Brain Pickings

Posts Tagged ‘art’

28 APRIL, 2014

Drawing Autism: A Visual Tour of the Autistic Mind from Kids and Celebrated Artists on the Spectrum

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Pattern-recognition, demon-taming, and a humbling invitation into a different way of experiencing the world.

Autism and its related conditions remain among the least understood mental health issues of our time. But one significant change that has taken place over the past few years has been a shift from perceiving the autistic mind not as disabled but as differently abled — and often impressive in its difference, as in extraordinary individuals like mathematical mastermind Daniel Tammet or architectural savant Gilles Trehin. And yet despite the stereotype of the autistic mind as a methodical computational machine, much of its magic — the kind most misunderstood — lies in its capacity for creative expression.

Three years after the original publication, New-York-based behavior analyst Jill Mullin returns with an expanded edition of Drawing Autism (public library) — a beautiful and thoughtful celebration of the vibrantly creative underbelly of autism, featuring contributions from more than 50 international graphic artists and children who fall somewhere on the autism spectrum, with a foreword by none other than Temple Grandin.

Kay Aitch: Lost in Thought

For artist Kay Aitch, who was diagnosed with Autism at the age of fifty-one, the creative process is a form of pattern-recognition — one of the typically recognized fortes of the autistic mind. She tells Mullin:

Everything around me inspires me to create art. What inspires me about creating art is the process of making marks, the feel of things, the seeing shapes and patterns in things.

Eleni Michael: Dancing with the Dog

Artist Eleni Michael celebrates the soul-expanding power of dogs amid trauma:

This was painted in 1995, not long after I had moved into a housing project for people with special needs. I was euphoric about my new home—a self-contained flat surrounded by a huge garden in a rural setting. (This idyll did not last long.) I brought my dog Jasper with me. He was the only lively animal there and brought great pleasure to me and all of the residents in the project. They loved him too and enjoyed playing with him and petting him. Jasper was a healthy presence and completely indiscriminate with his friendships.

Emily L. Williams: Leap Years

Urging that “talents need to be carefully nurtured and directed,” Temple Grandin writes in the foreword:

When I was a child, my mother nurtured my artistic ability. I was always encouraged to draw many different subjects. As an adult, I used my artistic talent for my business of designing livestock handling facilities. One of the lessons my mother taught me that really helped to develop my skills was to create pictures that other people would want.

In elementary school, I drew many pictures of horses. Individuals on the autism spectrum often become fixated on their favorite things. As a child I would keep drawing the same things over and over. The great motivation of these fixations has been channeled into the creation of all the beautiful art featured in this book.

As a longtime admirer of Gregory Blackstock’s obsessive visual lists, I was especially delighted to see his artwork included in the book:

Gregory Blackstock: The Balls

Repetitive patterns and visual taxonomies, in fact, are a recurring feature across a number of the pieces, such as this magnificent visual list of birds by 10-year-old David Barth:

David Barth: Birds

Kevin Hosseini: New York at Night

Eric Chen: Mirror Mind (1)

Eric Chen: Mirror Mind (2)

Eric Chen: Mirror Mind (3)

Eric Chen: Mirror Mind (4)

Emily L. Williams: They Take Away Your Razors, Your Shoelaces, and Your Belt

Some of the pieces blend broader symbolism with the harrowing specificity of the artists’ lives. Emily L. Williams reflects on the artwork above:

This is a small portion of a larger piece that’s yet to be completed. The larger piece is one of three in a series, focusing symbolically on psychiatric units, utilizing hell as an analogy. The demons in the piece were inspired by twelfth-century works depicting hell and the Final Judgment. The piece was also inspired by some of my own hospital stays in the past. While I was never a suicide risk, I always found it odd that none of the patients could have any of the items listed in the title of this piece. I understood the logic and the risk to suicidal patients, but nevertheless still found it strange to be walking around in shoes with their tongues hanging out or to have unshaven legs.

Wil C. Kerner: Pals

For 12-year-old Wil C. Kerner, it is his grandmother who explains the inspiration behind his piece:

The key in understanding Pals is the brown-rimmed, off-white donkey ear. Four facial expressions depict the bad boys turning into donkeys in the movie Pinocchio: purple-faced Pinocchio is stunned by his new ear and considering what to do; it’s too late for the horrified yellow face; the green trapezoid is oblivious to his pending fate; the blue head is looking away, hoping he’s not included.

Drawing Autism is absolutely wonderful in its entirety. Complement it with artist Bobby Baker’s visual diary of mental illness.

All images courtesy of Akashic Books / Jill Mullin

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28 APRIL, 2014

Six Beautiful and Rare Recordings of Denise Levertov’s Poems, Illustrated by Artist Ohara Hale

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Love songs, muses, and paradise in the dust of the street.

