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Internet Wins of the Week: Body Awareness Edition

The issue of body awareness has been on my mind lately, mostly because I have zero body awareness and am working to remedy that. Body acceptance is not my issue–I have accepted it and moved on to other things. However, being aware of it is something I find myself actively trying to not do. Ahoy, Life Problem! I think this comes from trying to not rely on it for things, favors, attention, etc.  I’ve separated my head from my body so much I often forget that I am attached to it. “Oh, this old thing?”

So far my work toward being more body aware has meant going to yoga class, however, I often find myself skipping class to either sleep or wake up late and then browse the web to research body awareness. This is probably defeating the purpose, but admitting my problem is the first step to recovery, right? Right?! Here are some fun things I found along the way:

1) This TED Talk by social psychologist Amy Cuddy reveals how our body language can change not only the way other people see us but the way we see ourselves. Cuddy had me standing in power poses all weekend, one day of which included a work outing at a shooting range. Manhandling the shotgun was definitely easier when I approached it with my feet shoulder-width apart and imaginined I was Michelle Rodriguez in Machete.

2) The Availability blog. I met Effy Flack at the Strongwater bar opening last weekend. He was doing the most delightful demi-plies in the crowd of revelers watching the R&B band on stage and I knew I needed to meet him. Or at least Facebook stalk him. I did both and found The Availability, a series of posts about his thoughts after a two-week Gaga dance intensive in Tel Aviv.

“I haven’t blogged, journaled, or even verbally articulated my thoughts in a long time, but this new experience brought about so many ideas that I could not keep bottled up in my head anymore,” he said. “It also is a space to allow others to experience my adventure with me so I don’t feel like such an outsider in a world I was such an integral part of. I’m not sure exactly how well that worked out, but I feel someone, somewhere, connected to it.”

I did/ am. If you like dance and/or reading insights written by a man who thoughtfully articulates his body awareness journey through art.

 effy

Effy Falck. Photo by Nola Smith.

3) And, in closing, this video of a very body aware dog on a trampoline. This is probably close to what I look like in yoga class.

10 Questions: For recovered addict bartender/ inspiration Michael Bishop

“You should write a book,” I said.

“I would love that,” Michael said.

“What would you call it?” I said.

“Dolly Parton Saved My Life,” he said.

Adorable baby Michael on the right.
Adorable baby Michael on the right.

Unfortunately that book title has already been taken, Michael said after I swooned.

“By some housewife.”

It would be a clever title to introduce Michael’s story, though. His heart is sweet but the dark part of his soul used to be thirsty and strong. In his 20s and early 30s, he fed it with alcohol and, eventually for a short period of time, meth.

“You spent your 20s…” I started.

“Wasted!” he said. “Higher than christ!”

Shooting the shit with angels.

Michael. Not sober.
Michael. Not sober.

When you’re addicted, nearly nothing is sacred. Actually, for most addicts, nothing is sacred. But for Michael, Dolly was. He refused to listen to her when he was drunk. Embarrassed. He knew she, his idol, would be disappointed in his actions… his refusal, inability to take care of himself.

If Michael’s potential book title were more accurate, it’d be that these guys saved his life:

1_Michael_With Andrew

1_Micael_With Virginia

These are Michael’s best friends, Andrew and Christopher, who has been by Michael’s side for 15 years.

One day they showed up at Michael’s door with a few other of his friends.

And his mother.

It was an intervention. Michael remembers the tears. The letters. The cigarettes. The dealer that was sitting in his living room when they walked in. The urge to take one last hit before he went to rehab (“If I’m going down, I’m going down big”). The sickening sea of hurt and fear in his mother’s eyes… a sea in which he had been drowning for more than a decade.

Michael Bishop has been sober since Dec. 27, 2010.

He turns 40 in November and goes to AA three times a week. Some days he hates it and the people who are there, but it has become a necessary part of his routine. AA is as important to his health as sleeping and eating.

Earlier this year Michael studied to become an intervention specialist. He wants to help addicts recover and move on and live happily; one of his awesome ideas is to have a sober tent at Columbus’ Pride festival for attendees who wish to celebrate but are looking for trigger-friendly activities.

Most of all Michael just wishes to do good with the rest of his life. He knows addiction survivors–and to some extent people who have loved/ love addicted people–are connected. They need each other. They can spot each other. They can help each other.

Plus, now he can listen to Dolly whenever he wants.

Dolly loves you, baby.

