exercise on the NewYorker.com. It’s from another book of Barry’s, Making Comics.

Parasite_(2019_film)

Poster for South Korean film Parasite, theatrically released on May 30, 2019. Source: wikipedia.

2. Parasite (Bong Joon-Ho)

You don’t need me to tell you that Parasite is masterful, and very much worth viewing on the big screen. I’ll say it anyway, since I’ve been enjoying more films lately, especially films by people of color. It’s also really cool to see a foreign language film embraced by US audiences in record-breaking numbers.

A man wearing sunglasses using a gas torch on a molten ball of glass.

Still from Blown Away. Source: Netflix.

3. Blown Away

This Canadian reality TV series was released on Netflix this summer, and I just binge-watched it this week. Despite the fact that it’s a formulaic competition show with goofy hosts and oddball challenges, I loved it.

There have been other artist reality shows before, but none have necessarily revealed so much craft and skill. My heart went out to the glassblowers. Many were extremely skilled, and really deserved honors for their accomplishments, which were not afforded by the structure of the show.

My only other qualm is that the show didn’t show enough glassblowing technique continuously. They could have followed each individual project from start to finish for a half an hour and I would have loved every minute. The makers are casting for season 2. I hope they reconsider having students as assistants—it’s far too much pressure on the competitors and the students.

Blown Away made me yearn to blow glass again. I only did hot glass for two semesters in undergrad. It’s very addictive, like wheel throwing—once you get the bug, you just want to be blowing glass, challenging yourself, and being in the zone all the time. I miss that sense of being in sync with the material. Also, there were tools and techniques I never saw as a beginner glassblower that I wanted to try. I never pulled cane, or used a soffietta!

4. Pentel Color Pen Markers

The other week I was using markers from my set of 36 Pentel markers, when I realized that I’ve probably had this set of markers since 2015 or 2014. That would make these markers nearly 5 years old. All of the markers are still going strong. Granted, I don’t use them often, and usually only in small bursts for lettering, not for coloring. But still, that’s pretty impressive. I’ve had many ballpoint pens, gel pens, and calligraphy markers dry out or stop working; it’s refreshing when art supplies last.

set of markers in a yellow case.

Pentel Color Pen Fine Point Marker 36 Set. Source: uoduckstore.com

I just found, that on the Pentel site, you can purchase individual markers for 99¢ each. So even if one of the colors did run dry, you could replace it and not have a horrible gap tooth in your rainbow palette.

5. Feeling Good, Mel Day’s Wall of Sound Project

Mel Day is a California-based artist who as been collecting videos of individuals singing and compiling them into installations. She’s been scaling up (way up!) lately, by partnering with San José Athletics, Marching Band, Choirs, athletes, fans, students and community allies to create a new, “evolving series of participatory massed choral video works and half-time live singing events” around Nina Simone’s “Feeling Good.”

You can contribute by recording your video from the comfort of your own home. You don’t have to be a “singer” to sing! Learn more at wallofsongproject.com.

6. Museum of Capitalism at the New School, on view through December 10

Spoiler alert: The Museum of Capitalism is a speculative project that invited artists to imagine the artifacts leftover from capitalism in a post-capitalist future. I saw the original iteration in a sprawling Oakland building a few years back. (I am still moved by Packard Jenning’s installation of a guided meditation for riot police de-escalation.)

A new iteration was is on view at the New School, including contributions by friends Related Tactics and Nyeema Morgan.

When I visited the exhibition, it felt to me that I hadn’t seen anything like it in NYC, that I hadn’t been in conversations in NYC that envisioned post-Capitalist perspectives.

There’s only a few more days to see the show. Find the address and hours here: https://www.museumofcapitalism.org/museum-of-capitalism-new-york-city

7. Batalá NYC

Batalá is an “all women Afro-Brazilian Samba Reggae percussion band. Batalá New York is a part of a global arts project made up of over 30 bands around the world.” I recently heard them play as they accompanied an Afro-Brazilian dance class. Wow! The beat is palpable in your chest. There’s something so cool about seeing women embracing power and massive volume, with unity and coordination. Check out their videos on YouTube.

Batalá NYC are currently raising funds to travel to Brazil. Consider supporting their GoFundMe.

