Aliens

jellyfishLast night we went to a preview for James
Cameron’s new movie, Aliens of the Deep. It was pretty spectacular in
3-D Imax, all shot on the bottom of the ocean with extraordinary
critters and lunar landscapes. Cameron chatted with us just before the
screening and told us he much preferred these personal efforts to
Hollywood fare and would be continuing down this path. Here’s a guy who
made many of the biggest blockbuster movies ever (Alien, Terminator,
Titanic, etc) and won Oscars (Top of the World, Ma!) and instead of
making more and more crap full of explosions and mayhem has
increasingly devoted his creative energies and resources to these
little underwater documentaries aimed at schools and scientists.
As I mentioned a couple of days, I am thinking these days about the
balance between creativity for one’s pleasure versus creativity for
hire. With the exception of the few Damien Hirsts and Richard Serras
making big bucks, art is a business done mainly for its spiritual
rather than financial rewards. As an illustrator, one can make an okay
living, probably about the same as an experienced postal worker. One
has a certain amount of liberty in the way in which one works but, by
and large, you are executing other people’s ideas or at best creating a
drawing to accompany a story someone else has created. If you work for
publications, you’ll have decent freedom to interpret the assignment
and most of your drawings will be accepted pretty much as you draw
them. If you get one of the rare advertising illustration assignments
still left around, you’ll make a lot more money but have to redo your
work many times to fit the exact visions of the art director, creative
director and client.
Advertising is one of the most lucrative businesses for creative
people. We make double what designers do but generally get half as much
respect from our clients (most of whom make far less than we do). Our
ideas have to go through many layers of approval and then rounds of
testing but millions are spent to share them with the world.
Make no mistake. There is a fundamental difference between the work we
do for ourselves and almost anything we do for hire. Art is an
exploration, an unfolding of things that are deeply rooted in who the
creator is. It is not meant to fit an agenda or even express a message
(though much art is decoded for its ‘messages’, an aspect of the work
that is usually a byproduct of the artist’s process and not its true
purpose). Creativity that is commercial is always restricted by its
purpose. It may seem very free and loose and personal but it isn’t.
Even if one uses a song or an image that were created for personal
reasons and one puts it into advertising or design, one changes its
spirit forever. You can’t help but deform it by changing its content.
The song may sound lovely in the commercial but it is twisted to fit a
different agenda and thus loses it true beauty, a bird in a gilded cage
At the highest end of the advertising and design world, it appears that
top creative people have enormous control and freedom but I know many
such folks and though they are freer than their peers, compared with
the freedom of true fine artists they are crippled slaves.
Making the transition from one world to another is awfully hard.
I have hired artists to make ads for the first time and they are
horrible at it. I have hired movie directors to make their first
commercials and they struggle with the whole notion of shooting
something to time, to fitting a story into 30 seconds. Even Martin
Scorcese balked at it and produced mediocrity compared to directors who
are used to fitting their skills to the task. Composers, photographers,
painters, actors, all have trouble making the transition to the narrow
confines of commercial creativity.
The inverse is equally true. When I first started working with
publishers, I completely misunderstood the relationship. I thought my
editor was my client and assumed I had to follow their suggestions to
the letter. My agent disavowed me of this, pointing out that I
was the client, I was the goose laying the golden eggs, the producer of
the product that everyone else was profiting from ( which is equally
true in advertising but that value equation is rarely acknowledged as
if one’s salary was a lump-sum deal that expunges any rights of
ownership). Sure, the relationship was one of business partnership but
my vision was what my publisher wanted. That was a tough one to get
used to but enormously satisfying and liberating. IWhen I write a book
(and it becomes increasingly so with each book I do), I am out to
express myself and to find the best possible way to do so. Others’
functions is simply to help me understand how clear and engaging I have
been in doing so but the direction and responsibility are mine. That
feels a lot more like art to me. The check one cashes in such a case
may do less for one’s bank account but much more for one’s heart.

These thoughts on the value of creativity are rudimentary and a little
conflicted. I’ll keep working on them and share them as they are
polished.

