Artfullly Awear

by Drew Martin

I recently stumbled across a blog that I cannot get enough of. It is Artfully Awear by Ariel Maile Adkins, where she merges fashion and art by putting together outfits that reference works of art. At first I simply liked the idea and responded to the joyful tone of her posts, but when I looked closer at this blog, which Adkins has maintained since 2010 with more than 180 posts to date, I found that it is much more than a whim of someone with an eye on fashion and the artworld. Adkins is an intense visual thinker and ingenious with the connections she makes. I reached out to her for an email interview.

Drew:
You must have the most amazing closet. Can you describe it....how it's organized, the size etc?

Ariel:
I really wish I could say that I have an amazing closet. In reality, I just don’t have the space for it! I’m always intrigued to see how clothing collectors like myself work within NYC spaces because it is a daily challenge. I’m a very visual person, so I always want to see everything that is currently inspiring me; hence, I’ve never been able to put things away in a closet, out of view. My living space has, essentially, become a place where my garments and accessories mingle throughout, both as utilitarian items and as decor.

Drew:

You obviously have an amazing grasp on art history/art world, and you are equally into fashion. I read that you studied art at FIT. Did you have a program that let you explore both equally? I also read you are from Virginia (I lived there for a stint). It's not exactly a fashion hotspot...how did you end up in NY?

Ariel:

Ever since I can remember, I’ve been interested in both clothing/fashion and art. During my undergraduate studies at the College of William and Mary in Virginia, I studied painting and drawing, earning a Bachelor of Arts in Studio Art in the idyllic setting of Colonial Williamsburg. Recognizing my need for a business perspective on art and sartorial inspiration, I applied to the Art Market Master’s program at Fashion Institute of Technology. During my time at FIT, I was able to acquaint myself with the New York art world and also gain insight into the art market, as well as the inner workings of art galleries, museums, and arts non-profit organizations. I also discovered a wealth of fashion inspiration, and my personal style and creativity began to thrive.

Drew:
Regarding your time in Colonial Williamsburg, did seeing all of those people in costume have an influence on you?....the playfulness of it? Theirs is an interpretation of history while yours is an interpretation of art.

Ariel:
The thing that most inspired my style from living in the surreal historical world of Colonial Williamsburg for four years was simply the idea of dressing up. I was interested in the colonial fashion, but was more interested in the idea that the re-enactors were taking on a persona when they wore certain clothing. Ultimately, clothing is an expression of cultural identity, and this is why we, individually, choose what to wear and when. Clothing is just one of the myriad ways that we are able to express ourselves, and I find daily fulfillment by expressing myself through the art that I experience and the clothing that I wear.

Drew:

How did you start your blog?

Ariel:

I photographed my outfits for a long time before I considered blogging. Before I had a digital camera, I kept an outfit journal for reference, and would sketch pictures of what I wore or what I wanted to wear. I began blogging around the time that I moved to NYC, but it took a few years for my Artfully Awear thesis to come about. I had been trying, unsuccessfully, to find a style sensibility that really reflected the way I dressed and how I wanted to look. In fashion magazines, it always seemed like you had to fit into a category: “bohemian”, “rocker”, “vintage”, “romantic”. Then one day I realized that my style didn’t fit into any one category. I was inspired by art, not fashion. From that point on, I began to truly identify my personal style, and Artfully Awear became a chronicle of the discovery.

Drew:

You have an Artfully Awear Facebook, Twitter and Instagram account. Which platform, including your blog, do you like most and why? Is there a Pinterest site in the works? What's your take on all the social media sites?

Ariel:

It’s a full-time job just to maintain social media! I spend a lot of time creating my Artfully Awear posts, so social media is appealing in its immediacy, but sometimes I fear that I just can’t get my point across in 140 characters or less. Instagram is the most natural outlet for me because I always take a lot of photos and it’s almost strictly visual.

Drew:

How many of your outfits do you buy, borrow, or make?