Following is a Q&A with Michael about the details of his addiction and recovery. (Editor’s note: There are more than 10 questions here so this headline is misleading. Got a problem with that? Get your own blog.)
Do you remember the first time you got drunk?
I don’t know if I remember the FIRST time I got drunk, but I remember sneaking beers when I was in junior high and high school, I started sneaking into bars around the age of 19 and drinking with people I didn’t now as a means to find myself. Growing up gay in the late 80’s/ early 90’s was very different than it is now. Homosexuality was not as accepted as it is today and it seemed, at least to me, to be the only way to be around people that were like me.
1_Michael_High School
Was alcohol immediately an issue for you or did it build up into a problem?
I don’t know that I would classify it as an immediate problem, although I believe that any and all underage drinking is an issue; however, my personal insecurity led to more drinking to try to fit in… with friends, people around me and relationships I was so desperate to form. I achieved the exact opposite, I lost friends, I didn’t fit in, people didn’t want to be around me, and I couldn’t maintain any sort of personal relationship.
Why do you think it became a problem for you?
I honestly believe that alcoholism and drug addiction is hereditary, but I also believe that my surroundings played a VERY large part in my addiction. In my eyes, it was “just what people did,” and I didn’t have the knowledge or experience to practice any sort of moderation or responsibility. That being said, while environment was a key factor, I also take full responsibility for my choices. No one forced me to do the things I did.
What does life feel like for an alcoholic who is living in his addiction?
What’s ironic is that I think most people drink to forget feelings, or to not feel at all. The crazy thing is, you then open yourself up to an entirely different wave of emotions. I felt lost, sad, ashamed, scared and hopeless for many years. At many points in my life of addiction, I didn’t see a way out, didn’t think I deserved better and began to believe that my life was going to end leaving a very sad and pitiful legacy.
What was the saddest moment for you as an alcoholic?
I don’t honestly think I can pick just one. Many people in recovery speak of their ROCK BOTTOM. I hit that bottom more times than I care to remember, each time thinking that things couldn’t get any worse, only to find out that as long as I chose NOT to heal my life… things could, and did, get much worse. My addiction cost me jobs, friends, homes, belongings, freedom (I was in jail twice) and most importantly my belief in myself. My family and friends tried desperately on several occasions to help, through conversations, ultimatums, and formal interventions. I wanted to stop at several points in my life, but I didn’t have the faith in myself that I truly needed to be sober.
What finally made you get help getting sober and how did you get sober? 
There were several defining moments of sobriety for me, and several lengths of sobriety that all unfortunately ended in relapse. My best friend Andrew organized a formal intervention on December 5, 2008, as I was weeks, possibly even days, away from dying as a result of my crystal meth addiction. At that time I truly believed that I wanted the nightmare to be over, but I found myself trying to stay clean for others and therefore relapsed. On December 27, 2010, I ended up in ICU after an overdose and a pretty serious fall. I decided that I was ready to commit to a life a sobriety, and ready to do the difficult work it would take to achieve it I didn’t want my two best friends and my mother watch me die. I have been sober since December 27,2010.
What has been the most rewarding thing about living as a survivor of addiction?
There isn’t one thing that I can say has been the most rewarding as there have been monumental victories and tiny blessings along the way that have motivated and inspired me to continue on the path I am on. Knowing that my mother sleeps at night without worrying is amazing. Knowing that my friends and family respect me, trust me and are proud of me is something I could never put a price tag on. I went to Savannah in January of this year to begin my training and certification process as an interventionist, and THAT is one of my proudest moments. I have done things I never thought I could, and I have accomplished things that I never thought I would, and to be able to say that I am PROUD of myself is probably the greatest gift I could have ever given myself. So many people come up to me to tell me how proud they are, how I inspire them and motivate them, and those words are things that I hold close to my heart every moment of every day.
What is the most difficult part about being a survivor?
I think the most difficult part of being in recovery is learning not to put myself in a dangerous situation, and knowing when to remove myself from a situation that might become dangerous for me and my recovery. No one is responsible for my recovery but me. I think it takes a great amount of strength and determination to maintain sobriety, it doesn’t get ‘easier’ as time goes on, I have just taken the tools given to me and made them part of my behavior. I believe that I have a choice in everything I do… And my choices are what make me stronger… every day!
Is it difficult to meet people but not drink, especially while working in a bar?
Probably the most difficult decision I made was to keep working at my job in a bar atmosphere. Most experts would say that that is a HUGE mistake and a VERY dangerous environment for someone in recovery to be in. In fact, the statistics and odds are DEFINITELY not in my favor, but many of the people I work with and around have been instrumental in my process, so I feel that I am blessed to be surrounded by love and support on a daily basis at work and at home.
The LGBT community does have a large population that gravitates to the nightlife atmosphere, but that is by no means a representation of the entire community. I have friends that don’t ever go out and are still just as active. I think modification is a key factor. I chose not to remove myself from that environment, so it is my responsibility to adapt to it when present.
There is a huge population of sober LGBT people, and I am fortunate enough to have contact with many of them on a regular basis!
I have also learned that complete honestly is my best friend. When out and about, I can say “I don’t drink” because I don’t. If the question as to why arises, I am MORE that open about my life and my history and I find that most people in the LGBT community are extremely supportive.
1_Michael_with Union family
Is addiction something you battle daily? 
Yes, addiction is something that I deal with on a daily basis. That is the key to sobriety: There is no cure and there is no endgame. It’s about constantly maintaining, learning, educating and sharing. Sobriety is a living thing and I have to feed mine every day. At the beginning I wasn’t sure that I was going to be able to do it, but I have learned that the gifts I have in my life could never, and would never, be bought with another drink or drug.
How do you find peace now when you crave something?
I find peace in everything around me, and I have learned to not take the little things for granted. A short phone call or text from someone is what brings me peace. Reading and educating myself brings me peace. Reaching out to someone else that is struggling brings me peace. I’m a very spiritual person, and I find that taking the time to give thanks to the power that has allowed me to continue my journey is key! Humility is a wonderful thing. I find strength in words, actions, music and all the sights that enter my life on a daily basis. When I am feeling the weakest, I find that nothing heals me like a good ol’ Dolly Parton song and a hug from someone that I love.

Do you think we as a society should treat addiction differently or do you have any thoughts on how we could better handle or help addicts?
I think we are making some wonderful headway in the field of addiction research and treatment. There is ALWAYS more that can be done… as long as there are still people suffering from this disease, there is work to do. I think that society is really coming along with recognizing that addiction IS a disease and not just a matter of willpower or weakness. I think that there are certain celebrities that have used their platform to raise awareness and I applaud their actions. I could go on and on about the media and “reality shows” and their role, but that’s another conversation. I think addicts need to be treated just like anyone else that is fighting every day to find their way and find their light…. with love, respect and kindness.
What is the most valuable thing you have learned from recovery?
I have learned hundreds of thousands of valuable lessons since I began this journey, and I hope to learn hundreds of thousands more.  I think some of the most important things that I have learned are that I deserve all the good things that come to me, that I can do anything I put my mind to, and that if I use my voice, and my gifts to help someone else find THEIR voice and THEIR gifts… than I am TRULY living my life the way it was meant to be lived.
What do you want to do with what you have learned in your recovery?
I don’t hide that fact that I should have died on several different occasions during my life. What I have learned is that I am STILL here for a reason and that there are lessons for me to learn and lives for me to touch. I hope to take the gifts that I have been given and use those to inspire and motivate people to find their light… life is a journey, and the day I stop learning is the day I die. I believe that I have so much work to do, and so much good to do… and if I leave this earth having helped ONE person change their life for the better, then my life was worth it all. I truly believe that there are MILLIONS of my brothers and sisters out there, some suffering, and some succeeding, and I know that I am connected to all of them on a greater level. I pray for their healing and victory every day.
1_Michael_Today alone

My Classism By The Numbers

94: Percent chance I am more likely to not get over into another lane if you are riding my ass and in an expensive car versus if you are riding my ass and in a shitty car.

 

asshole in a car

1: Number of Bell Hooks books I own about class.

2: Number of Bell Hooks books about class I have owned but sold to pay for something else I wanted.

-1: Number of fucks I give about your baby’s designer clothes.

5: Number of fucks I give about your baby’s designer clothes that you bought at garage sales.

1:3 : Rate of which I will laugh at #whitegirlproblem tweets compared to #thirdworldproblem tweets.