Early morning habits

coffee-shopToo long ago, I went to the gym every day. At seven a.m., the doors opened and a small group of us would shamble in and begin lifting weights. I had a little notebook in which I charted my regimen and recorded my progress; accumulating the little pencil scrawls kept me committed for close to a year. I was pretty intense about it, seven days a week, rain or shine, always at 7 a.m. If I overloaded the stack of iron and strained a rhomboid, I would switch to a leg routine for the next few days until I healed. But I had to keep going
I took a fair amount of pleasure in how my body developed. I wasn’t a steroid freak or anything though some of the other 7 a.m. crew were a little scary, particularly a couple of the women with lats like pterodactyl wings and neck as thick as my thighs. For me, weight lifting felt like a creative act; I liked how my arms felt like they belonged to someone else, like touching a horse or a large dog’s back. I had made my body into something, something essentially useless as I rarely had to lift toppled trees off cars or open jars of pickles, but something hand-crafted nonetheless. I don’t even know how healthy the whole thing was: I almost always hurt somewhere and woke up each 6:30 wincing and groaning.
When it was still cold and dark outside, Patti would urge me to stay in bed but I would refuse. There was simply no room for discussion. If I missed a day, I would lose momentum, my streak would end. I was convinced that I had to be 100% committed to my routine. The pathological drill sergeant in my head gave my will zero room for excuses.
Then my sister said she wanted to join me. For a week or so, she met me every 7 a.m. and it was fun to have someone to work out with. Till one morning she called me at 6:45 and croaked that she didn’t feel like going today, that I should take the day of too. So I did. And the day after that and so on. I never went back to the gym again.
——-
Habit is enormously powerful. The bad ones are easy to pick up and a drag to shake. Each bad habit starts by stifling a voice in your head, the one that knows better, and says ‘go ahead, just try it’ and leads you to drag that first cigarette though you know it’ll lead to the grave, to accompany every burger with fries, to flop on the couch in front of the tube, to drink too much, talk too much, do too little…. The angel on your shoulder doesn’t stand a chance.
For me, developing good habits requires the same sort of censorship. However, this time I have to stifle the voice that leads me astray, to be absolutely rigid in my refusal to capitulate. It works best when I have an inflexible routine, like my 7 a.m. appointment at the gym.
These days, NPR wakes me up at 6:57 a.m., and I go mechanically through a series of maneuvers that have me walking up the street and arriving at my desk at 8:30 while the office is still cold and empty. I am at my most productive in that first hour. I’d love to add another hour to my morning, to rise before six and really get something done with my first cup of joe. I haven’t muscled myself into that harness yet.
What does this sort of rigidity mean when it comes to creativity? Can you be so iron-clad and expect your imagination to function just because you have put it on a regimen? Will the ink lie cold in the pen? Will the mind stay half-asleep?
Not if you insist. The muse can be put on a tight schedule. I have had to come up with ideas, on deadline for decades and, if anything, things flow more easily when you bear down on the brain. It’s not guaranteed but showing up is half the job. If I am focussed, resolved, and present, ideas will come.
I’d like to be more disciplined about my drawing. When I have an illustration assignment or a commitment to another like sketchcrawling, I can deliver. I just did it in Paris, crawling out in to the cold rainy dawn to draw. But it’s not as much fun as when I am suddenly inspired to pick up the pen. It feels like work. But maybe that’s because I am irregular in my early morning sessions. I mean, I could stagger over to the gym tomorrow at 7 am and bench press something but it would not be fun.
My pal, Tom Kane, has a great habit. When he walks into his office each morning, he snaps on his computer, loads the NY Times homepage and draws something from one of the lead stories in a Moleskine reserved for the purpose. Each day, at least one drawing of a newsmaker. Only then does his work day begin. His book is full now, brimming with great caricatures and portraits, built one drawing at a time. His drawings muscles ripple. Of course, he does not stop there; he draws New York City most days, detailed pen and ink drawings that fill the page from corner to corner. Tom’s compulsive too. He cannot stop until every square inch of paper is covered and crosshatched. He tells me he doesn’t do it because he enjoys it; he does it because he has to. He’s got the habit.

Summer Time Blues

I have been working fairly hard since coming back from vacation and, between that and trying to wedge in some drawing (and absolutely hating my ultra-expensive-from-the-tube watercolors as opposed to my tried-and-true Grumbacher set) and not doing enough guitar practice or going to the gym or telling my wife that I love her (in fact, she left yesterday morning to fly to Los Angeles for the Poseidon Adventure convention ( don’t ask) and various new book matters including signing my new contract and gearing up the Change Your Underwear publicity tour (apparently, I’ll be on CNN morning news, Good Morning America, Today Show , etc. after Labor Day), this blog has moved to the back of the pack. So, sorry about that.
A propos of nothing much but the fact that it’s summer and I’m working, I’ve been thinking about summer jobs I had as a kid.

cowMy first summer job was when I was eleven, and wanted desperately to be a veterinarian. I got a job working for the town vet (this was in a small Israeli town called Kfar Saba) who worked in the pound and the adjoining slaughterhouse. My job was basically to clean out cages and feed the dogs and cats but I also helped out where needed. I remember the sickly sweet smell of the gassing room and the stiff dog limbs sticking out of garbage cans in the back.
Someone once brought in a skinny dog that was entirely covered with shiny green ticks. He looked like a bunch of grapes and we had to shampoo him and pour kerosene on him then shampoo him again; slowly the ticks dropped off, squirting his blood onto the cement floor. A week later, the dog joined the others in the garbage cans in the back.
I was as ghoulish as any prepubescent boy and loved to hang around the slaughterhouse. The cows would be herded up a ramp and would meekly follow the cow ahead until they got close enough to smell the blood of the abattoir. Then they would raise their heads and roll their eyes and try to back down the ramp or climb over the rusting railing. One could have painted a line on the floor to mark the point at which they all realized their fate.
Once inside, men converged up on each cow and shackled their hooves. Motors mounted to the ceiling raised the shackles on chains and the cows would soon be dangling upside down and then lowered into a long metal tub. A board was put under the cow’s head and a rabbi stepped forward to slit her throat. To be properly kosher, the knife had to be so sharp that a piece of paper dropped onto the blade would be cleaved in two.
Next, the shackles were removed from the dying cow’s front hooves and the motor would hoist her up to be dressed by the butchers. A minute or two after crossing the imaginary line, the cow would be unrecognizable, a side of beef.
Occasionally I would help out in a two-story shed behind the slaughterhouse. Cow intestines were brought in by the barrelful and we would slide them through v-shaped boards that would squeeze out the contents into gigantic metal sinks, leaving us with empty sausage casing. The cow shit would run down to the first floor and into a cart tethered to a balding donkey. Without looking over his shoulder, the donkey knew when the cart was filled and would then trudge out of the shed and across the courtyard to a deep pit. He would back the cart against a pole upending the contents into the stinking pit. Then the donkey would trudge back to its post in the shed.
One afternoon, the rabbis discovered they had unwittingly processed a pregnant cow. I was called in to haul the purple fetus away and carve it up. The dogs ate it with relish, untroubled that the meat wasn’t kosher.
The vet’s thirteen-year-old son would occasionally hang around the office, snacking and picking his cavernous nostrils. One day, he announced that his father didn’t like me ‘ as a person. I was so upset by this first ever job review that I never returned to work. The vet called my parents, who were a little horrified by my daily descriptions of my job, and they decided for me that it was for the best that I spend the rest of the summer playing marbles and swimming.