Ariel:

All of my outfits are bought, and all of the clothing on my blog is my own. I’m an avid thrift shopper, love sample sales and diffusion lines, and live for the occasional splurge. I like to make things as well, and have an Artfully Awear line of jewelry on the horizon.

Drew:

Who's your favorite designer and who's your favorite artist?

Ariel:

I will always love Marc Jacobs, Jean Paul Gaultier, Matthew Williamson, and Duro Olowu. I also like to find lesser-known, quirky designers, which abound in Brooklyn. My favorite artists are Yinka Shonibare, Ryan McGinness, Nick Cave, Willem de Kooning, Henri Matisse, Egon Schiele, and Pierre-Auguste Renoir.

Drew:

Do you start with an piece of clothing and work towards the art or are you more inspired by an artist and his or her work and try to find an outfit to match?

Ariel:

It works both ways. Sometimes, I’ll even have an artist or work of art in mind when I purchase a piece of clothing. Other times, I’ll see something I’ve owned for years and suddenly notice its affinity to a particular work of art or genre that I’d never realized.

Drew:

What is your day job?

Ariel:

I work at a non-profit organization with the mission to connect students and professionals in advertising, design, illustration, photography, and interactive media. Through our events and exhibitions in NYC and abroad, I have the opportunity to meet many creative people and to share ideas, which helps me to maintain inspiration in my personal pursuits as well as professionally.

Drew:

Is this a labor of love or is there something else fueling your blog and the other social media platforms?

Ariel:

Artfully Awear is, to an extent, a “labor of love”, as you said. However, it is a wonderful outlet for me, and has also been an avenue through which I’ve explored by personal style and also encountered some great opportunities, such as my partnership with Pantone, so I intend to keep it going as long as I feel inspired.

Drew:
I like when you include Pantone color swatches. When did you start including those in your posts? What is your favorite color?

Ariel:
I’m currently wrapping up a project sponsored by Pantone, in which I created outfits and ultimately Artfully Awear posts featuring a chosen palette of the Pantone trend colors of Spring 2014. It has been a fabulous challenge for me, as a lover of color, and it has simply been a dream to work with the Pantone team of color experts. My favorite color is green, and currently Pantone Green Glow 13-0442 TCX.

Drew:

I just did a site search for some artists...Richard Serra...nothing...and then my teacher for two years and mentor when I was at the University of California at Santa Barbara, Ann Hamilton (I studied installation art), and you have her!! Who are some artists you have not covered yet, but would like to explore?

Ariel:

I love Ann Hamilton and would be delighted to discuss her further with you sometime! I feel as though I’ve written volumes of posts, but there is still so much, art historically, that I haven’t covered. The vast majority of my posts are centered on Modern and Contemporary Art, specifically painting. I would like to continue to explore other time periods, such as Medieval, as well as genres, such as Conceptual Art.

Drew:

Where is this all heading? What are your dreams for this combination of fashion and art?

Ariel:

One day I would love to launch an Artfully Awear gallery/boutique showcasing artwork alongside garments and a forum for creative people to share inspiration. Whether it would be an online shop, modified from my blog, or take the form of collaborations, with pop-up gallery/shops within other stores or galleries, I think Artfully Awear could reach a wider audience with inspiration and influence. As I mentioned, an Artfully Awear jewelry line is in the works, specifically inspired by one of my favorite artists, so stay tuned.

Drew:

Thank you for your time.

Chasing Ice

by Drew Martin

Climate change is an earth-shaking subject. Personally, it never freaked me out (except for a period in college when I was worried we were running out of Oxygen) because our planet has always been in a state of flux, and the idea of warming up the chilling places I have lived actually sounds nice. I would not mind if my town in New Jersey got a bit more like Santa Barbara. Additionally, I am amazed at how adaptable humans are. I have jumped on a plane during the dead of winter on the East Coast and landed in the baking desert of California, only to feel great. And I have lived through five-year-long droughts, and in extremely polluted regions of the world. I did not like those conditions but I see how my lush, wooded environment could be turned upside down and still be habitable. But if we are in fact moving towards the worst-case scenario, a dead planet, then you've got my attention.