 

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Art Competition Odds

Twelve Months in Art Competitions, 2018-2019

Stats on my art competition applications from July 2018 through June 2019.*

Goals

My goals this past ‘goal-year’ included applying to:

  • Ten residency, studio programs or public projects to get support in NYC
  • Six exhibitions in NYC
  • Two grants ($3k minimum)

This adds up to 18 applications, which was too many. I’d set goals totaling 18 applications in prior years, and I need to be more strategic and deliberate moving forward.

Progress

I submitted 8 applications.

Some of these applications fulfilled multiple goals. For example, some residencies included exhibitions or stipends over $3k, so I counted those towards multiple goals.

Here’s how much progress I made towards my goals:

  • I submitted 7 out of 10 applications towards residency, studio programs or public projects in NYC:
    • residencies
    • studio programs
    • public projects
    • 1 purchase program (It was located outside of NYC, but funds could support my work in NYC, so I counted it towards this goal.)
  • I submitted 3 out of 6 applications for exhibitions in NYC.
  • I submitted 2 out of 2 applications for competitions that included over $3k of financial support, which I applied towards my grants goal.

There were two primary reasons for a low rate of applications. First, I was awarded a six-month residency, and I couldn’t apply to anything else that conflicted with those dates. Second, when application deadlines overlapped with the residency period, I chose to prioritize the residency. I just didn’t have the bandwidth to submit killer proposals. I chose quality over quantity.

Successes

I have received notifications for 6 of 8 applications submitted.

Of these six applications, I received residency and 1 studio program. My success rate was 2/6, or 33%, of the 6 entries that have responded to date.

If the remaining two applications are unsuccessful, my success rate would be 2/8 or 25%.


See my stats from 2017-20182015-2016, 2014, and 2013.

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Research

Resilience through Sports Psychology, Heartbreak, and Mindfulness

Three books related to resilience.

I’ve been interested in resilience since 2016. I wanted to learn more about how people recover from setbacks and major changes in identity.

I started by thinking about athletes recovering from major losses, enduring injury, or facing retirement. This was partly fueled by my own participation in athletics (competing in Brazilian jiu-jitsu last year, coping with chronic aches) and as a spectator (the mental or psychological preparation or fallout in Rhonda Rousey’s loss to Holly Holm, Rose Namajuna’s self-management which helped her dethrone Joanna Jędrzejczyk, Megan Rapinoe’s sense of self-driven purpose).


Jim Afremow, The Champion's Mind: How Great Athletes Think, Train, and Thrive.

Jim Afremow, PhD, The Champion’s Mind (2013)

[Find on IndieBound.]

I highly recommend this book for anyone who plays sports and wants to be more mentally prepared for competition. Practical, helpful tips for having the most conducive attitude in practice, in competition, in the face of loss, etc.


Competitive athletes face winning and losing on a regular basis. But loss is inevitable in everyone’s lives. We will all face grief. When you love, you can also lose your love.


Cover of Guy Winch, How to Fix a Broken Heart

Guy Winch, PhD, How to Fix a Broken Heart (2018)

This is a great little book written by a NYC therapist based on 20 years of treating clients. The focus is on heartbreak following the loss of romantic love, and heartbreak following the loss of a pet. Dr. Winch is keen to challenge social assumptions that provide accommodations for physical pain but not psychological pain, especially around these heartbreaks, which can be deemed insignificant compared to divorce or loss of an immediate (human) family member.

“We have been dealing with broken hearts for millennia and yet most of us know only two healing agents: social support and time.”

He explains: if other people deem our loss insignificant, they’ll withdraw social support, leaving us with only time,

“a variable over which we have no control, which is why heartbreak makes us feel so helpless.”

Dr. Winch describes several client stories of heartbreak and the unhelpful behaviors they engaged in. I found much of this very relatable.

He explains how love is neurologically like addiction, how heartbreak activates the same parts of the brain as a drug withdrawal. He goes over strategies informed by cognitive behavioral therapy, for things like moving towards closure and increasing self-compassion.

The book is published by TED Talks and is eminently readable. (I read most of it on two long subway rides.) Highly recommended.


What if resilience is a matter of preparation? What if you could train your brain to withstand setbacks—and the emotions and beliefs that follow—by becoming more mindful?