At sixteen, I went to work at the McDonalds that had just opened on Court Street, rotating through all of the jobs in the restaurant. I worked the grill making Big Macs and burgers, twelve at a time during the lunch rush, toasting and dressing buns, searing frozen patties and stiffing them all into Styrofoam clamshells. Every few hours, I would scrape down the grill and then slide out the steel grease traps and carry them through the back door and into an alley. I would pry open one of the three steel oil drums that stood in a cloud of flies and dump in the grease and chunks of burnt meat. A seething bed of cream-colored maggots floated on the entire surface of the liquid within and would converge quickly on my offering. The smell was thick and alive and I would frantically slam down the lid.
I worked the register too, filling bags for sullen customers and praying that my register drawer would balance at the end of the shift. I made French fries, my arms slowly roasting under the heat lamps, my grill-burns stinging under showers of salt. Every week, an 18-wheeler would pull up to the curb outside and I would have to empty it contents into the freezers in the basement. I would pull a case of frozen burgers out of the refrigerated truck, carry it across the scalding July sidewalk, then down the stairs and into the store’s freezer, then up the steps, back out into the heat, into the frozen truck, back and forth, forty times. It was like training for a Rocky movie or the Iron Man triathlon.
The job I dreaded the most was working the lobby. The first part wasn’t too bad ‘ I pushed a little broom around and emptied the trashcans every ten minutes or so. I would drop the full bags through a steel door marked ‘rubbish’ and into a chute that dropped through to the basement. But twice a day or more, I would have to go downstairs and gather up everything that had come down the chute. This included all the bags I had dropped but also all the detritus that customers, confused by the sign on the chute door, had tossed down. Half eaten burgers, cups of ketchup, sodden French fries, dirty napkins, and diapers floated in ankle deep greasy water. All of this mess went into the trash compactor in the corner. Sometimes, I was so overcome by the smell and the vileness that I would rush over and throw up into the compactor, push the button to compact it and continue working. When I was done I would have to wrap wire around the bale and muscle it out of the compactor.
One day the owner took me a side and told me that since I was the only white employee, he had decided to send me to McDonald’s University to train to become a manager. I explained that I still had another year of high school to go and he told me I could get a GED later. I told him I was flattered but my parents had their hearts set on my going to an ivy league college. He looked at me like I had crawled out of one of the oil drums in the alley and told me to go down and compact the trash.
The next summer, after senior year, I worked in a record store. It was the summer of ‘78 and hald the albums we sold were the soundtrack to Saturday Night Fever. More modest hits that summer: George Benson’s Breezin’, Steely Dan’s Aja, and Fleetwood Mac’s Rumors.
I spent a lot of time studying the bins of records and soon knew the inventory cold. I developed a roster of regular clients who would come in on Fridays after work and they would usually walk out with a half records I’d recommended.
There were two phones next to the cash register and Peter, the owner was adamant that I not answer the white one. Occasionally, by accident, I would. The callers would invariably say they would like to ‘order a limo’. Whenever I passed such a message onto Peter, he would be irritated with me and tell me not to answer the white phone again. Other wise, our relationship was decent and he would give me occasional spot bonuses when I he saw me moving a lot of merchandise to my regulars.
Towards the end of the summer, Peer took me aside and asked me about my plans. I told him I was going to college. ‘Forget that, man,’ he said and told me that he would make me an assistant manager if I stayed. Besides the various girls who worked the register, I was the only employee so the promotion didn’t seem reason enough to cancel my plans to go to Princeton. ‘Come on, man,’ he hissed, ‘ I didn’t go to college and look at me now.’ I thanked him for the tutelage and again blamed it all on my parents. They had their hearts set on me going to an ivy league school. Peter glared at me and told me to get back out front.
The next morning he gave me an assignment. He had a wall covered with steel milk crates packed with records and he wanted me to move to his apartment, I spend the better part of the afternoon lugging them across the street and up to his fourth floor walkup. Halfway through, I realized that I would probably only be working for him for an other day or two and that if I quit now I could stop this back-breaking work.
Peter was in his bedroom with the door closed. I knocked and he said, ‘Don’t come in,’ so I went back to moving crates. After three more trips, I knocked again. ‘I need to talk to you,’ I said through the door.’ ‘Don’t come in!’ Three more crates. ‘Listen, Peter, I have to tell you something important.’ I said and turned the doorknob. Peter was sitting on his bed, which was completely covered by hundred of joints. He had a machine on his lap and was in the middle of rolling another one. Apparently this was the true nature of Peter’s ‘limo’ business.
‘Why’d you come in?! You’re fired,’ he roared. ‘I came in to quit,’ I said. ‘Well, you can’t because you’re fired! Just finish moving those crates.”
I went back to the store, selected copies of all my favorite albums and left the crates where they were.