The arguments against climate change are shrinking as fast as the retreating glaciers around the world. It is hard to wrap your head around how fast we are losing these fjords and mountains of ice. A documentary that I saw yesterday, puts it into perspective.

Chasing Ice is about the obsession of a geomorphologist-turned-nature photographer,  James Balog, to visually record the affects of climate change in regions including Alaska and Montana, Greenland and Iceland. The logistical challenges of his program, the Extreme Ice Survey (EIS), pan out in this beautifully filmed documentary and give the viewer front row seats to some of the most amazing changes to our planet.

Balog's crew, a couple quirky guys, capture a five-football-length by 300-foot-high chunk of the Store glacier in Greenland breaking off and heading out to sea. The process is called calving, and it is uncommon to film such major calving. This inspired the team to try to capture even greater calving at the mother of all glaciers, the five-mile-wide Ilulissat glacier (also in Greenland). It is said that calving of the Ilulissat gave birth to the iceberg that sank the Titanic. After three weeks of "glacier watching" Balog's two young assistants witnessed and captured the calving of area the size of lower Manhattan.

Balog comments,

Photography for me has been, as much as anything, about a raising of awareness. Through that camera, we become vehicles to raise awareness outside my own experience. And in this case, we're the messengers.

Click here to watch the trailer for Chasing Ice.

On a completely different note, if you want to see a Czech film I like with a good calving scene, of a real calf, watch The Country Teacher. Click here to watch the trailer.

Game of Thrones and Crowns: Heavenly and Global Visionaries

by Drew Martin

The American garage is an incubator of innovation. With no/low rent and fit-to-suit raw space, any idea can hatch, spread its wings, and take flight. The most famous garage success is Apple. We do not often relate garage to art because a garage space would typically be converted into, and then referred to as a studio.

Yesterday I had the chance to see real garage art - The Throne of the Third Heaven of the Nations’ Millennium General Assembly by James Hampton. He was a janitor in Washington, D.C. who spent the last 14 years of his life working on The Throne, which he made with gold and silver aluminum foil, and colored paper over wood furniture, paperboard and glass. It went undiscovered until his death in 1964, when it was found in his garage.

The Throne is part of a permanent collection of the MacMillan Education Center in the Smithsonian American Art Museum and National Portrait Gallery. The MacMillan Education Center is dense with outside artist paintings, sculptures and craft objects, but The Throne commands the gallery space. One of the plaques by this recessed installation says it is "praised as America's greatest work of visionary art." Hampton posted Proverbs 29:18 in his garage with The Throne,

Where there is no vision the people perish.

Speaking of visionaries, there is a fantastic show on the third floor of the museum, Nam June Paik: Global Visionary through August 11, 2013. I was in D.C. for a day and could only spend a half an hour in the National Portrait Gallery so I decided to do a run through. This might sound uncouth (I wasn't actually running) but it is a fascinating way to visit a gallery and deal with the typical fatigue and overwhelming sensation we get when we spend the day in a museum. It is best to devote undisturbed time to one object but museums make us want to see everything. The nice thing about flying through gallery spaces is that you are hawk-eyed and focus on one or two things.

The works that stopped me dead in my tracks were Hampton's  The Throne and Nam June Paik's Electronic Superhighway: Continental U.S., Alaska, Hawaii. This piece is in the Lincoln Gallery and is a mural-sized representation of the United States with neon lights defining state borders and clusters of television sets within each region playing content related to that region. For example, Oklahoma features Oklahoma, the musical. I noticed New Jersey shows Allen Ginsberg, and someone told me later in the evening that Washington, D.C. is a security camera display of the viewer looking at that area.

The Special Exhibitions space on the same floor has more than 60 of Paik's works for the show. There are several walls of television screens that are as stimulating as Times Square. The works that I found most mesmerizing, and quite beautiful actually, are three of his TV Crowns. Paik used the television in each case to not broadcast content, but rather to generate content by feeding the sets with audio signals, which create rotating and gyrating rainbow-colored wreaths of light.