Between 1963 and 1991, British-born American writer Denise Levertov — recipient of the prestigious Robert Frost medal, a Guggenheim fellow, and one of my all-time favorite poets — gave several spectacular readings at the 92nd Street Y in New York, the recordings of which have been slumbering away in the institution’s vault. In this second installment of my partnership with the Unterberg Poetry Center at the 92Y — following Susan Sontag’s wide-ranging lecture on the project of literature — I’ve selected six of Levertov’s poetry readings to bring back to life.

But this is a double delight: I asked Montreal-based artist Ohara Hale — one of the most original and bewitching illustrators working today, and an enchanting musician — to respond to Levertov’s poems in the style of her singular visual haikus, creating one piece of art for each recording. The resulting three-way labor of love, months in the making, is a celebration of poetry, comics, and the cross-pollination of the arts — please enjoy.

As is customary for the Brain Pickings artist series, we’ve made prints of the artwork available, with 100% of proceeds benefiting A Room of Her Own, a foundation supporting women writers and artists.

Dive deeper with The Collected Poems of Denise Levertov (public library), treat yourself to Hale’s delicious forthcoming book of comics, and see more of her unbearably wonderful work on her site.

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25 APRIL, 2014

George Orwell’s Animal Farm Illustrated by Ralph Steadman

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“I do not wish to comment on the work; if it does not speak for itself, it is a failure.”

In 1995, more than twenty years after his irreverent illustrations for Alice in Wonderland, the beloved British cartoonist Ralph Steadman put his singular twist on a very different kind of literary beast, one of the most controversial books ever published. To commemorate the 50th anniversary of the first American publication of George Orwell’s masterpiece, which by that point had sold millions of copies around the world in more than seventy languages, Steadman illustrated a special edition titled Animal Farm: A Fairy Story (public library), featuring 100 of his unmistakable full-color and halftone illustrations.

Accompanying Steadman’s illustrations is Orwell’s proposed but unpublished preface to the original edition, titled “The Freedom of the Press” — a critique of how the media’s fear of public opinion ends up drowning out the central responsibility of journalism. Though aimed at European publishers’ self-censorship regarding Animal Farm at the time, Orwell’s words ring with astounding prescience and timeliness in our present era of people-pleasing “content” that passes for journalism:

The chief danger to freedom of thought and speech at this moment is not the direct interference of … any official body. If publishers and editors exert themselves to keep certain topics out of print, it is not because they are frightened of prosecution but because they are frightened of public opinion. In this country intellectual cowardice is the worst enemy a writer or journalist has to face.

Portrait of George Orwell by Ralph Steadman

Alas, this exquisite edition is no longer in print, but I was able to track down a surviving copy and offer a taste of Steadman’s genius for our shared delight.

Also included is Orwell’s preface to the 1947 Ukrainian edition, equally timely today for obvious geopolitical reasons. In it, he writes:

I understood, more clearly than ever, the negative influence of the Soviet myth upon the western Socialist movement.

And here I must pause to describe my attitude to the Soviet régime.

I have never visited Russia and my knowledge of it consists only of what can be learned by reading books and newspapers. Even if I had the power, I would not wish to interfere in Soviet domestic affairs: I would not condemn Stalin and his associates merely for their barbaric and undemocratic methods. It is quite possible that, even with the best intentions, they could not have acted otherwise under the conditions prevailing there.

But on the other hand it was of the utmost importance to me that people in Western Europe should see the Soviet régime for what it really was…

I have been convinced that the destruction of the Soviet myth was essential if we wanted a revival of the Socialist movement.

Orwell concludes with a note on his often misconstrued intent with the book’s ultimate message:

I do not wish to comment on the work; if it does not speak for itself, it is a failure. But I should like to emphasize two points: first, that although the various episodes are taken from the actual history of the Russian Revolution, they are dealt with schematically and their chronological order is changed; this was necessary for the symmetry of the story. The second point has been missed by most critics, possibly because I did not emphasize it sufficiently. A number of readers may finish the book with the impression that it ends in the complete reconciliation of the pigs and the humans. That was not my intention; on the contrary I meant it to end on a loud note of discord, for I wrote it immediately after the Teheran Conference which everybody thought had established the best possible relations between the USSR and the West. I personally did not believe that such good relations would last long; and, as events have shown, I wasn’t far wrong.

Steadman’s Animal Farm: A Fairy Story is spectacular in its entirety, should you be so fortunate to snag a used copy. Complement it with his illustrated edition of Alice in Wonderland and his inkblot dog drawings, then be sure to take a closer look at Orwell’s “The Freedom of the Press.”

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