waitressAfter my freshman year, I got a job working for my congressman, the Hon. Fred Richmond. Fred had been arrested a couple of years before for soliciting a young boy but, in a style that would seem very out of place today, admitted his guilt, did his time, apologized to his constituents if he’d embarrassed them and the following year was reelected with a huge majority. I was his assistant press secretary, writing press release on how appropriations were being spend in the district and inserting various ridiculous things in the Congressional Record: “Mr. Chairman, the 14th district of the great stat of New York would like to acknowledge 23 years of productivity from the Waldman Tool and Die plant on Nostrand Avenue….”
The next summer I became an intern in the White House. My joke about the experience is that Jimmy Carter lusted after me, but only in his heart. I worked for National Security Advisor Zbigniew Brezinski and occasionally helped out in Vice President Mondale’s office. The coolest thing about the job came each morning as I pushed past the tourists, waved my pass and strutted through the huge iron gates.
Despite the glamour, it was a shitty time. Each night I would take the bus way up north to Chevy Chase and sit in my rented room listening to my landlord scream at and then mercilessly beat his children. I was restricted form the main part of the house beyond my room and so I cooked on a small electric plate and washed my dishes in the bathroom. It was the summer of ‘80n and Carter was getting whooped in the polls. All of the political appointees were busy updating résumés and so I had only career bureaucrats to learn from. I spend most of my time in the White House library writing a paper on the War Powers Act that described how the president could commit troops to battle without congressional permission. This was during the Iranian hostage crisis and when the helicopters that Carter had secretly sent over the border crashed into the Iranian desert, my project tanked.
I decided to leave my internship but my mother and second step father were adamant: I was not allowed to come back to New York unless I had a paying job lined up in advance (I didn’t know it at the time but they were in the last months of their marriage). I was furious and decided to stay in DC and get a job.
I went to Georgetown and walked into the first French restaurant I saw. I was interviewed by the owner: “Have you any experience?” (I lied). “Do you speak French? “(Mais, oui) have you a tuxedo (I’d brought mine to DC in anticipation of the State diners I’d be attending). I started the next day, poured an entire dish of Boeuf Bourguignon on a patron’s Chanel suit and was immediately dismissed.
The next day, I went to a French restaurant on the other side of Georgetown. Same questions. with one addition: Where have you worked? I mentioned the place I’d worked the night before but not the terms of my departure. “Tres bien!” said the owner. ”That’s my cousin!” As he dialed the other restaurant, I slunk out the door. The following day, I was hired as a busboy at a Spanish restaurant. After lunch, the all Chinese kitchen staff asked me what I planned to do until the dinner shift. “Come with us!” the dishwasher said magnanimously. He had just bought a Camaro from the other busboy who had acquired a new Corvette from the waiter. I discovered their secret at the racetrack where they turned my $12 in lunch tips into $200. Clearly, I was onto a good thing.
Back at the restaurant, I discovered some sticky politics. The Maitre d’ who’d hired me was th partner of the chef who had been absent during the lunch shift. It turned out they absolutely loathed each other. When the chef discovered I’d been hired by the maitre d’, he fired me on the spot.
My next job was at a sandwich and ice cream store. I worked my ass off and ate all my meals for free at the restaurant. I didn’t speak to my mother for the rest of the summer and ignored her letters. By Labor Day, I had put aside $600, all in one dollar bills which I packed in to a suitcase and took back to New York. When I arrived home, my mother and stepfather asked me where I had been. With a dramatic flourish, I unlocked the valise and flung the contents into the air. “I’ve been making money like you told me to!” I cried, gesturing to the shower of green. They weren’t terribly impressed by my gesture.
The next summer I had one more restaurant job, this time at the chic River Café at the the foot of the Brooklyn Bridge. It was celebrity hangout of sorts: I peed in the urinal next to John Belushi and watched a waiter perform the Heimlich maneuver on Elizabeth Taylor’s escort.
Once a month or so, this mobbed-up guy would come in with a thick wad of bills and announce to the maitre d’, “I’ve got sixteen large on me. Help me spend it.” He sat with the stack at his wrist, tipping every member of the staff that came by. Each time he flicked his cigarette, a busboy would present him with a fresh ashtray and he would reciprocate with a fifty dollar bill. He even went into the kitchen and tipped the dishwashers and the sous chefs. By the time the night was through, his stack was gone. He thought he was big man. We thought he was a dick.
Our shifts would sometimes stretch from lunch till 4 am and the restaurant soon became my whole world. I was buddies with the Chinese busboys who would sleep on metal shelves in the pantry, nesting on the fresh linen. They lived together, squirreled away by the dozen into tiny walk-ups in Queens, and saved every penny they earned. After a couple of years, they planned to return to the Mainland to open restaurants of their own. My pal Phillipe was the valet and I would nip out when I could and we pile into a Rolls or a Bentley and cruise the BQE.
Tokoyama-san was the sushi chef and he would make me secret spicy tuna. One hot afternoon, as I worked on the outside cocktail deck, he made me a bowl of sashimi which I stashed under the bar. I would return to pick at the snack, not noticing that the raw meat had spoiled in the August heat. Soon I had a near hallucinogenic case of food poisoning and didn’t eat Japanese food again for a decade.

Homeless Journal

Recently, I found myself angsting about money. I decided that I should go out and talk to people who had none. I approached homeless people in my neighborhood and asked them to share their stories with me. At first it was terrifying, breaking the barrier. But I soon found that if you don’t want anything from people but their story and perspective, they are enormously forthcoming and trusting. They’ll soon forget to wonder why you’re asking.

These images and stories were published in the Morning News where my journal entires were transcribed into text.

All Quiet on the Artistic Front

tintin-composite
Where’s Johnny Got his Gun? Where’s All Quiet on the Western Front? Where’s Catch 22? A Farewell to Arms and For whom the Bell Tolls? From Here to Eternity? The Naked and the Dead?
Where’s Guernica?
Where’s Alice’s Restaurant? Where’s All Along The Watchtower? Where’s Give Peace a Chance? Boogie Woogie Bugle Boy? We Gotta Get Out of This Place? Born in the USA? Rocking the Casbah?
Where’s The Star Spangled Banner?
It’s been three years since 9/11 and yet, (except for a couple of forgettable efforts from Springsteen and Bowie, a few made-for-TV movies, and Michael Moore’s upcoming Fahrenheit 911) artists don’t seem to have responded in a significant way that has caught on with the public. Where’s the first great anti-war hip hop song? The Whitney Biennial was great but if any of it referenced 9/11 and the Afghanistan and Iraq wars, I missed it.
Granted, it may have taken a few years for great art to emerge from other wars, and so far no one’s been drafted for this one, but we live in accelerated times and all feel threatened and yet there doesn’t seem to even be a movement afoot. These events are changing our lives and our world, and people all over the planet seem to have strong feelings about it and yet, the music, film, fiction and art world seem way, way too peaceful.