A young man from the museum was explaining the TV Crowns to three polite women when I wooshed by and screached to a stop on my heels to listen in. He explained that the effect was only possible with the old television tube technology and that once the tubes are gone there will be no way to show these works in their original. It is a strange thought to pull bygone television tubes into the realm of art conservation.

Later in the evening a friend told me he used to live on the floor beneath Nam June Paik. He complained that Paik's wife made too much noise in her clogs and then revealed that he turned down Paik's offer on several occasions to trade his work for this friend's photography services.

Dust Is A Contemporary Witness

by Drew Martin
I grew up in a very tidy and clean house, and yet when I used to sit by a window with sunlight streaming through it,  I would marvel at how the air seemed to be filled with dust; tiny fragments, which floated about like plankton, unaffected by the laws of gravity observed by everything else in my room.

I just watched an interesting German documentary, Dust, which examines house dust (made up of our hair and skin), industrial dust (coal, limestone, asbestos, etc.), land dust that gets kicked up and travels thousands of miles across continents and makes clouds possible, and stardust, which yields new planets and stars.

The film features candid but emotionless interviews with a number of scientists, industrial workers and even a house-proud homemaker who goes so far as to dismantle her television so she can soak the back panel in the tub while she continues cleaning inside it.

The arts are featured as well. The film shows art restorers who clean precious antique statues. There are a couple scenes of dust being cleaned from museum spaces, sculptures and paintings. Two artists collaborate and feature dust as a theme of their paintings and other art projects. My favorite was a third artist who set up her studio as a laboratory and morphologically arranged dust samples by the Linnaeus system used by biologists. Some of her quixotic comments include:

Dust and science both belong together, and they don't. Dust is a kind of interface. There's something philosophical about it. It has a scientific side to it but also an everyday side. To me, dust is a kind of proto-matter. It is a phantom particle. It exists out of the public eye. Yet it essentially has the potential to create matter.

Dust is a contemporary witness. We are always emitting dust. It is essentially the "personal cloud" around us.

Dust needs people. Man, culture creates dust, the dust we know at home. but on the other hand dust needs our absence in order to collect and grow. It's always going back and forth. It is like Leibniz said, like a herd where something is added and something is taken away. And the herd needs interaction between man and his environment, and between men themselves. Dust is a partner. We shouldn't forget. It belongs to us. Man wants to keep the dust out, but it's one of his very own mediums in a certain sense. Dust is the sediment of Creation so to speak.

Click here to watch the trailer for Dust.

The Art of Jobs

by Drew Martin

I took this picture of a New York Chinatown storefront last year, which had a Chinese version of Steve Jobs by Walter Isaacson next to the Art of War. I finished reading Steve Jobs last week, ironically on an old Kindle. It was my first read on a Kindle. I thought I would hate the experience but I love the screen, which only gets clearer in sunlight (as opposed to the glare of an iPad), and I found it more enticing to pick up and read here and there than a hard copy. Isaacson is particularly good at writing about the relationships people had to Jobs in this warts-and-all biography. I finished it with a new found respect for the prickly, but driven character of a visionary who earned a place in history next to Henry Ford and Thomas Edison. What I learned most from the book, is how the quality of the Apple product (while Jobs was running the show) came before everything else. If there is a flaw to the book it is that Isaacson brings you into what he often references as Jobs's reality distortion field, which leaves you marveling at everything he pulled off without really questioning the deeper meaning and long-term affects of Apple's push to dominate so many markets and industries. I did appreciate Isaacson's candid explanation of Jobs's dependence on Bill Gates at several times in his career, and how certain marketing ideas, which we associate with his brilliance, were really something he actually objected. These included his insistence on wanting their groundbreaking computer to be called the Bicycle, instead of what won out, the Macinotsh, and his initial dislike of the famous iPod dancing silhouettes, which Lee Clow of the advertising agency TBWA\Chiat\Day stood firm to keep. Clow was also the man behind the famous 1984 Superbowl commercial for the Macintosh.

