Brain Pickings

Eames: The Architect and the Painter

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From fiberglass to James Franco, or what Ice Cube has to do with designing the American imagination.

It’s been a grand year for Charles and Ray Eames, from the rediscovery of Charles Eames’ fantastic 1982 Q&A on design to architect-turned-rapper Ice Cube singing the duo’s praises. The Eames, of course, very much warrant cultural paeans — they not only gave a shape and style to the American twentieth century, but they also defined a new cultural role for designers as architects of imagination who invite people to look at the world differently. Today marks the highly anticipated DVD release of Eames: The Architect and the Painter — a fascinating documentary about the legendary husband-and-wife design duo, exploring their personal lives, their creative process, and their enduring influence on the American aesthetic, design sensibility, and outlook on life.

Oh, and it’s narrated by James Franco.

Beautifully filmed and brimming with insight, Eames: The Architect and the Painter is easily the most exciting design documentary since Gary Hustwit’s Helvetica / Objectified / Urbanized trilogy.

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From Jack Kerouac to Ayn Rand: Iconic Writers on Symbolism, 1963

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A Rorschach Test with a spine, or what the art of fluid writing has to do with salt.

In 1963 — long before Twitter, email, and even the Internet itself as we know it — a 16-year-old high school student by the name of Bruce McAllister set out to settle a dispute with his English teacher over whether symbolism existed as a conscious device authors employed in writing. So he devised a four-question mimeographed survey to probe the issue and mailed it to 150 of the era’s most notable writers, much like librarian Marguerite Hart did in the lovely Letters to the Children of Troy project. To McAllister’s surprise, he got 75 responses, ranging from the passionate to the reprimanding to the deeply philosophical. Here are some of the best. (And if the cultural demise of handwriting has rendered you incapable of reading cursive, enjoy the transcriptions in good ‘ol type.)

Symbolism arises out of action and functions best in fiction when it does so. Once a writer is conscious of the implicit symbolisms which arise in the course of a narrative, he may take advantage of them and manipulate them consciously as a further resource for his art. Symbols which are imposed upon fiction from the outside tend to leave the reader dissatisfied by making him aware that something extraneous is being added.” ~ Ralph Ellison

I never consciously place symbolism in my writing. That would be a self-conscious exercise and self-consciousness is defeating to any creative act. Better to get the subconscious to do the work for you, and get out of the way. The best symbolism is always unsuspected and natural. During a lifetime, one saves up information which collects itself around centers in the mind; these automatically become symbols on a subliminal level and need only be summoned in the heat of writing.” ~ Ray Bradbury

After all, each story is a Rorschach Test, isn’t it? and if people find beasties and bedbugs in my ink-splotches, I cannot prevent it, can I? They will insist on seeing them, anyway, and this is their privilege. Still, I wish people, quasi-intellectuals, did not try so hard to find the man under the old maid’s bed. More often than not, as we know, he simply isn’t there.” ~ Ray Bradbury

Playing around with symbols, even as a critic, can be a kind of kiddish parlor game. A little of it goes a long way. There are other things of greater value in any novel or story…humanity, character analysis, truth on other levels, etc., etc. Good symbolism should be as natural as breathing…and as unobtrusive.” ~ Ray Bradbury

This is not a ‘definition,’ it is not true — and, therefore, your questions do not make sense.” ~ Ayn Rand

Symbolism is alright in ‘Fiction’ but I tell true stories simply about what happened to people I know.” ~ Jack Kerouac

It would be better for you to do your own thinking on this sort of thing.” ~ John Updike

(Cue in Marian Bantjes’s brilliant recent advice to design students.)

Let me refer you to an article in the NYTimes book review called ‘Deep Readers of the World, Beware!’” ~ Saul Bellow

A pattern of shared sentiments begins to emerge — at its best, symbolism, like salt, is invisible and seamless; it’s organic rather than engineered; and it is, above all, the product of your own mind rather than a prescriptive recipe.

Sarah Funke Butler over at The Paris Review, who uncovered the letters, spoke with McAllister over the phone, some 48 years later — it’s worth a read.