The Art of the Cinema

In the movies, artists are generally bastards, nuts or addicts. Here are some of my favorites.

Biopics

The Agony & the Ecstacy: Irving Stone boils down the Sistine Chapel with a liberal amount of artistic license. Good painting scenes. With Charlton Heston (ugh) as Mike B and Rex Harrison as Julius II.

Lust for Life: More Irving Stone. Kirk as Vincent, Tony Quinn as Gauguin, Vincent Minelli at the helm. Beautiful and nutty and the best Vincent biopic.

Bird: Clint Eastwood’s version of Charlie Parker’s life.Good but not as good as:

Round Midnight: Dexter Gordon plays Bird, Lester Young & Bud Powell all rolled into one. It will make you love jazz.

Moulin Rouge: The original: Toulouse-Lautrec and Zsa Zsa Gabor.

Basquiat: Julian Schnabel directs this story of fame, drugs and demise. I liked Basquiat a lot more than the film but it’s still worth a gander.

Ed Wood: Proof that one of the most important things an artist needs is belief in himself.

Tucker: Automaker as artist. A sunny metaphor for Coppola’s battle with the Hollywood establishment

Amadeus: Nothing like the scene where Mozart dictates the Reqiuem to Salieri. I could watch this dozens of times. And I have.

Savage Messiah: I loved this movie in college. Ken Russell’s bio of French sculptor Henri Gaudier-Brzeska and his mad affair. Tortured, weird and romantic.

Pollack: Ed Harris’s tribute to Action Jackson but with a little too much drunkness and a little too little painting.

My Left Foot: Danny Day Lewis as Christy Brown, paralyzed poet and painter. Have been meaning to see it for 15 years. Will soon.

Shine: Pianist David Helfgott has a mean dad, a breakdown, and a lot of scenery to chew. Decent but overrated.

Hilary and Jackie: The lives of classical musician sisters, one wild, one straight. I enjoyed it but honestly don’t remember it that clearly.

Documentaries

Rivers and Tides: Simply the best movie I’ve ever seen about the creative process. Documents the work of Andy Goldsworthy the British sculptor. Still in some theatres. Avaialable on DVD in 9/04

Le Mystére Picasso: In 1956, Clouzot filmed Picasso painting on transparent canvases, revising the work as he goes, a chicken becomes a nude becomes a landscape, etc. Mind blowing.

Crumb: portrait of the great underground comix artist and illustrated journal keeper, intense and revealing. See it even if you think you don’t like him.

Wild Wheels: a tribute to art cars (covered with mirrors, grass, plastic fruit, etc) and the people who make them.

28th Instance of June 1914, 10:50 a.m. – McDermott & McGough are a pair of artists who live as if it were PreWWI, their clothes, their home, their plumbing, their manner and their photography. Beautiful and strangely compelling.

Fiction

Edward Scissorhands: A fairy tale about the artist as outsider. By one of the most creative directors in modern cinema.

The Royal Tennenbaums: The story of a creative family and the least good of the great films of Wes Anderson.

The Moderns: Alan Rudolph’s story of artists in Paris in the 1920s is wildly surreal and romantic and has a wonderful soundtrack.

An American in Paris: A highly realistic story of artistic struggle. Gene Kelly, Minelli, and my fav: Oscar Levant.

Quartet: 4 stories, one of a pianist who studies for years to get a critic’s approval. Also by Maugham.

The Razor’s Edge: Bill Murray (of all people) was in the good version of this story of a WWI vet discovering himself as an artist and a spiritual being.. It was very inspiring to me when I first saw it two decades ago.

The Commitments: Slightly too raucous story of an Irish soul band but a good appreciation of appreciation.

The Hours: Virginia Woolf and all that.

New York Stories: The first part of the trilogy is by Scorcese with Nick Nolte as a larger than life painter who can only work when obsessed with a woman. Some beautiful moments.

The Horse’s Mouth: I loved this book as a kid — it made painting into the most heroic of acts. Alec Guiness plays Gulley, a screw up of a painter, in search of the perfect wall for his mural.

Got any to add?

Comments

How about Life with Picasso by Francoise Gilot?

According to IMDB there’s a TV film called:

Pablo Picasso: Réminiscence

Is that the one?

What’s it like?

I love your top two documentaries. I just watched Love is the Devil about Francis Bacon, which I found very fascinating.

Then there’s “Surviving Picasso”, came out a few years ago.

Benny and Joon has some wonderful scenes with Mary Stuart Masterson’s character creating directly on the canvas using her hands as well as drawing with more traditional materials.

‘Camille Claudel’ is a wonderful movie about the life of the sculptor that worked for Rodin and then later became his mistress. Of course its a tragic story , women artists didn’t really have a chance in those days . She ends up being committed by her brother the french poet Paul Claudel . I don’t think she was crazy just filled with a lot of passion for her art . Passion was not something women were allowed to feel in those days.

what about Cavaragio by Derek jarman and there was a great documetary about that mail artist based in NY which I saw at the edinburgh film festival… but I can’t remember his name!

I recently saw Frida with Salma Hayek. Apart from the fact that she is much more gorgeous than the real Frida to look at, I thought the quirkiness of this movie was brilliant. It surprised me.

A friend of mine at work keeps INSISTING that I need to see “The Girl with the Pearl Earring” because of its art theme. Maybe that would be a good one to check into! Thanks for the listings!