She's an Upton Girl Living in a Lonely World

by Drew Martin
When Jake Davidson, a 17-year-old kid from Los Angeles, asked supermodel Kate Upton to be his date to his senior prom this year, the video he made for the proposal went viral. The story got picked up by the press, which tried to make it happen. Upton could not swing it so Nina Agdal ("Rookie of the Year" from the 2012 Sports Illustrated Swimsuit Issue) stepped up to the plate. Agdal, a Dane, not only made Davidson's prom fantastisk but she got to experience this American rite of passage. Davidson's video nods to The Graduate and Ferris Bueller's Day Off and it starts with the stereotypical unlikely boy gets girl plot and lets the fate of social media complete it. It's funny, especially the line "I'm ... 5'9" on a really good day." He admits he cannot dance and then says that her Cat Daddy video should have won an Oscar for Best Short Film. In the video Upton dances to Cat Daddy by Rej3ctz in a string bikini at a Terry Richardson photo shoot.

Click here to watch Davidson's proposal
Click here to watch Davidson's prom night with Nina Agdal
Click here to watch Upton demonstrating the Cat Daddy

Click here to watch the Rej3ctz Cat Daddy video

Being Human

by Drew Martin
When I was younger, I understood human evolution as an enlightened selection process that intelligently separated us from our ape ancestry, but more recently I have been thinking about it as a random offshoot due to abnormal brain deviations, around which our race jerry-rigged societies.

I usually find something redeeming in every movie I endure, but two films I watched during the past week left me questioning the advance of civilization. Last week I watched Meet the Fokkens, about twin sisters who worked as prostitutes in Amsterdam's Red Light district into their senior years. Although they were smart enough to shake their pimps, run their own business, and set up a trade union for their profession, I felt like I was watching two creatures bumble about their zoo enclosure for the whole movie. That being said, the film climaxes in a joyful art opening of their paintings. 

Today I watched The Woman Who Wasn't There, which is an unbelievably bizarre documentary about Tania Head (actually Alicia Esteve) who had the most dramatic 9/11 survivor story: she escaped the burning aftermath from the impact of the second plane to strike the World Trade Center, nearly had her arm amputated, and lost her newlywed husband in the first tower that was hit. But, she made it all up. Hailing from Barcelona, she was actually in Spain on that dreadful day and had no relations to any of the victims.

To get the bad taste out of my mouth, I watched Tom Papa - Live from New York, which was thoroughly entertaining and has restored my faith in humanity. I went to high school with Tom and knew he had become a successful comedian but never watched any of his performances.

Click here to watch the trailer for Meet the Fokkens.

Click here to watch the trailer for The Woman Who Wasn't There.

Click here to watch the trailer for Tom Papa - Live in New York City.

Happy Birthday Keith Haring!

by Drew Martin

Today is Keith Haring's birthday. He was born 55 years ago but died when he was 31.

Simply put, Haring was the one of the most prolific and fluid artists of all time. He could paint the side of a building in a day, and did a series of murals around the world. He even painted a blimp. Most importantly, Haring probably had the biggest heart of any artist. He loved kids and did many community-based art projects. He saw his radiant baby as the symbol of humanity, reasoning - why would we invest so much in a mouse (Mickey) when there is nothing as special as a newborn.

I finished reading his diary, Keith Haring Journals, three days ago. The first entry is April 29, 1977 in Pittsburgh. The last entry is September 22, 1989, from Italy. Haring died almost five months later, February 16, 1990, because of AIDS.

Haring's Journals never waver from his intense interest in and through knowledge of art. A continued thought is that he is happiest when he is working, not in a workaholic way, but because that is when he was most alive.

Haring was a good friend of Andy Warhol, and in his mind, he was the next step because Warhol brought pop into the artworld, while Haring brought the artworld into pop. The truth is, he was the first artist to make art a real language, comparable to hieroglyphics and pictographs. His work was informed by these visual linguistic predecessors, and was influenced by Morse code, which was a hobby of his father, along with drawing cartoons.