100: Percent chance I will hate money until I have a lot of it.

money money money

 

From the vault: I walk these suburbs alone

From the Vault = True story snippets from a writer’s notebook.

 Preface: I used to live in a tiny apartment by a huge mall. I loved to walk each morning through the surrounding suburbs. Being a white woman in her early 20s in a hand-me-down Northface jacket means you can walk through these places totally invisible. The neighbors don’t feel intimidated by you but also figure you don’t own a house there so they don’t feel the need to make friends. So I could just watch. And walk. And listen.
I walk through their suburbs every morning. I like going in the early hours, before the sun has hit its stride… when it’s just beginning to yawn. I like that none of them can really see me. They’re fast asleep on their cotton sheets, dreaming of wonderful things. That’s how I like to imagine the families that live here. Tupperware and moral values. Everyone takes care of their lawns. It’s not pretentious–just roses and tulips and red doors. A dog barks. A neighbor sneezes. I traverse Suntree to Storrow. I chew my Nicorette and watch the white shutters pass by. There’s a Natty Light can. Reality is still here. I wonder if rumors of suburban life are true. Are there desperate housewives among us? Does Mr. Jones covet Mrs. Lane, bending over in her tiny black shorts, pulling her weeds with a heated grace. It’d be sexual if it weren’t Labor Day. Today’s newspaper litters several driveways. I catch a headline: “Cases of Child Abuse…” I keep walking, letting the brisk air fill my nostrils. It looks like the sun won’t make an appearance today. That’s OK. I like this suburb in this gray light. Not too Pleasantville, not too east side.

Miranda July and Holland Cotter in Columbus. In one weekend. See also: Gary Freaking Panter and Mike Birbiglia

You guys! CCAD’s entire newly expanded fall lineup is killing it. I want to live in Canzani this fall.

From the press release:

CCAD SPECIAL EVENTS

MIX 2013

KEYNOTE SPEAKER: JEFF SMITH

SEPT. 27 to 28

“A celebration of and investigation into the art of the comic book, the graphic novel and other book-length forms of sequential art narrative, Mix 2013 features panels, roundtable, and workshops with scholars and artists from across the country as well as Columbus’ thriving comics scene. Also featured are an onstage conversation with keynote guest Jeff Smith (author of Bone and RASL), and a never-before-seen exhibit of Smith’s original artwork fromRASL. To find out more and register for the symposium, visit www.ccad.edu/events-2013/mix

 

SCULPTUREX

KEYNOTE SPEAKER: MARTIN KERSELS

FRIDAY–SATURDAY, OCT. 11 to 12

“A two-day sculpture symposium, SculptureX 2013: Performative Objects and the Everyday Spectacular will include a keynote address by Martin Kersels (a well-regarded sculptor, installation artist and associate professor at Yale), as well as interactive discussion panels and emerging artist exhibitions. To find out more and register, visitwww.ccad.edu/events-2013/sculpture

 

EXHIBITIONS

LEONARDO DREW: EXHUMATION

July 11 to Aug. 30

Canzani Center Gallery

Artist talk and reception: Aug. 29

10 a.m.–8:30 p.m. Gallery open

6 p.m. Artist talk

7 p.m. Reception with artist

“Leonardo Drew’s abstract sculptural compositions, which are at first glance simply aggregations of quotidian materials, become meditations on the cyclical nature of existence. Drew first exhibited at 13 and earned his BFA from Cooper Union in 1985. He has shown at venues including the Hirshhorn Museum in Washington D.C., the Royal Hibernian Academy in Dublin and the Miami Art Museum. He now lives and works in Brooklyn. With exhibitions in both the main gallery and ROOM, CCAD’s project space, viewers can look forward to experiencing a full range of his current work.”

 

KIRK HAYES: RULE BY FEAR

Sept. 5 to Oct. 4

Canzani Center Gallery

“On the surface, Kirk Hayes’ compositions appear to be collages of torn paper, corrugated cardboard, yellowing masking tape or scraps of plywood. However, the illusory scenes are in reality created by a self-taught process of using oil paint to imitate collage. Both formally and conceptually, the works in this exhibition are some of Hayes’ most complex pictures to date. As a clever and darkly humorous culmination of his masterful process, they offer a sly commentary on the artist’s studio practice—intertwined with the emotional contours of his personal narrative.”

 

GARY PANTER: THE MAGNETIC LADY

Sept. 5 to Oct. 4

Canzani Center Gallery

Artist talk and reception: Sept. 23

10 a.m.–8:30 p.m. Gallery open

6:30 p.m. Artist talk

7:30 p.m. Reception with artist

“Widely recognized as one of the most significant and influential founders of the Los Angeles punk aesthetic, artist and designer Gary Panter has wielded his “punk, nuclear, hillbilly” sensibility in the art world since the late 1970s. Using his characteristic jagged line and raw brushstroke, he presents chaotic, image-strewn landscapes as well as more axiomatic works that center on film archetypes.

Perhaps best known for his Jimbo graphic novels, Panter has won numerous awards, including three Emmys for his production design on Pee-Wee’s Playhouse and the Chrysler Award for Design Excellence.”

 

JEFF SMITH: RASL

Thursday, Sept. 5 to Friday, Oct. 4

Canzani Center Gallery

Artist talk and reception: Sept. 27

10 a.m.–8:30 p.m. Gallery open

7 p.m. Artist talk (Mix 2013 keynote)

8 p.m. Reception with artist

“Jeff Smith is best known for his all-ages comic Bone, but his past five years have been devoted to RASL, a science fiction adventure for adults. RASL is the epic tale of a hard-drinking, anti-hero art thief who jumps back and forth between parallel worlds to discover the secrets of famed scientist Nikola Tesla, as well as of his own life.

Organized in conjunction with Smith’s keynote presentation at CCAD’s Mix 2013 Comics Symposium, this exhibition looks closely at the influences behind RASL—including music, literature, process artwork, and sculptural manifestations of the narrative.”

 

MARTHA COLBURN: CAMERA, LIGHTS, CHARGE, POP

Sept. 5 to Oct. 4

Canzani Center Gallery

Artist talk and reception: Oct. 3

10 a.m.–8:30 p.m. Gallery open

6:30 p.m. Performance and artist talk

7:30 p.m. Reception with artist

“Martha Colburn is a multimedia artist whose frenetic narratives examine history, politics, sexuality and popular culture. Comfortable working in puppetry, collage, and paint-on-glass, she is also a notable musician, having released six records with the Dramatics and collaborated with musicians including Yamatsuka Eye and Jad Fair. She has created music videos for Deerhoof and They Might Be Giants, as well as animation for the feature film The Devil and Daniel Johnston.