As a documentary on the creative process and the techniques and aids used by the some of the great masters I highly recommend David Hockney’s Secret Knowledge – it is available in both video and book. I was absolutely fascinated when the documentary screened here in Australia, it opened many new insights and evolution of the creative process.

i agree with the royal tenenbaums also because wes anderson’s brother did all the great illustrations (the ones that “Richie Tenenbaum” does) and all the “book” illustrations and also does a great job on the rushmore/royal tenenbaums special additions packages.

also : American Splendor about Harvey Pekar (!!!) with a little bit of Crumb (!)

I must also cast a vote for Frida. What a beautiful movie! Each frame is an artistic composition with rich rich color. Also, I’m afraid Bill Murray’s Razor’s Edge, although I’m sure his intentions were good, cannot hold a candle to the book which was simply amazing. The problem with the movie is that the protagonist is just not supposed to be a funny guy! Another movie not to be missed is My Architect which is about Louis Kahn. It’s still playing at some theaters but I’m buying this one when it’s available. This from someone who doesn’t watch the same movie twice.

P.S. –

what about songs about art / artists ?

how about “artemisia” about artemisia genteleschi (sp?)? struggle of women artists. love affair. torture by thumbscrews. pretty decent film.

I loved a documentary on the building of the National Gallery of Art with IM Pei…showing a lot of the work with Henry Moore and Sandy Calder.

All of the work that went into every inch of the place….interesting.

Movies: Sweet and Lowdown, Woody Allen, starring Sean Penn as brilliant guitarist best moment: when penn bashes his guitar against a tree crying “i made a mistake, i made a mistake”

Lady Sings the Blues, Diana Ross Billie Holiday. for the music alone and Ross ain’t too bad either ….

Shadowlands, Debra Winger and Anthony Hopkins, about C.S Lewis

Fiction: Portrait of the Artist as a Young Man , James Joyce…those last paragraphs/lines, i weep everytime

Sula, Toni Morrison, the artist without an artform

Oranges are Not The Only Fruit, Jeannette Winterton, evangelical upbringing + lesbian= writer

Einstein’s Dreams Alan Lightman, a mathematic/scientific poet….vignette dream meditations on Einsteins mind during his patent clerk days toiling on relativity by night.

whoops! guess i added books too….woolf/the hours made me do it!

sorry

How to Draw a Bunny – about Ray Johnson, mail artist (2002)

Goya: The movie (1999)

(Also liked Frida and Girl with a Pearl Earring)

“Angels and Insects” includes scenes of a woman who keeps an artistic nature journal … although there are definitely other themes …

I’ll keep thinking …

My Architect – about Louis Kahn, got an Oscar nod this year, and well deserved too.

Rivers and Tides? I dunno. I felt like even more of an outsider to Goldsworthy’s work after seeing that. It would have benefitted from some serious editing.

That’s my $.02

It’s not totally about an artist’s struggle, but A Soldier’s Daughter Never Cries, film by James Ivory, based on a novel-based-on-her-life by Kaylie Jones (her dad was James Jones, who wrote From Here to Enternity), is about growing up in a bohemian, artistic family.

Also, Un Coeur En Hiver, a French film about a violinist and the man who makes her the violin.

Thirty Two Short Films About Glenn Gould is a wonderful movie. About Glenn Gould.

I’d nominate Pecker by John Waters – quirky, funny and very, very scathingly revealing about the machinations of the art world.

Not to be missed is the PBS special on photographer Ansel Adams; I think it was from the series “the American Experience.” Available from the PBS catalog.

“Agony and the Ecstacy” also has a wonderful score by Alex North. I often listen to it while I’m working.

Tony Hancock’s comdey ‘The Rebel’ c.1960; an office worker goes off to live the artist’s life in Paris. Although Hancock was the best-loved sitcom star in Britain at the time he had a yearning to do a movie like Jacques Tati’s. Never quite pulled it off, tragically.

How To Draw a Bunny about Ray Johnson is really worth going out of your way to see.

La Belle Noiseuse by Jacques Rivette

Dream of Light by Victor Erice

A couple of months ago I saw back-to-back three films about artists:

Pandaemonium about poet Samuel Coleridge and his friendship with Woodsworth – and descent into drug-addled craziness – a rocknroll account of an interesting fellow.

Passion about composer Percy Grainger, another troubled artist, the story took me by surprise having thought him a “simple” sort of composer. I was very mistaken.

and The Pianist, the haunting Polanski film about Szpilman’s endurance through Nazi terror in Warsaw.

They were all exhausting and heart-wrenching stories. But man oh man, it was a good day.

The Fifth Element!

see – the part where bruce willis is listening to the diva sing – and it keeps cutting back to Leelo fighting the badguys over the stones.

see – there’s this pretty little moment when he believes everything is true. Art shows the way to love shows the way to love saves the universe.

i really need to write about this more coherently someday. 😀

I have to second Stone’s Lust for Life…the movie made me want to find out more about Vincent…I saw it after hearing the song by Don MaClean–Starry Starry Night. (GREAT POET/GREAT SONG…ONE OF MY FAVORITES!!) By the way…I learned how to play it on my tin whistle Danny…how’s the guitar going????

I also have to second The Pianist. The compelling love and urge to play music touched my soul. His identity was more deeply embeded as a pianist, rather than a Jew. I feel my art defines me more than anything else as well.

Thanks everyone…I will have to visit the video store on some of these!!

I haven’t seen this one added, it is fairly obscure. You seem to

be an enthusiastic Van Gogh fan like myself, and you would

definitely enjoy “Vincent and Theo”. It shows a lot of the darker

side of Van G.’s life, such as the time he took in a pregnant

prostitute. The scenes are brilliant and suffused with the yellow

light of “The Night Cafe”.

Directed by Robert Altman, it stars Tim Roth as a quiet, intense,

muttering painter. I love this film and watch it every few months.