Unfortunately, despite all his successes in his brief lifetime, Haring was often given the cold shoulder from the art establishment and was too often glanced over and misunderstood by his immediate public audience. The end of his July 26, 1988 entry is telling:

We had a long discussion trying to figure out Japanese understanding of American culture, particularly me. Through trying to answer their questions about my situation in the past and present in Japan, I came to explain how I felt I was losing my naive confidence in the Japanese understanding of (or capacity for understanding) my work. I had always felt that the things people responded to in my work were tied to their own traditions of the "sign" and the gesture and the concept of the "spirit of the line" that is so evident in sumi painting and calligraphy. I thought people here were more receptive to my work than Westerners because they understood it and felt it more clearly and deeply. The proliferation of all the imitations has taken away some of my confidence. The things that are copied are usually redrawn and therefore the whole "power" of the line is lost. This is very distressing to me since I believe the very essence of my work rests in this concept of the "gesture" and the "spirit of the line" to express individuality. The only thing that remains is the concept or the "cuteness" and the fashionable hype. I really wanted to believe that people here loved the work for the right reasons and that they were even more in touch with it than Europeans and Americans because they "felt" it and "read" it in this way. I still believe that this is the case, but only in the minority. The majority of people only know about my work from all the things they see on clothes and in magazines. This is not a bad thing, necessarily, but it is a fact. I mean, I am a new phenomenon that is neither "good" nor "bad" or "right" or "wrong." It just is what it is. My challenge now is to deal with this situation and try to go forward by continuing to work and define my position and my art. I believe that in time all things will become clear.

Trans-Siberian Tokyo, Lost in Transition

by Drew Martin
I just saw a really interesting documentary called Girl Model (by David Redmon and Ashley Sabin), which actually works extremely well as a fictional movie. It left me with a haunting feeling, like I had just seen Rosemary’s Baby or something equally twisted.  There are two main characters, Ashley Arbaugh, a former model turned model scout who specializes in finding fresh teenage faces from Russia to bring into the Japanese fashion market, and Nadya, a noodle-thin Siberian girl who gets plucked from obscurity in Novosibirsk and sent to Japan to bunk with fellow Russian, Madlen. The two young girls are like fish out of water in Tokyo. They go to casting calls but get little work, and finally return to Russia, downtrodden and more than $2,000 (each) in debt to their agency.

The saddest part is that they come from beautiful, loving families, and a simple lifestyle. Nadya grew up sharing a bed with her bright-eyed grandmother, and takes saunas at home with her mom, who informs her that the Japanese sometimes only have a shower stall in their apartments. It is an absurd idea that makes them laugh.

The scout, Ashley, is a mid-thirties wicked witch of the West, who hated being a model but now fuels the inferno. She is pretty, but frigid, and lives alone in a spare modern home in Connecticut, shared only with two rubber baby dolls. She talks about wanting to have a baby but what we witness is something quite unsettling and a little freakish. Ashley has an operation to remove a large fibroid and cyst from her reproductive organs. She describes the fibroid as being the size of a baby’s head, and then shows a picture of a huge cyst: her egg developed so much on its own that it is topped with blond hair.

After going through the whole tragic cycle with Nadya, the film ends with Ashley back in Russia explaining to a small, local film crew that she is looking for new faces to bring to Japan. She promises “…every model has success in Japan, unlike other markets, where they might go into debt; they never do in Japan, they only win.” We see her selecting her next model, Maria, a 13 year old from Novosibirsk. It is like the final scene of a horror film, where the villain walks off in search of his next victim.

Click here to watch the trailer.

Steve Jobs: The Lost Interview

by Drew Martin
I am not an Apple fanatic or a Steve Jobs fan, but yesterday I watched a fascinating interview with him, Steve Jobs: The Lost Interview. It was discovered in 2012 and features Jobs in 1995, a year before he returns to Apple. At the conclusion, a text screen reads: What followed was a corporate renaissance unparalleled in American business history. With innovative products like iMac, iPod, iTunes, iPhone, iPad, and Apple Stores, Jobs turned an almost bankrupt Apple into the most valuable company in America.