The exhibition will feature about 30 of Colburn’s manipulated-found-footage and stop-animation films from the mid-1990s to the present, as well as Polaroids and large-scale collages.”

 

MY CRIPPLED FRIEND

Oct. 11 to Jan. 10 Canzani Center Gallery & Auditorium

Opening reception: Oct. 11

10 a.m.–8:30 p.m. Gallery open

6:30 p.m. Lecture by John Yau

7:30 p.m. Reception

Artists featured:

Richard Aldrich Claire Ashley Anna Betbeze Sarah Braman
Tom Burr Todd Brandt Tom Burckhardt Kathy Butterly
Sarah Cain John Chamberlain Michel François Joe Fyfe
Katharina Grosse Mary Heilman Chris Johanson Ross Knight
Jim Lambie Chris Martin Davis Rhodes Matt Rich
Cordy Ryman Nancy Shaver Amy Yoes Tamara Zahaykevich

My Crippled Friend investigates the recent history of the intersection of painterly abstraction and the object. While “painting as object” has often been a formalist issue, the works in this exhibition gather their identity through the subversion of formalism—scrambling and reassembling themselves in an aesthetic shell game where the act of painting is always an investigation of a painting’s ability to push into objecthood.

The result is a collection of works that are each alive in a way that only a painting can be, as well as present in a way that seems more like an object. Impossible to label as one specific medium (“a painting” or “a sculpture”), they are, rather, an often-lumpy but always compelling combination of the two.”

 

VISITING ARTISTS ASSOCIATED WITH MY CRIPPLED FRIEND

JOHN YAU

Oct. 11

10 a.m.–8:30 p.m. Gallery open

6:30 p.m. Lecture

7:30 p.m. Reception

“Poet, art critic, and curator John Yau has published more than 50 books of poetry, fiction, and art criticism. He has received fellowships from the National Endowment for the Arts and the Guggenheim Foundation and awards from the New York Foundation for the Arts and the Academy of American Poets. He was named a Chevalier in the Order of Arts and Letters by France.”

 

JOE FYFE

Oct. 24

10 a.m.–8:30 p.m. Gallery open

6:30 p.m. Artist talk

7:30 p.m. Reception with artist

“Joe Fyfe investigates the slippage between chance and deliberation, negotiating among painting, sculpture, and drawing as he meditates on the lineage and current realities of nonrepresentational art. Amplifying the poetic nature of quotidian objects, Fyfe repurposes found materials into works that often exist on the cusp of total abstraction — serendipitous and yet still formally circumspect.”

 

CHRIS JOHANSON

Oct. 31

10 a.m.–8:30 p.m. Gallery open

6:30 p.m. Artist talk

7:30 p.m. Reception with artist

“Chris Johanson’s works are drawn, painted, and crafted with an economy that is neither naive nor necessarily simple, though it may appear so. He transmits a distinctly Californian experience— a mélange of shamans and charlatans, working stiffs and aimless drifters drawn from a long and ragtag coastal tradition of poets, artists, and musicians: Wallace Berman’s mystical photocopies and seminal Semina culture; the poem-paintings of Kenneth Patchen; the beaming peacenik posters of Sister Corita Kent; all filtered through the dirty socks of the L.A. punk scene and the wondrous, messy freedom that tumbled out of it.”

 

KATHY BUTTERLY

Nov. 13

10 a.m.–8:30 p.m. Gallery open

6:30 p.m. Artist talk

7:30 p.m. Reception with artist

“Kathy Butterly makes colorful, small-scale sculpture and sculptural vessels of mixed earthenware and porcelain. Her softly folded, twisted, and assembled forms often make bodily references and can recall the work of American master potter George Ohr. “Kathy Butterly does for sculpture what digital technology does for information: pack so much into such small spaces that it’s impossible to reconcile an object’s literal dimensions with the kicks it delivers,” wrote David Pagel last year.”

 

CHERYL DONEGAN

Dec. 5

10 a.m.–8:30 p.m. Gallery open

6:30 p.m. Artist talk

7:30 p.m. Reception with artist

“Across media, Cheryl Donegan’s work is unified by a sustained interrogation of surfaces—whether canvas, screen, fabric, plastic, or the artist’s own body. Integrating performance and video with painting, drawing and installation, she has exhibited widely in Europe as well as North America since her first solo show in 1993.”

 

VISITING ARTISTS

MIKE BIRBIGLIA

Oct. 9, 6:30 p.m.

Canzani Center Auditorium

“In 10 years Mike Birbiglia has grown from struggling comic to popular talk show guest to groundbreakingly original storyteller. The results? Two critically-acclaimed CDs, three Comedy Central specials and a Nathan Lane-produced Off-Broadway show called Sleepwalk with Me that was nominated for both a Drama Desk Award and an Outer Circle Critics Award for Best Solo Performance. Sleepwalk was turned into a critically acclaimed film coproduced by Birbiglia and This American Life’s Ira Glass. His most recent show is My Girlfriend’s Boyfriend. Tickets for this event are $25. Purchase tickets online at www.ccad.edu/events-2013/birbiglia

 

 

NATASHA TRETHEWEY

Oct. 16, 6:30 p.m.

Canzani Center Auditorium

“Natasha Trethewey is the 19th Poet Laureate of the United States and the author of four collections of poetry that unites compelling personal imagery with clear-eyed examination of African and African-American history: Domestic Work (2000), Bellocq’s Ophelia (2002), Native Guard (2006)—for which she was awarded the Pulitzer Prize — and, most recently, Thrall, (2012). Her book of nonfiction, Beyond Katrina: A Meditation on the Mississippi Gulf Coast, appeared in 2010. She has received fellowships from the National Endowment for the Arts, the Guggenheim Foundation and the Rockefeller Foundation, among others.”

 

MIRANDA JULY

Nov. 18, 6:30 p.m.

Canzani Center Auditorium

“Miranda July will present LOST CHILD! With its title borrowed from a trilogy July penned at age seven, LOST CHILD!is part retrospective, part artist lecture, part interactive performance. July discusses the making of books, shoes, friends, movies, performances and personal protection devices — from her earliest work as a fledgling artist to her current successes and tribulations as an award-winning filmmaker and best-selling author.”

 

HOLLAND COTTER

Nov. 21, 6:30 p.m.

