Archive for “art”
As I was shedding my last bunch of rupees at Indira Gandhi Airport in New Delhi, I quickly snagged a copy of Vogue India to read on the plane. I was curious to see how different it felt from the American version, especially after spending two weeks crisscrossing Northern India.
One thing I’d been warned about before arriving is that women on the street do not – I mean DO NOT – wear the kind of revealing clothing that you see in Bollywood films. Head to toe covering is the standard; even short sleeves are pretty rare. Even when it’s hot. Scorching hot.
Billboards and TV ads in India reflect the bodacious Bollywood ideal, but I can’t recall seeing anybody dress like that in even the glitziest restaurants and hotels in Delhi.
Much of the recommended clothing in the editorial portions of the magazine also defied street conventions, including shorts, short skirts, form-fitting or whisper thin dresses (a big no no, I was told), and long skirts (OK) with equally long slits (absolutely not OK). There was also a gorgeous swim suit spread, but I had to wonder: where in India could they be worn? As far as I could tell, Western-style hotel swimming pools would be the only acceptable place.
Similar to American Vogue, the Indian version featured profiles of successful women, including a comedienne, a radical novelist, and a slough of Indian art collectors in Dubai. The issue had a very global feel – it was, for instance, the first place I glimpsed Adidas’ fresh new World Cup garment collection, which they concocted in collaboration with The Farm Brand, a Brazilian fashion label.
I wasn’t surprised by the insane number of jewelry ads; women in India are often not allowed to have bank accounts or real estate assets, but the jewelry is often all theirs (check out this NPR piece about Indian women’s obsession with gold). Read the rest of this entry »
Guy Raz interviewed me about the culture of copying in the fashion industry in what he called “maybe our best show ever.” During the TED Radio Hour, we discussed the cult of originality and the fashion industry’s constant creative incursions into the archives of fashion. The show also includes Steven Johnson on where ideas come from; Mark Ronson on sampling in the music industry and Kirby Ferguson on the ubiquity of remixing. Check it out and let me know what you think!
Last week I attended a high-caliber symposium co-sponsored by the National Endowment for the Arts (NEA) and the UK’s Cultural Value Project. They brought together a dizzying array of researchers (demographers, cognitive scientists, arts policy wonks, “recovering” academics, etc.) to discuss how we ought to measure participation in arts and culture on the local, regional, national and global scale.
“Participation” and “engagement” are key metrics for arts institutions and their funders. But the inquiry often ends right there. I think the vast majority of people in the arts – including artists and administrators – take it as a given that art has a beneficial effect on society. I happen to agree with them. Wholeheartedly. But many powerful people in this world – including those who hold the purse strings – are not necessarily convinced. Funding for the arts is paltry compared to expenditures on science, where, lo and behold, we have a lot of convincing evidence about the importance it holds for humanity. Read the rest of this entry »
For several years now, I have been on the board of an experimental literary press where we have spent a great deal of time trying to figure out how to keep the printed book vibrant and alive. At Les Figues Press, we decided to publish books in unique dimensions and we coupled each author’s work with the visual work of another artist, hoping against hope that the resulting physical object would convince even the most cyber-savvy readers to purchase our special little hunks of pulverized tree.
So I contantly keep my eyes peeled for efforts to revitalize interest in the printed book. My most recent encounter with an inspiring innovation was in Medellin, Colombia, where the intrepid forces behind Proyecto Liquido – a group that explores the overlapping territory in fiction, art, science and technology – had transformed an online short story published 18 years ago into a surprisingly layered tactile experience.
With a black rubberized cover (not unlike the one on my iPad), Kij Johnson’s Chicas Miticas (Myth Girls) feels more like a machine than a book. Everything inside is dual: from the bilingual translation (Spanish and English) to the double-sided format (the book is basically composed of two pamphlets facing one another). While one side is devoted to a disturbing tale about the terrible cost of freedom, the opposite renders the story into sleek, hyper-polished illustrations by Oscar Gonzalez, one of the five collaborators who transformed Johnson’s story into this unique material object.
If the book were simply illustrated, and bound in this surprising way, it would have been arresting enough. But three pages into the lushly animated version of this stark tale, you finally see a depiction of the main character, but only from behind, and rendered on vellum, so that you can see her ghost-like presence in two inhuman vistas, extended by a trifold. A few pages further in, you reach the material heart of the work, where lush illustrations bleed into layered vellum inserts and – I kid you not – a ripped quilted jacket is sewn directly onto the page. Read the rest of this entry »
One of my favorite performances at TEDxUSC this year was by the actress and writer Dinah Lenney, who explored the connections between life and art. I can’t help but think that her training as an actress has made her a bit more sensitive than the average writer is about the “reality” of fiction and the visceral connections it forges between representation and material existence. Through a series of poignant and funny tales, Lenney explains why it is that she is more awestruck by a painting of a tree than the tree itself. To her, it’s the human intervention, the longing to capture in art something that simply occurs in nature, that gives her a sense of awe.
I was reminded of Jean Baudrillard‘s infamous formulation of the simulacrum: he argued that a really compelling representation of something (a picture of a sunset, for instance) may all too easily become the primary referent for the real thing (e.g., the actual sunset). Whenever you find yourself saying, “Hey! That looks just like a postcard!” then you have become subject to the allure of the simulacrum. But while Baudrillard bemoans the dehumanizing aspects of this displacement — this re-placement, as it were — Lenney celebrates it. She sees how important the witnessing of that sunset actually is: a human tried to tell us about it through a postcard, and the message was received.
Viva la simulacra!
I’m really excited to be a judge for the Core77 Design Awards this year. The marvelous Mariana Amatullo, Co-Founder and Vice President of Designmatters at Art Center College of Design, is our jury chair for the Educational Initiatives category. The deadline is April 10, 2012: so submit now!
This year’s program presents 17 categories of entry, providing designers, researchers and writers a unique opportunity to communicate the intent, rigor and passion behind their efforts. The top professional and student entries receive the Awards trophy and the opportunity to attend a celebration in New York City, and all honorees will be published in the Awards Gallery, across the Core77 online network and in the awards publication. Early registrants receive a limited-edition 2012 poster designed by Studio Lin.