When Jobs speaks about Apple standing still after his departure, and that it is slowly dying without him, it is hard not to think he is speaking from the grave with all of the negative press about plummeting Apple stock and much criticism over its behemoth new headquarters construction project.

This interview is fascinating because he digs deep to reflect on the previous successes of Apple. He returns many times to the concept that there is a lot of craftsmanship between a good idea and a good product.

When asked about his vision, "How do you know what is the right direction?" Jobs gives one of his most thoughtful answers:

Ultimately it comes down to taste. It comes down to trying to expose yourself to the best things that humans have done. And then try to bring those things into what you are doing. Picasso had a saying, he said 'good artists copy, great artists steal.' We have always been shameless about stealing great ideas. And I think part of what made the Macintosh great was that the people working on it were musicians, and poets, and artists, and zoologists, and historians who also happened to be the best computer scientists in the world. But if it hadn't been for computer science, these people would have been, you know, doing amazing things in life in other fields. And they brought with them - we all brought to this effort - a very liberal arts air, a very liberal arts attitude that we wanted to pull in the best that we saw in other fields into this field. And I don't think you get that if you're narrow.

I love the simple influences he mentions that shaped him. One example is of an article he read in Scientific American when he was much younger about the locomotive effectiveness of all creatures on Earth. Humans scored poorly, in the lower third of a study that ranked the condor above all other animals. But, as Jobs marvels, someone had the brilliance to include a human on a bicycle, which blew away the condor. He used this as a metaphor to promote computers as the amplification of our mental abilities. An early advertisement for the company referred to Apple as the bicycle of the mind.

Steve Jobs: The Lost Interview is a must-see for all designers, start-up entrepreneurs, and business leaders. There is a lot of advice and warning in his responses. He says people and companies get confused when they get bigger because they try to replicate their initial success; they think the magic is in the process, so they institutionalize the process. Process is mistaken for content, but it is the content that makes a great product.

Click here to watch the trailer.

How Much Does Your Building Weigh?

by Drew Martin

In the April 8 - 14 issue of Bloomberg Businessweek there is the article by Peter Burrows, Spaceship Apple. The introductory blurb reads,

Steve Jobs hired architect Norman Foster to build the greatest headquarters known to mankind. As construction nears, the project is behind schedule, a billion over budget, and shaping up as an investor relations nightmare.

It is a cautious tale of the creepy utopic vision shared by two control freaks, and it makes you feel like you are bearing witness to a dying star, which first explodes in great volume before collapsing upon itself.

Today I watched How Much Does Your Building Weigh, Mr. Foster?  Foster's mentor, Buckminster Fuller asked a dumbfounded Foster this question. This inquiry led to a second act of architectural exploration with projects such as Hearst Tower in Manhattan, which was designed as a diagrid that uses 20% less steel than a similar sized skyscraper built with a conventional box structure.

Fuller, not Foster, is the person who coined "Spaceship Earth," which the title of Burrows' article references.

How Much Does Your Building Weigh, Mr. Foster? is a beautiful film. It is clean and precise. It is a designer's dream vision and a classic tale of rags to riches. Design and architecture are often inspired by the arts, and in this case there is a nod to the role of drawing:

Norman never stops drawing. He communicates in the most effective way through a sharp pencil and a beautiful block of paper. In his cars there are fresh notepads and freshly sharpened pencils just in case something comes to him. He is always drawing; drawing, drawing, drawing. It's the way he thinks. It's the way he argues points. You can see the buildings take shape. His lines are very spare, but very expressive, in a very economical way. Just like Norman.

Click here to watch the trailer for How Much Does Your Building Weigh, Mr. Foster?

The Intergalatic Nemesis

by Drew Martin
I remember discussing the future with my middle school friends as we walked around the quiet streets of our suburban town in New Jersey during the mid 80s. We all knew exactly what we were going to do. I was going to be an artist, and my good friend Jason Neulander was going to be an actor. Jason was multi-talented and was in all the school plays. When we were even younger, in elementary school, we used to collaborate on books. He would write them. I would draw them. We went our separate ways for college on different coasts and never really kept in touch after that.