Canzani Center Auditorium

“Holland Cotter has been an art critic for the New York Times since 1992, winning the Pulitzer Prize for Criticism in 2009. During the 1980s he was a contributing editor at Art in America and an editorial associate at Art News. His subjects have ranged from Italian Renaissance painting to street-based communal work by artist collectives. He is currently working on a book on New York City modernism, a study of contemporary Indian art and a poetry manuscript.”

 

 

ROOM EXHIBITIONS

LEONARDO DREW: SMALL WORKS

July 11–Aug. 30

“Leonardo Drew’s exhibition in ROOM features rugged works of a smaller size. Like the installations in the main gallery, there is a velocity, a movement, but also a quiet — reminiscent of being in the eye of a storm. The raw energy and vitality of Drew’s oeuvre suffuses the works’ eclectic forms and scale and resolves into elegance and beauty.”

 

LOUD FLASH: BRITISH PUNK ON PAPER

Sept. 5–Oct. 4

“Loud Flash is an exhibition of posters from the collection of artist and designer Toby Mott, who began collecting punk-related artifacts as a teenager during the 1970s and has amassed more than 1,000 items. The show includes iconic work by Jamie Reid for the Sex Pistols and Linder Sterling for the Buzzcocks, as well as a huge range of material by anonymous artists of the era who used the art of the poster to give bands, most of which were excluded from TV and daytime radio and struggled for exposure in the mainstream press, a means of reaching the public.”

 

LAURA BIDWA: FOR INSTANCE ME

Oct. 11–Nov. 15

“Laura Bidwa’s recent works explore the ephemeral nature of time. Small and deceptively simple paintings, they impart just enough of the process of their making to make the viewer instantly at one with the time of the work. They are, in essence, receptacles of the universal experience of attempting to retain the fleeting information that makes up the flux of our days.”

 

RICHARD ASCHENBRAND: ALPHABET ALLITERATION

Nov. 22–Jan. 10

“Richard Aschenbrand was born in New York and went on to earn his BFA and MA from Pratt. An experienced graphic and package designer with a broad client base, he taught at CCAD for 45 years, retiring in 2012. Alphabet Alliterationis his first exhibition since retirement: an alphabetic compendium of alliterative wordplay and distinctive typography.”

 

CCAD SPECIAL EVENTS

CCAD ART FAIR

Dec. 7

Loann Crane Center for Design

First-Choice Admission 9 a.m., $50 General Admission 10 a.m., $5

“The CCAD Art Fair is a semi-annual juried showcase of works by more than 100 CCAD students, faculty and alumni. Admissions fund student scholarships, and sales proceeds go directly to the artists.”

 

10 Questions for an Artist: Street artist Stephanie Rond

The first Stephanie Rond artwork I ever saw was this one:

"Pin the Tail on the Donkey" by Stephanie Rond
“Pin the Tail on the Donkey” by Stephanie Rond

A Facebook friend had posted the image. I reposted, having never heard of Rond but loving the piece. Total honesty: I did not think she was from Columbus. I had yet to see, in my four or five years of living here, any feminist art by a local. Coming to Columbus by way of the super liberal Kent, Ohio, this fact was something I was keenly aware of. Thus, I just assumed…

Then, by a series of fabulous events–most of which involved getting trash wine wasted, smoking American Spirits and me eating all the fancy cheese she brought for hangtime before she could get any–we became good friends.

Rond’s work has a voice I long to hear. I love a lot of work by artists in town, but her pieces seem made for me. They are challenging but nurturing. They don’t make me feel angry, they make me feel vindicated. They make me remember that abuse–of power, people and/or prerogatives–can be overcome if we stick together and demand better. And they straddle the line between radicalism and understanding that everyone has fucking problems, a quality my favorite outlooks on social struggles share.

Moreover, girl’s innovative. She started curating a couple dollhouse galleries with miniature contemporary art. A dollhouse was always on her list of wants as a little girl, so why not? What has resulted is an exploration of scale, gender, desire, space and collaboration. (Each presenting artist is also in charge of setting up the “house” with tiny decor Rond gives them. It’s really fun to click through and see how each artist accomplished this task.)

Then! By a series of even more fabulous events, I became the proud owner of “Pin the Tail on the Donkey.”

 

It arrives.
It arrives.
A happy art and fancy cheese lover.
A happy art and fancy cheese lover.

 

I don't make Freudian assumptions about the artist about them, but I always love to see how artists sign their works.
I don’t make Freudian assumptions about the artist about them, but I always love to see how artists sign their works.

 

Ladies and gentlemen, Stephanie Rond.
Ladies and gentlemen, Stephanie Rond.

 

Cats love art, too!
Cats love art, too!
Skully just loves trash wine.
Skully just loves trash wine.

It is special to me that this is the first piece of art I have ever owned (by disposable income restrictions, not choice). It is special to me that it is the first piece of Rond’s that I ever saw. To me, “Pin the Tail on the Donkey” speaks to the struggle to define one’s own femininity (or masculinity, for that matter) and the unique concerns of female artists. Here’s a rough stream of consciousness of what I see when I look at it:

Woman —> Beautiful —> God, it takes a long time to get ready —> I love getting ready —> I love that women are beautiful and it’s socially acceptable to use all the tools at our disposal to get ready/ beautiful —> I also love women who do nothing to get ready and think they are beautiful. —> Do we feel pressured to use those tools? —> I guess we do as girls —> But as a woman, wearing makeup is more for me than for anyone else —> Why do we hate when men wear makeup? —> Ugh. Well. —> Would I like it if my boyfriend wore makeup or corsets? ————-> NO. —-> Remember when emo kids in college wore eyeliner to macroeconomics class? Because one can not properly assess the GDP without Cover Girl. —> I think that was my least attended class of college. In fact, I think it was called microeconomics. I never took macroeconomics. —> Speaking of kids. —> Am I going to have any? ————> Yes. Eventually. —> Look at these kids. Four of them, like me and my siblings. —> Are these these women’s children? Or do they represent her as a child. —> I think they are her children. —> I think she was an artist. Or wants to be an artist.  —> Art is literally what she sees when she looks in the mirror. —> It’s a man painting. —> Her daughter is holding the same painting that she sees in the mirror. The boys are the ones actually painting, though. —> Is she passing on her artist dreams to her children because she wants to or because she has to? —> How do you choose your life? —> At what points is life a choice? —> At what point are we responsible for our own happiness/ unhappiness? —> I like the blindfolded boy. He seems like trouble. —> I like boys who are trouble. —> Are the children painting the way they see their mother? —> How did I paint a picture of my mother while outside as a child getting in trouble? —> What dreams of hers do I have inside me? —> Are they really my dreams? —> The boys are so far apart from one another. —> I wish the boys found it easier to confide in one another like these little girls appear to. —> Maybe the mom is still an artist. —> Maybe this is a hopeful painting of everything a woman’s life can represent. —> Everything my life can represent? —> Choices.