Also someone mentioned “Surviving Picasso” and “Camille Claudel”. Camille is devastatingly sad, but casts a lot of light on the relationship between herself and Rodin.

I also would like to mention a great film that stars J. M. Basquiat as himself, “Downtown 81”. It is a musical and poetic romp through the art and post-punk scene of NYC circa 1981. It was recently released after 20 years on a shelf! Great fun film, also with amazing live music scenes and a cameo by Blondie.

A good movie about becoming an artist, against all odds:

“Dog of Flanders”

(the original 1959 version, with David Ladd, Donald Crisp, Monique Ahrens, Theodore Bikel,)

The documentary Speaking in Strings about violinist Nadja Salerno-Sonnenberg profiles a very passionate and unorthodox musician.

i don’t have a film to add, though i did enjoy Pollack, but thank you Dan once again, for your unfettering vision. that’s what attracted me to your site initially, you take a stand for all those individuals who allowed themselves to be consumed, perhaps devoured by their passion for visual expression. you are truly a becon on this artists’ path.

‘Life and Death of Vincent Van Gogh’: the biography of Vincent using only his paintings, some locations and excerpts from his correspondence.It was powerful movie.

-Nandita

For fictional: “The Legend of 1600.” Beautiful. The duel between the protagonist and Jelly Roll Morton is one of the most amazing scenes on film. Great score by Ennio Morricone (his last, in fact).

henry and june!

Just in case anybody else is still checking out the comments on this post, here’s a hard-to-find but really great doc of an artist: Gabriel Orozco (that’s the name of the film and the artist). To crib from the Miami film fest: “Internationally recognized Mexican artist Gabriel Orozco uses found objects to instigate a dialogue into how meaning can be formed from the arbitrary and the ordinary.” Very inspiring.

i too was so totally mesmerized by Le Mystére Picasso, i think its a really long film, but both times ive seen it i cannot rememeber time. I can only remember at the end kind of waking up and realizing my mouth was open and i had a crusty line of drool leading from the side of my mouth.

How about an angel at my table – both film and book

i too was so totally mesmerized by Le Mystére Picasso, i think its a really long film, but both times ive seen it i cannot rememeber time. I can only remember at the end kind of waking up and realizing my mouth was open and i had a crusty line of drool leading from the side of my mouth.

How about an angel at my table – both film and book

Seeing the Site

weststreetI was riding my bike down the West Side yesterday afternoon and passed Ground Zero. It’s a big construction site these days and, like a typical New Yorker, I just breezed past.
For some reason, this time I noticed the West Street Building on the south west corner and I stopped. I looked at it and I saw it for the first time. It’s a landmark building, built in 1905 by Cass Gilbert who also designed my all-time downtown favorite, the Woolworth Building.
While all of the modern buildings round the site are either gone, rebuilt or heavily shrouded, the West Street building was openly wounded. Its Parisian mansard roof is completely draped in black steel mesh. Large pieces of its limestone facade are smashed or cracked off. Its terra cotta tiles, installed for fireproofing, helped to protect it from the burning columns that fell off 2 WTC but took a beating. Ornamental busts around the front door were decapitated. Through the empty windows I could see rubble in what once an elegant interior.
This building was so stately and built to endure. Now, it stands with gaping holes. My instinctive reaction was an angry sadness that the people who did this knew nothing about our city, didn’t understand the significance of the history they erased. Not that it would have influenced them. The Taliban well understood the history of the giant Bamiyan Buddhas they dynamited in Afghanistan, when they kicked off the culture wars by destroying some lovely art.But of course who of us understand the history of the buildings our government has destroyed in Afghanistan and Iraq? Not to mention the stories of all those lives erased forever. It’s all so shitty.
While our friends in Washington pass the buck, I realized how I have been dulled to the enormity of what has happened to my city and this world. I follow the news closely and yet I have formed a thick carapace to protect me from the effects of all this horror. Noticing that injured building all of a sudden made me disappointed in myself that I had not seen what was right there in front of me, had missed the lesson and the beauty that was lost. So I stayed for a while by its bedside and studied the extent of the damage.
I know I’m not saying anything that isn’t trite or been said so often before. But the skies were the same aching blue I remember from that September day and it all came flooding back. I need to see better no matter how it stings.
(If you’re enjoying this, and would like to depress yourself even further, check out the tiny movie I made eleven days after 9/11. P.S. The West Street building is under going gradual renovation and will eventually become expensive apartments, overlooking the banks of the World Trade Center.

