"An artist made this place called a studio and then used it to make this thing called art that no one knew was missing or needed until it existed."
The photographs slay me.The thumbnail here is a test. If you're me or my people you have a weakness for red and for drama. You'll click through quickly to see the slide show of photographs by Sara Krulwich. My newest crushes are designers Christopher Oram (set) and Neil Austin (lighting).
I heard Robert Silverberg say once that
Tommy Smith plays jazz sax and says
"Having been so prolific when I was young, I'm still getting cheques from back in 1958. I'm sure glad he worked so hard."
Or, by analogy to a more primal motivation . . . Dan Savage, sex columnist, said,
"Tomorrow you'll wish you had practiced harder today."
"Your awkward/repulsive stage will pass. In the meantime here's what you need to do: Worry less about getting your 15-year-old self laid and start thinking about getting your 18- or 20-year-old self laid. Join a gym and get yourself a body that girls will find irresistible; read so that you'll have something to say to girls (the best way to make girls think you're interesting is to actually be interesting); and get out of the house and do shit--political shit, sporty shit, arty shit--so that you'll meet different kinds of girls in different kinds of settings and become comfortable talking with them."
What can you do today for your future artist self? Organize the studio? Practice blind contour? Stretch some canvases and get those panels gessoed? Update your portfolio photos?
"The bedroom has been removed from its frame, and awaits me in the restoration studio. I am eager to get started on this restoration! Not long after my appointment as head of conservation at the Van Gogh Museum in 1999, I was given the file on this painting. I read that the painting has been on the list of works awaiting restoration since the 1980s. Still, it’s a good thing that we waited, since the research techniques available to us now have taught us far more than would have been possible twenty years ago."
While I was checking this out, I discovered that the Van Gogh Museum also has a site devoted to his letters. This sketch is just a quick screen capture for a taste. You've gotta check this out for more, and better. The site features the original text, translation into English, and facsimiles of the pages. Treasure!
I have been fond, for many years, of quoting Quentin Crisp:
"It's no good running a pig farm badly for 30 years while saying "Really I was meant to be a ballet dancer." By that time, pigs will be your style."
Sixteen years ago, I celebrated my birthday with my casting tutors [Jonathan & Adrian, are you out there somewhere?] by taking a road trip to the Cotswolds. We drove through the rolling hills, waved to sheep, and admired the drystone walls. Then we toured the Pangolin Foundry, an activity we used to call "sniffing bronze." We admired the equipment and studied welds and molds intently. Meanwhile, we tried to guess the recipes of the patination formulas in which Pangolin specialized then and now.
On the way home we visited the stone circle in Avesbury, then I watched Cumbre Flamenca at Sadler's Wells. Now that is a birthday!This weekend, as I prepare to celebrate another birthday, I stumbled across a lovely story in the Guardian: an artist who defied Quentin Crisp by running a pig farm well. His sculpture is primarily of the domestic animals with whom he has worked for years. And where is it cast and patinated? Pangolin, of course.
"After 25 years of farming in Cornwall, Terence Coventry's love of art took a surprising new form. Now, as a sculptor of bronze and steel fresh from his first solo show at London's Pangolin gallery, he talks about the animals – from pigs, cattle and dogs to the rooks taking flight in the field – that inspired his unique bucolic vision."
By now, pigs are (part of) Terence Coventry's style, in the best way, and that's kinda cool.