I am so proud to say that Jason is living the dream. He wrote, and now  directs a live-action graphic novel called The Intergalatic Nemesis, which combines comic book visuals projected on a big screen and live stage performance in a radio play style. The Intergalatic Nemesis just wrapped up a week of performances at The New Victory Theater on 42nd Street in Manhattan is now moving on to Canada, Scotland and around the United States.

Click here to watch a trailer of the performance and to see more information about The Intergalatic Nemesis.

Buskers

by Drew Martin
Today I watched Buskers, a documentary about the acts and lives of street performers. It is a pretty candid portrayal of the scene. It takes a certain kind of person to endure the harsh conditions of this day-to-day, dollar-by-dollar (euro by euro, etc.) existence where a good "spot" is defended tooth and nail, and the future means tomorrow. All the buskers say they do it for the freedom, as well as the interaction with the audience. One guy compares it to an extended orgasm. Another guy says it is the only way he can interact with people. During and after a good act, they feel liberated and loved. Some even say they feel god-like. A bad act creates a feeling of complete dejection because street performers are selling themselves so it is a very personal rejection. A few people call it a house of cards. Bad weather, by-the-book cops, and homeless guys who run off with a day's earnings are a few reasons to think twice about ever wanting to depend on street performance for a living. But the liberty, whim of travel, and the fact that this is most immediate way to perform keep most buskers hooked. One busker spoke about the magic of showing up on a nondescript slab of concrete, setting up his act, and performing as a higher calling.

My own brush with busking started at school. I invented and made the typar, a 40+ stringed instrument constructed from an old, manual typewriter, piano pegs, guitar strings, a tiny amplifier and  scrapwood. I played it by typing on the typewriter and it sounded something like a twangy sitar, hence the term I coined, typar. I made it and showed it in my honors program exhibition in 1991 at the University of California at Santa Barbara, and I played it at a few gigs around town, but those seemed too prepared so I took it out in buskers' fashion and played it on campus. About a year later, in Europe, I created a snake-charming act with a puppet snake in order to make money after being mugged. I think what I liked most about it was plopping down in a buskers' zone where the performances were pretty routine. My act was quirky and poked fun a little at the kids who performed Beatles songs all day to shake the tourists of their money. I never made a lot of cash but was most amused when I got coins from countries where real snake-charming was an actual thing. I performed mainly in parts of Spain, and then in Prague. I did it a couple days in Amsterdam as well. Once I was walking down the street in my get-up and an American woman saw me and remarked to her girlfriend, "I love Amsterdam!" The biggest rush was getting over the fear of performing in public, until it became routine. It is a pretty empowering feeling to break the rules of how you are supposed to conduct yourself in public. Seeing Buskers today sent shivers down my spine. I do not know how people can maintain that way of life for long.

Click here to watch the trailer for Buskers.

Falling Man

by Drew Martin
The opening credits of Mad Men is of a suited man falling past glassy skyscrapers as billboards. By the sixth season of the show this falling man image has culturally usurped the specific reference, Robert Longo’s 1980s' series Men in the Cities, for which he photographed, projected, and then trace-drew sharply dressed friends in contorted and collapsing positions, which commented on the corporate decadence of the 80s. When Mary Harron adapted Bret Easton Ellis’ American Psycho, starring Christian Bale, she made the focus of this cocaine-snorting Wall Street banker’s swanky flat a couple of oversized prints from Men in the Cities.  It was perfect décor for this button-down character who we later see chasing a hooker around his apartment building with a chainsaw while wearing only a pair of white tube-socks. Longo’s images took on a very different meaning on 9/11 by zooming us in on the many traders who jumped to their deaths from the burning Twin Towers. The casualties of Longo’s black-suited men moved from personal and moral conflicts to victims of terrorist acts. The opening credits of Mad Men combine the 9/11 reference with Longo’s imagery to comment, and perhaps predict, the decadence and moral fall of Don Draper and his colleagues as an updated fall of Icarus.