But perhaps what this experiment bespeaks, most of all, is the timeless ambiguity of both the writer’s ego and altruism itself, a kind of binary bet — did these writers respond because they selflessly wanted to help an earnest student, or because they loved hearing themselves speak with authority about their craft, or a combination of the two? And what does our wager say about our own character’s place on the spectrum between cynicism and idealism?

via The Paris Review

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Dear Art World: William Powhida’s Critique of Everything That’s Wrong with Contemporary Culture

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From Facebook to plutarchy, or what Mr. Softee has to do with the war on terror the 99 percent.

William Powhida is one of my favorite contemporary artists, but his latest gem seals him as one of today’s most compelling thinkers, too. Titled Dear Art World (Derivatives), it’s an unfiltered yet incredibly intelligent and articulate critique of today’s many sociocultural, economic, and political paradoxes, including the economy, slacktivism, remix culture, war, the Occupy movement and, of course, the art world.

For the copy-pasters and the search engine bots:

Dear Art World,

I feel you sitting there trying to process the CRAZY shit going on. I’ve been there for months, and it’s driving me INSANE. Fuck it, it seems counterproductive to EVEN talk about this shit, because EVERYONE ALREADY KNOWS WHY “SHIT is REALLY FUCKED UP,” or why I’m wrong.

BUT, I’ve come to some conclusions about shit. One is that we spend A LOT of time BLAMING each other for not understanding WHAT the problem actually is — TRANSPARENCY, Barack Obama, mandates LOBBYISTS, immigrants, RESPONSIBILITY, FREEDOM Truth, LIZARD PEOPLE, FLUORIDE in the water… TOO MUCH OR TOO LITTLE OF ANY OF IT.

I mean, everyone ALREADY has the Answer, it’s just that every ELSE just has ‘it’ all wrong. It’s really simple, apparently, to fix everything by applying some JESUS™, REGULATION®, or CONSTITUTION™ to it. If only we’d just free the Market, convict some bankers, spiritually channel the Founding Fathers, regulate derivatives, STOP eating GM corn syrup, spend more…time with your Family OR LEGALIZE DRUGS.

EXCEPT WE don’t do shit*, because this is AMERICA, Land of the Mr. Softee® and home of the BRAVES® where we are FREE to ARGUE about the CAUSES of social and ECONOMIC inequalities until the grass-fed cows come home. We argue in comment threads, on Facebook™, and twitter™. AND, when we aren’t arguing, We agree with our favorite ‘experts’ on FOX®, CNBC™, and CNN™ as we slide into RECESSION 2.0.

One of the OBVIOUS conclusions I’ve arrived at is that a very FEW people LIKE it that way. WHILE SHIT is bad for MOST of us — 9%+ unemployment, $14 TRILLION+ debt, and a perpetual War on Terror® — *THEY* hope we’ll all just pull a lever next fall ‘PROBLEM SOLVED’ and argue some more about the INTENTIONS of the CLIMATE, BECAUSE the 1% is doing fine.

The only FACTS worth stating are that 20% of the population controls 85% of the net worth and earned 49.9% of the income last year. IN the AMERICAN SPIRIT™ of BLAME and recrimination I’m going to point the finger at…deREGULATED CAPITALISM®! IT is in the very spirit of Capitalism to ACQUIRE MORE CAPITAL. To quote @O_SattyCripnAzz, fellow citizen and member of #Team #1mmy [?], “Money is money no matter how u get it.”

Unfortunately, the same 1% also supports the rest of us by BYING shit and funding almost everything else (museums, residencies, grants…) putting some of us in an awkward position (YOU TOO NATO and Pedro), BUT that doesn’t mean we should SHUT THE FUCK UP, take their MONEY, and say ‘Thank you!’ The Art World is NOT separate from SOCIETY and THIS is how SHIT gets all FUCKED UP — PLUTARCHY, motherfuckers.

So, in my useless capacity as a tool artist, I’ve made some pictures about this SHIT that are FREE to look at**, and they’re ALL DERIVATIVES.

Sincerely,

[signed William Powhida]

*#OWS?
** Bring a chair

The work was part of Derivatives, Powhida’s solo show at Postmasters Gallery, which ran through November 26. Also from the show:

For more on the implicit and enduring tensions of art in the age of commerce, see BBC’s excellent documentary, The Mona Lisa Curse.

HT this isn’t happiness; images courtesy of William Powhida / Postmasters Gallery

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