Pigeonholes

pigeonholesMan, the name-giving animal, is in rare form these days. We’re just stalking the planet, hell-bent on slapping labels on others, stuffing them into compartments, and spewing vast generalities about things we don’t understand well enough.
Religion is dividing the world and our country like it hasn’t since the Dark Ages. The promise of immigration on which America is founded has become an evil tangle of anxiety and finger pointing as broad swaths of our neighbors are labeled and fingerprinted, then shown the door or locked up without due process. The media pundits have been wrong time and again throughout this presidential election, as they have tried to adhere dusty nameplates and bankrupt maxims on phase after phase of the campaign. Instead of observing wisely, they insist on prognosticating and tripping over their mike cables.
For a while it seemed like the forces of globalization would push down the walls that subdivide the planet, providing a global culture of inclusion, one huge Benetton ad. Instead, we’ve been given too many McDonalds outlets, too many Nike logos. Instead of religions and nation states, the folks in Davos wanted to give us all SKUs, compartmentalizing everything to fit neatly into Walmart’s inventory.
The Internet was another beacon of hope, connecting us all, one to one, allowing us to found and find our own communities of interest. We’d have labels but at least we got to put them on ourselves by signing up for this chat group or the other. But the anonymity and lack of accountability that rules the ether has made it hard for people to translate their keystrokes into action. Howard Dean showed us that. We can connect and agree, slapping each other on the back and exchanging wild emoticons, but the results are amorphous and hard to turn into anything concrete and enduring.
Among creative people we find similar divides and so many of them are self imposed. Aesthetics are ruled by professionalism. Be an actor but you can’t then be a writer too. You can act on TV but not in movies. You can write comedy but can’t paint murals. You can be a rocker but don’t expect to be taken seriously as a composer.
Sure, some people climb over a wall here or there, the Sean Jean/P Diddys, the Will Smith/ Fresh Princes, the Carrie Fishers, the J-Los.
But we much prefer to know which section of the bookstore to find our favorite authors and the more they repeat themselves – the John Grishams, the Tom Clancys, the James Pattersons – the more we will reward them. The same goes for bands and movie stars and fashion designers and chefs. ” Be consistent. Let people know what to expect. Be a brand”
And how we draw those barriers through our own lives too, imposing restrictions often through sheer inertia. “I don’t eat Indian food. I don’t read mysteries. I hate French wine. I’m not into documentaries. I don’t look good in red. I hate history. I never go to the opera. Blah, blah, blah.
And then, deeper still, we carve labels on our very Selves: “I’m not talented. I’m an amateur. I can’t draw. I’ve got two left feet. I’ll never make it. I don’t have a degree. My whole family is tone deaf. I never read. I’m a woman. I’m too old. I have to make a living. I never finish things. Blah, blah, blech.”
Spare me.
Can’t we all be a litter more subtle, a little more aware, a little more creative, and start seeing the world in all its shades of grey, and all the hues of the spectrum?
We don’t live in a box. We live on a ball, always revolving, always changing, moving ahead, never in the same place for more than a moment. That’s the nature of the universe. That’s the true nature of man. And that, my label hungry friends, is what Art is all about.

Ideas and the end of the world

dinosaur

In nature, we organisms have a tendency to seek balance. We want to adapt to our environment and develop the most efficient life style based on the resources around us. You and your descendants will change in order to find your niche. If there is an abundance of a certain hard nut, those with a large, hard nut cracking beak will survive. If the leaves are most plentiful at the top of the trees, those with longer necks will flourish. Once you reach this equilibrium, you won’t have much incentive to continue changing. In fact, change could imperil your success as a species.
As a result, evolution goes in spurts of change with long periods of stasis in between.
Our lives work the same way: most of us tend to seek a stable job, a stable community, a regular diet, or form of exercise. We find a place we like to vacation and we go there every year and lie in the sun reading our favorite authors. We go to the same church, vote the same party line. We make friends with people who share our interests and we settle into regular social schedules with them.
We avoid disruption. We shun risk.
Deep in our reptile brains, we know that this is the key to survival. Herds only change grazing lands when the drought comes.
There are two results of this type of habitual existence: The first is that we are afraid of trying something new for fear that it won’t bring us the same level of reliable reassurance as the things we have always been doing. We don’t want to endure the discomfort of failure or even of the unknown. We prefer to limit suspense to Friday night at the movies. Better not to do at all than to do badly. We wouldn’t want to stick out and possibly send ripples through the quiet watering hole. I’m not saying any of this derisively; it’s a perfectly logical perspective, a perspective the vast majority of people in our society share. Far better the devil you know.
The second result is that we are completely unhinged when change does occur. And there is no question that it will occur, as sure as summer follows spring, as death follows the cradle, as the #9 train rolls into Christopher Street station.
America had no real idea how to respond, for example, to September 11. When I was eleven and living in Israel, terrorist bombings were regular events. When my bus stop was blown up fifteen minutes before school let out, they didn’t even bother reporting it in the local paper. But in America we had a real sense of apocalyptic doom after the World Trade Center attacks. It seemed like everything was going to unravel and our entire way of life was done. We were like hens in a coop, completely unable to interpret any howl in the night. Perhaps that’s why we have so many pundits, so many people who reassure us by telling us what is to come. The fact that their collective opinions cover every possible outcomes doesn’t shake our confidence.
My point is not political. Because what I am really discussing here is creativity. We must understand that creativity is both essential to survival and anathema. That’s why it can be so hard to overcome the resistance we have to our own creativity. Why it causes us such a deep sense of fear and dread. And it is why artists are so reviled in our fat, contented world. Look at the government sponsored art of the WPA. Look at the creativity that springs up during revolutions. Think of the wild architecture that was proposed to rebuild downtown New York in the immediate wake of the attacks. As the dust still lingered we welcomed a vision of a new world, collective recognition that our times and our landscapes were different. But all too quickly, we became more conservative, more calcified and the designs morphed back into the predictable, corporatist visions that suited a calming with the public mood.
To be creative, you must be brave and allow your self to take risks. You also must be a little crazy to take these risks.
But have an appropriate degree of perspective. You must reassure yourself that by doing a watercolor or throwing a pot you won’t set off some chain reactions that destroys your entire universe. The whole reason that you are feeling any sort of need to be creative is because you, as an organism, feel some need to adapt to changes in your environment. Your job may be too restrictive. Your relationship may be showing you new possibilities. Your daily paper may be reshuffling your deck. Your body may be changing. Or you may just be more sensitive than those around you, a canary on the coal mine, a bell weather to changes that others don’t yet sense.
Under all those conditions, creative change is no longer a risk, It’s an imperative. Give yourself the chance to experiment and reconfigure your life. Start today. Before the volcano erupts or the meteor hits the earth, before you get run over by a bus, or your candidate loses, or your bosses makes a cut back, before the changes erupt, and it’s all too late. And even then, it won’t be.
It’ll just be time to stop being a dinosaur and start figuring out how to become a bird.