Like any job, my day job can entail stressors like shifting priorities, unexpected changes, long hours, and challenging personalities. Different tolerances and coping strategies are on full display (including myself, of course). I noticed that my co-worker D doesn’t let his feathers get ruffled. He doesn’t seem to get frustrated, upset, or impatient. I asked him about it, and he said, “A lot of meditation and prayer.” He keeps in mind a bigger picture and doesn’t sweat the small stuff.

This month, I gave myself a mini-mantra and suggestion: “Be Kind. Unwind.” I just wanted to give myself space and permission to feel and acknowledge my feelings (there are A LOT of them this month) instead of rushing from thing to thing—task to task, distraction to scrolly-scrolly to ruminations. In practice, I am trying to be more mindful.


Cover for Christophe Andre, Looking at Mindfulness: 25 Paintings to Change the Way you Live. International Bestseller. Illustrated with a painting by Caspar David Fredrick of the back of a man at a mountain summit looking over a cloud cover below him.

Christophe André, PhD, Looking at Mindfulness: Twenty-five Ways to Live in the Moment Through Art (2016)

[Published by Penguin Random House]

André is a psychiatrist and meditation practitioner who runs meditation groups for hospital patients. This is a beautiful book that uses old European paintings as inspirations for discourses on mindfulness.

“When we cling to our painful thoughts by ruminating on them, we solidify them. We ruminate on our ills and turn them into monsters. Rumination is the solidification of our mind’s chatter. Without meaning to, we turn an ordinary reaction into suffering.”

This next quote seems especially well-suited for striving New Yorkers. Or competitive athletes. Or artists who feel disempowered by the art world.

“We should go on making choices and pursuing goals, but without merging them, without obsessively clinging to success or perfection… We must do our best, in awareness and presence, but without seeing our effort, which depends on us, as less important than the final result, which does not depend on us alone…. We must stop thinking of our lives in terms of victories and defeats, seeing them instead in terms of the experiences that make us who we are.”

This is also about not being defined by your last project or bad review or win or loss. It’s about not tying your self-worth to an external indicator.

One question I keep coming back to in my work is “How do we keep our heart open?” To not become numb, scarred, hardened, or detached from the innumerable scary and traumatizing things in life. André writes,

“It’s true that access to these worlds of the present moment is made easier by external gifts [such as nature, beauty, etc.]… But it also requires a decision on our part to open ourselves up as often as we can to being touched, contacted, and struck by life. This is an act of deliberate awareness.”


 

I borrowed some of these books from Queens Library. I resolved to use the library more this summer, after “The People’s Guide to the Queens International” (my collaborative project partly situated at Queens Library branches) and probably the Marie Kondo effect. The more I use the library, the more it becomes habitual and convenient. Just yesterday, I used the bookmobile near my subway stop for the first time. I also like the enforced timeline of a loan—it motivates me to read.

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I loved this show! I love Maurice Sendak’s drawings, hand-lettering, and the whimsy, compassion, heart, and sensitivity in his work. This exhibit features Sendak’s sketches, watercolors, storyboards, and dioramas illustrating his designs for the theater. I really makes me want to draw more, and explore absurdism.

I can’t stop thinking about these sketches for costume designs. The first is from Where the Wild Things Are. The second is from A Love for Three Oranges.

Sendak-wild-things

Maurice Sendak (1928-2012), Study for Wild Things costume, with notes (Where the Wild Things Are), 1979, watercolor, pen and ink, and graphite pencil on paper. © The Maurice Sendak Foundation. The Morgan Library & Museum, Bequest of Maurice Sendak, 2013.103:19. // Source: TheMorgan.org.

Drawing of costume designs. Three figures. The two figures on the left show the front and back of the same person, "prince" in a body suit showing organs and bones. The third figure is a man a boat.

My photo of a page in the exhibition catalog, “Drawing the Curtain: Maurice Sendak’s Designs for Opera and Ballet.” // Find it in the Morgan shop.

There’s something just nice thinking about these drawings together. About bringing the inside out (your beastly feelings becoming a monstrous suit you wear and control), or making your outsides show your insides (the soft, vulnerable organs we’re all made of).

Through October 6
Drawing the Curtain: Maurice Sendak’s Designs for Opera and Ballet
Morgan Library & Museum


 

Also, if you’ve never listened to the Teri Gross’ interview with Maurice Sendak on Fresh Air, give it a listen. It will break your heart.

Sights

See: Maurice Sendak at the Morgan Library

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