And scene.

In a belated What’s Up Columbus post (she was our July show’s second guest), here are Rond’s 10 answers to 10 questions for an artist.

What kind of art do you make and why?

I make street art, paintings and miniature worlds.

My goal is to create work that serves as a springboard for meaningful political conversation. I want to challenge the boundaries of stereotypes and provoke the questions: What is art? What is the proper space for art?

"Curious Cat" by Stephanie Rond
“Curious Cat” by Stephanie Rond

How do you make your street art?

For my street art I hand cut stencils and use spray paint. For my temporary “street gifts,” I spray on paper and wheat-paste the images onto walls. For permanent pieces I spray directly onto the wall. All my work is sanctioned. I believe in art karma, so I always ask permission.

"Save the Bees, Save the World" by Stephanie Rond. This is a new commission for the outside of The Crest restaurant in Clintonville.
“Save the Bees, Save the World” by Stephanie Rond. This is a new commission for the outside of The Crest restaurant in Clintonville.
"Clothes Line II" by Stephanie Rond
“Clothes Line II” by Stephanie Rond

What are your thoughts on the Columbus art scene? What are it’s advantages and/ or disadvantages?

In the past decade, the DIY arts culture in Columbus has grown and thrived “underground.”  Currently, creatives are exploding everywhere in our city and opportunities abound for beginners to the well known.

Within the arts community, we have learned that the best way to succeed is to work collectively in order to lift us all up. It makes me proud to be part of a large artist community that values collaboration and mutual success. The Art and Artists of 614 on Facebook, founded by Walter Herrmann, is a good place for anyone interested in the local visual scene to get a flavor of what the city has to offer.

Columbus is centrally located between Atlanta, New York, Philly, Indiana, Cleveland, Chicago and many other communities with thriving art scenes. All these cities are a one-day drive, which makes showing broadly possible.  This central location gives Columbus artists the ability to build a regional presence. The challenge for artists to move to national recognition, however, is that we have to “compete” for attention with the artists who are actually living in the largest cities where “being discovered” on a national level happens.

What do you do while you make art? 

I listen to music and audio books. My favorite music genres to listen to are punk rock, riot grrl, heavy metal, alternative rock, hip hop and music my friends give me as gifts. I love listening to both fiction and non-fiction audio books. I also enjoy This American Life on NPR.

Light it Up Sister by Stephanie Rond
“Light it up Sister” by Stephanie Rond

What has been the most interesting thing you’ve learned from the art that has been shown in your miniature dollhouses?

I’ve been pleasantly (un)surprised how serious the artists take their shows. This reinforces my belief that no matter the scale, art is art. It has also been interesting to hear from the artists how challenging, yet rewarding working on a small scale can be.

What attracts you to street art and what do you think is the biggest hurdle facing women who want to make street art?

I’m attracted to street art for several reasons, one because I believe that art should be for all to experience, two it combats advertising and marketing schemes and three it is not a product to be bought or sold.

The biggest hurdle facing women who want to make street art is the same that faces women in most careers; it can be frustrating to play in the “boys club.”

"It's a Sign" by Stephanie Rond
“It’s a Sign” by Stephanie Rond

 Street by Stephanie Rond

Do you wish to see your art effect feminist change locally? How so?

Of course! I plan to affect change not just locally, but nationally. I want to make visuals that open conversations about the inequalities that are real and exist. When people recognize the reality and discuss it, then change can happen.

How do you balance creating art with all the curatorial work you do?

It’s not easy. Curatorial work is much more than just putting a show together, hanging it and opening the show. It involves lots of meetings with artists and galleries, identifying artists, emails, phone calls, PR, etc. This often cuts into painting, which for my process, often requires days in row of concentration. I’m most successful at it when I schedule that time in advance by blocking my calendar, but the creative process also requires spontaneity and inspiration. I’m still trying to figure out this balance.

"Squish" by Stephanie Rond
“Squish” by Stephanie Rond

Do you have a schedule or system set up that works for you?

I use three things. My phone calendar, a huge chalkboard in my kitchen where I list everything that needs to get done and a small pad of paper on my studio work table so I can empty my head while doing studio work.

What advice would you give to an artist starting out that you’ve found invaluable?

I advise artists to keep working and not worry about what everyone else thinks. Keep striving to refine your technique. Make sure you are critical of yourself and always seek knowledge so you can continue to grow.

Three artists, living or dead, that you would invite to a dinner party.

I would invite contemporaries because I’m interested in their views on current society. The Guerrilla Girls, Henry Rollins and Margaret Atwood. I think Henry can roll with the ladies.

From the Vault: Sam got a weave

From the Vault = True story snippets from a writer’s notebook.

“Sam got a weave. ‘A black girl did it,’ she whispers. It’s real hair–‘Human hair!’ she says–braided into her naturally thin brown strands. It’s locked in tight to her scalp. She keeps touching it, petting it. She lets it swing around, amazed at the new brown volume that’s amassed her head. It looks good, in spite of itself. When she pulls her hair taut into a ponytail, though, you can see the weave at her hairline. Split like a doll’s hair. Fake and vulnerable. It’s a pity such a pretty girl loves it. She starts 8th grade tomorrow. She smiles.”

Five must-see movie picks from filmmaker Max Groah

Danger! Intrigue! Social commentary expressed by zombies thwarted by pot!

Meet Max Groah.

Groah is a member of Backward Slate Productions, a collective of Columbus filmmakers. He is the first guest of the July edition of my show with Justin Golak, What’s Up Columbus, and the director of “Bong of the Living Dead.”

You can guess what the movie is about from the title, but, alas, as with the best drugged-up comedies, bong water runs deep.

