Wednesday, May 6, 2009
Sunday, May 3, 2009
Keep me in mind
We could talk about Jean Arp, we could talk about David Shrigley, and surely we could sing the praises of Henry Darger all night long, but why not discuss a lesser-known artist? How about someone fantastic and unique and not quite so lime-lit? How about the lovely work of Donald Mitchell? (See above.)
It was through Creative Growth (an art center in Oakland, Ca. dedicated to providing top-notch materials, instruction, and exhibition/promotion opportunities to artists with disabilities) that I first learned of Mr. Mitchell. I don't know much about him personally, but from what I understand Mitchell's work has made a profound change over the years. His early pieces at CG consisted primarily of what his mentors and critics refer to as "obsessively crosshatched fields of lines". These lines would cover the entire page in a stressed, chaotic fashion and hide any trace of underlying images from the inquisitive observer. Perhaps there was a secret picture beneath the picture? A story within a story? Then, several years ago, Mr. Mitchell started to bring to light the faces and forms that he had buried beneath the lines on the page, and when he did he revealed curious figures that, to me, are a wonderful representation of dark and light, playfulness and tension. They are oddly sweet, like something that might hang in a nursery, but they also feel like they express an intriguing social commentary: a world of similar figures all stacked on top of each other, with each thinking "Hey- you're on my head". Now, after all these years, his trademark has become what his proponents call "a tightly composed, graphically sophisticated page of crowded figures". I find them enchanting up close, beautiful from afar, and his process definitely worth contemplating. No longer on the lesser-known list, Mitchell exhibited his work in 2007 at Gavin Brown’s enterprise, New York, and ABCD, Paris. I remain a devout fan of Donald Mitchell for the hidden treasure of his artistry, and of Creative Growth for their dedication to encouraging and supporting the arts for all.
It was through Creative Growth (an art center in Oakland, Ca. dedicated to providing top-notch materials, instruction, and exhibition/promotion opportunities to artists with disabilities) that I first learned of Mr. Mitchell. I don't know much about him personally, but from what I understand Mitchell's work has made a profound change over the years. His early pieces at CG consisted primarily of what his mentors and critics refer to as "obsessively crosshatched fields of lines". These lines would cover the entire page in a stressed, chaotic fashion and hide any trace of underlying images from the inquisitive observer. Perhaps there was a secret picture beneath the picture? A story within a story? Then, several years ago, Mr. Mitchell started to bring to light the faces and forms that he had buried beneath the lines on the page, and when he did he revealed curious figures that, to me, are a wonderful representation of dark and light, playfulness and tension. They are oddly sweet, like something that might hang in a nursery, but they also feel like they express an intriguing social commentary: a world of similar figures all stacked on top of each other, with each thinking "Hey- you're on my head". Now, after all these years, his trademark has become what his proponents call "a tightly composed, graphically sophisticated page of crowded figures". I find them enchanting up close, beautiful from afar, and his process definitely worth contemplating. No longer on the lesser-known list, Mitchell exhibited his work in 2007 at Gavin Brown’s enterprise, New York, and ABCD, Paris. I remain a devout fan of Donald Mitchell for the hidden treasure of his artistry, and of Creative Growth for their dedication to encouraging and supporting the arts for all.
Saturday, May 2, 2009
Dreamy, dreamy
I know, I know- The runway shows are always a season ahead. And I, too, love to look forward to the nubby scarves and ankle boots of autumns to come, but not when it's 83 degrees outside. There's something about admiring spring lines in the spring that makes me much happier. It also seems to make a bit more sense, non? So who better to start off my list of this season's lovables than the star of urban chic, Isabel Marant. This collection is, as all her collections are, a seamless dream come true. Floating lacy tops, short-short-short shorts, and silky slip-style dresses (with a little something extra) are all pretty much...well, perfect- without being too soft. My favorite places to indulge in these delicacies? On the west coast it's Nida in Hayes Valley, and in my neck of the woods (Brooklyn) it's all about Bird.
Friday, May 1, 2009
We could make such beautiful music together
"The couple that prays together, stays together." To each their own when it comes to that particular platitude. Perhaps the old adage should be "the couple that sings together, stays together," or at very least they produce some wildly successful "hymns" in the sphere of pop music. This type of symbiosis is obviously not a new concept in the art world. Even without popular music being the area of one's expertise, most can rattle off the names of at least a few lovebirds who have crooned together quite memorably. Looking back just at the sensations that were John and Yoko, Gainsbourg and Birkin, and Cash and Carter lends one to believe there is a certain magic in the collaboration of two highly talented and romantically entwined artists.
It should come as no surprise that this tradition continues with lesser-known indie bands such as Little Joy, The Bowerbirds and The Rosebuds, who have all recently emerged and serenaded us with their creative chemistry. Collaborating creatively with one's better half may just be one of the best old ideas musicians have had. Be the artists lovers or just dear friends, working together appears to be a very simple and key ingredient in creating some of the most lovable music our time. Musicians and sweethearts, take note.
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