Here’s how Groah described the movie:

“The story follows a group of lifelong friends trapped in their house during the zombie apocalypse. Just like any other self-respecting zombie movie, we just have more interesting characters. It’s really a character piece. They are thwarted by internal conflicts just as much if not more than the zombies outside, because those zombies aren’t much of a threat … at first. In this world pot acts almost like a bug spray turning fast vicious sprinting ghouls into slow lumbering, more traditional zombies. So until the pot starts running out, our stoners are not even aware of the fact that everyone else around them, who doesnt smoke, is failing in the zombie apocalypse. That kinda brings in the social allegory. All the people who look down upon smokers, the douchebag boss, or the perverted high school coach, the crabby old man neighbor, or bitchy christian mean girl–they get killed and eaten while the ‘worthless’ stoners thrive. [George A.] Romero used zombies as a metaphor for consumers, we just brought pot into the equation.”

(Backward Slate Productions also produced a popular Sad Kermit vid. If you didn’t love the collective for making a zombie pot movie, then you will after watching the beloved frog smoking cigs and singing  Johnny Cash/ NIN’s “Hurt.”)

Groah loves movies and has an acting background. Also, a rare breed, he still rents from an actual movie rental store. His vid rental store of choice: Video Central on Bethel Road. That kind of dedication creates a vast knowledge of movies, so I asked him to pick five movies that are not necessarily his favorites but ones he thinks you should pop into your DVD player soon. Pot Popcorn optional.

 

Raising Arizona

“Yeah it’s funny, but there’s a lot more going on here in the second offering from the Coen brothers. It brings a quirky action, drama, coming-of-age and delves into the mental subjective a bit, allowing viewers to use their imagination.”

 

The Great Escape

“Because no one watches old movies anymore! This is one with an all-star cast led by Steve McQueen really holds up and is the true story of an elaborate tunnel escape from a POW camp in WWII.”

 

In Bruges

“I know you dont like Colin Farrell, BUT you will after this! It’s a hitman on the run after a botched job in a fairytale town … or is it a shit hole?”

 

Observe and Report

“Looking for something a little lighter? Observe and Report is funny as hell, until the end when it gets very dark very suddenly. But the soundtrack is great and Michael Pena rocks.”

 

Perfume: The Story of a Murderer

“Last but not least is the best movie you’ve never seen. NO ONE has seen it for some reason. To me, the title says it all. This thing is epic. It’s Princess Bride meets Natural Born Killers.”

Women’s Studies friends and SkyMall enthusiasts, read on!

Last week my boyfriend and I went on vacation to the Bahamas with his mom and her fiance. I’ll spare you the envy-inducing photographs of Paradise’s water, which is as clear as the 24-hour-delayed return flight was irritating. Instead I will show you photos that highlight more pressing matters.

I love airports. When I was little I pretend-played Airline Lady (not stewardess, but the person who helps you check your bags and print your tickets) while I was supposedly pretend-playing Daughter while pretend-playing House with my siblings.

I didn’t set foot into an airport until I was 16, but I was hooked after watching the Airline Lady type away in “Home Alone.” So professional! So computer proficient! All I wanted when I was a kid was a business suit and low bun (preferably installed with a Goody brand chopstick), a 3,000-word per minute type skill and Lucky Charms three meals a day.

At age 27 I love airports because of the magazine racks. The only magazine I buy regularly is Bitch because I am smart and angry. Thus, buying a magazine in the airport is my vacay equivalent of buying a $45 steak.

But what to buy? So many options. I am always interested in a few coverlines of rags like People and U.S., but I certainly can’t have strangers sitting beside me thinking I am vapid.

This vacation I went with The Atlantic.

The Atlantic July/Aug 2013
The Atlantic July/Aug 2013

This magazine is awesome! Stories broached topics such as how the foodie movement is well-meaning but elitist; how the media has become PG when the world is X-rated and the issues that has created; and why Kafka is overrated. 

An article calling bullshit on the at-27-your-ovaries-start-to-die fear mongering.
An article calling bullshit on the at-27-your-ovaries-start-to-die fear mongering.

During our stay in the Bahamas my bf and I enjoyed cable, a luxury we do not have at home. We passive aggressively fought between BBC World News (me) and “Seinfeld” (him). Our treatise was “Chopped” on Food Network.

While he was pooping and I got 10 minutes of BBC uninterrupted, I saw a commercial for the news organization’s special series about new wealth distribution. The series is called “Changing Fortunes,” and the ad I saw was for the storyline about how more women and Asians are becoming big money earners.

Interesting. While ads in my issue of The Atlantic included images of men earning money:

men and money ad
This man has made money.

I also noticed several that pointed to this newspeg of women and Asians increasingly becoming wealth holders as well:

This woman ha$ earned money.
This woman ha$ earned money.
The$e women have al$o earned money.
The$e women have al$o earned money.
Asian money ad
$$$$

Cool. Other things I liked about this magazine? The article titled “The Masculine Mystique.” It is an opinion piece by a journalist who left his sweet writing job to follow his wife’s even sweeter editor job. In doing so, he became the stay-at-home parental figure for their children. The article proposes that as this shift in gender role happens (because decisions like who stays home with the kids is depending more and more on economics than one’s gender), men are being left out of ALL the discussions. Media, ads, ourselves tend to talk about “moms” and not “parents” when we talk about childcare or decisions made in the home. Agreed. And a poll the article cites found that women tend to have final say in the big decisions made in heterosexual households. Therefore, many men are finding themselves charged with and lambasted for having all the power, yet having none at all. “The hollow patriarchy,” the author writes, “keeps women from power and confounds male identity.”

Dad$ can $tay at home and take care of the kids OR be the breadwinner$. These children have fantastic balance.
Meanwhile, the children of single dads have fantastic balance.

How to help fix this? Stop assuming the person with the kids is the mom. Does The Atlantic stick to this ideal? Yes! Check out this illustration for another article earlier in the magazine:

papa dont text 

Soon, though, as my travel party and I were stuck for 12 hours in the metal-benched airport in the Bahamas after our plane broke (the humanity!!!), we got slap happy.

I sought comfort in the free issue of SkyMall, another magazine of impeccable caliber. On the cover is none other than Top Model’s first winner, Adrianne Curry! Who could forget the beautiful body Bobby Brady boinked on national television? Not SkyMall!

Oh wait, she dated Peter Brady… Tomato, To-Not-Greg.

SkyMall is funny.

 skymall cover

Bottom... Or the JLo/ Kim K effect

pissed cat

hobbit ad

SUCK IT, LEG LAMP!
SUCK IT, LEG LAMP!

big foot outdoor figurine

Eventually we got on a plane that worked and my journey brought me back to reality, a reality no Atlantic article or SkyMall ad could distract me from. Check out the last line on the writing on this Mott’s Tomato Juice can… “Since 1842, we’ve been dedicated to giving moms the easy way to help their families be their very best.”

motts tomato juice can

 

10 Questions for an Artist: Painter W. Ralph Walters

I’m writing this after having spent 20 minutes falling down the Google-Image-Search-Rabbit-Hole of one of W. Ralph Walters’ favorite artists, fantasy painter and technique all-star Todd Schorr. Then I went down the Glen Barr rabbit hole… Sexual cartoon rabbit holes!

However, Walters’ art is deserving of its own rabbit hole and you can find it at 400 West Rich. I first met Walters a month or so ago to interview him about the first show he curated, a robot-themed art show at Gallery 831. Walters’ work, which he makes at the Franklinton space’s studio 228 alongside fellow Art Party group members, struck me in its realistic detail. And also its naked aliens.

Walters is a skeptic fascinated with myth. A Skully to the world’s Mulder. It’s not so much that Walters wants to believe, but he is fascinated with what people DO believe and why. The act of believing is so intimate an experience, yet it is something we all share, just like needing food and water. You believe water is over this way. You believe a god that rides a striped, fire-eating pegasus around the sun put it there. Etc. Belief can say so much about us even when it says nothing at all. You believe in God. Yet, I don’t know if that is just because you were raised that way or because you have looked inside yourself and chosen to believe in God.

Learning one’s basic beliefs is like taking the first step down an individual’s rabbit hole.

I love Walters’ work for how surreal and escapist the scenes are in their content; however, they are meticulously researched and are often loaded with hidden visual messages. Religion, extra terrestrials, mole people–anything human beings believe or have believed is fair game for inspiration. The paintings themselves are like ancient relics beckoning with a graceful undead finger to figure out the puzzle. (If you see Walters around while looking at his work, ask him for the secrets. He’s a super nice sage and listening to him tell the story of his work is almost better than looking at it… almost.)

As far as big projects go, Walters is working on a series of goddess of war paintings that he hopes to have slayed by the end of the year. I can not wait to see it and hear more from this talented Columbus voice. I believe!

Martian Genesis
Martian Genesis

 

The Baron
The Baron

What kind of art do you make and why?

I really lacked direction as an artist for a very long time until I got a job doing illustration for Paranoia Magazine, a conspiracy theory magazine previously based in Rhode Island, now San Diego.  Being a skeptic, I may not have believed some of the content of the articles I illustrated, but the idea that no matter how farfetched an idea may have seemed, that there were dozens, hundreds, maybe thousands of people who believed it intrigued me. What people choose to believe fascinates me. I’m also a fan of Byzantine and Renaissance iconography, so the idea that I could relate a belief I found utterly fascinating through my art intrigued me. That’s really the focus of the majority of my work now — illustrating belief.

 

What medium and tools do you prefer and why? 

I use acrylics because I’m a clumsy bastard. I will invariably stick my forearm in a painting, so if it doesn’t dry quickly, I’m going to muck it up. I do a lot of album art for doom metal bands as well, so I’ve got deadlines that oils wouldn’t suit. I started painting on Masonite because I found out Glenn Barr used it, and I love it so much I rarely paint on anything else.

 

When do you make art and why?

I’m doing this for a living at present, so if I’m awake, there’s a good chance I’m making art. Between commissions and trying to create art for my own satisfaction, I’m always busy.

 

The Lamb of Revelations
The Lamb of Revelations

 

Where do you make art?

Mostly at the Art Party Columbus Studio at 400 West Rich. Getting a studio there has been the best thing ever for my output, not just because I have a specific place to go that encourages me to work, but it’s also being around so many creative people. I feed off that energy.

 

What are your thoughts on the art scene in Columbus, both positive and negative? What needs improvement? What are you looking forward to? Anything in particular about Columbus made it difficult to be an artist here?

It’s weird living in a city that has an art school that doesn’t seem to do anything for the local art scene. It’s tragic, really. This has been a town that caters to “art” that one can match with their furniture, despite there being several astounding artists living in the city, like Alan Reeve, Charles Shipley Wince, Chris Tennant, Cyndi Bellerose, Tona Pearson, Roger Kent Grossweiler Jr., just to name a very, very few. I’ve found that the influx of art groups have started building a proper art scene here, because they’re creating their own opportunities. When you have more than 100 art groups doing this, suddenly, as a fan of art, you have multiple opportunities to see work you might not have otherwise. This is a good time to be an artist in Columbus because the old guard no longer has a stranglehold on what art reaches the public. 

 

Santa Muerte
Santa Muerte

 

What has been inspiring your work lately?

I’m a huge research nerd, and I had the opportunity recently to visit a buddy of mine who’s getting his graduate work done in Toronto. He, his friends (all of whom are Medieval studies students), and I went out drinking one night, and we had the best discussion about syncretic religion, ancient texts, historical fallacies, etc. I’m a very armchair level research nerd, so it’s always inspiring and invigorating to talk to folks who specialize in studying such specific subjects and know far more than I do about all of it. Nothing beats drinking with Medieval studies majors.

 

What advice that you’ve found invaluable would you give a new artist?

Keep working. Someone will always hate your work (and more often than not, that person will be you). Someone will always be better than you. Instead of taking it personally, consider it all constructive criticism, no matter the level of civility that criticism is delivered. If you want to do this for a living, or if you want to put your work out there for all to see, promote yourself. I’m astonished at the number of folks in this town that’ll have a gallery show they don’t promote. What’s the point in having the show in the first place if no one shows up?

 

The Battle of Stamford Bridge
The Battle of Stamford Bridge

 

What do you do while you work?

I sing.  Apparently, much louder than I thought.

 

Do you ever experience artist’s block?

Good Zeus, yes. Drives me nuts, because I tend to beat myself up if I’m not constantly working. I bury myself in research, go for walks, watch documentaries, anything to jar that productivity loose. Naps work occasionally as well.

 

Three artists, living or dead that you would invite to a dinner party:

Let’s see… Todd Schorr, because his technique is unparalleled; Frida Kahlo, because she was the first artist whose work astounded and haunted me enough that I decided I needed to be an artist myself (and because I have a mad crush on her); and Joseph Campbell. Research and the collection of knowledge is no less an art to me, and I could have talked to him for days on end.

 

Our Lady Of Guadeloupe (Virgin In Winter)
Our Lady Of Guadeloupe (Virgin In Winter)