technique

“[As a kid], I wanted to be an architect. I don’t even know where I got that idea from. I think I was told ‘you should be an architect’ somewhere early on, and I just latched onto it. My idea of being an architect was envisioning variations of what my room could be, split-level secret chambers, transportation in and out, that sort of stuff. I guess that’s why I enjoy getting to build these fantasy locations.

My house in New York is pretty spare; it’s sort of organized, but it is very simple. I do have some old telephones, but they are touch-tone. Everything else I use is all Apple. In a movie, if someone is going to listen to music, nine times out of ten I have them put on a record, which I myself never do. It looks so much nicer to me, to see this thing spinning and put a needle on it. It is what I grew up with, but it is also just a more beautiful object and it does something, you know – it spins. At the same time that is a little bit like fetishising this stuff. I met this guy in Italy who wanted to take me to this place where he has his collection of reel-to-reel tape recorders, because he thought I was obsessed with them. Well, I’m not obsessed. I don’t own a reel-to-reel tape recorder, but it does look nice when it spins and you film it.”

-Filmmaker Wes Anderson, in an interview with Tim Noakes for Dazed & Confused. Anderson’s latest film, Moonrise Kingdom, is in theaters Friday. Click below to watch the trailer.
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“I don’t pull [a Chado Ralph Rucci collection] together until very late, because I keep on adding—and editing. It doesn’t all come together until the fittings are finished, and then I line up for the show, because I don’t work with a stylist. I don’t understand how I possibly could, for two reasons. Part of my work, after I design the clothes for consumption—for the buyers to pull apart and buy for their locations—is also to make a presentation that tells a story for the press and for the history of our profession. And so how could a stylist know what’s in my psyche? And after having this huge period of solitude of just working with my friends [to design, construct, and edit the collection], how could I sit down with a stylist and talk about all of that? Perhaps a psychiatrist that I’ve worked with, but not a stylist to put together clothes! The other part of that is that I find that the formula that has occurred in our industry in the past however many years while I’ve been in this business, where a stylist prepares it for the press so that all the messages read somewhat the same, I can’t do that. I would choke.”

-Fashion designer Ralph Rucci, in an interview with modaCYCLE (video below). Rucci will receive the André Leon Talley Lifetime Achievement Award this evening at the Savannah College of Art and Design’s annual fashion show. An exhibit of his work opens today at the SCAD Museum of Art.
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Juergen Teller, “Pettitoe, Suffolk, 2011,” a photograph from his “Keys to the House” series exhibited earlier this year at New York’s Lehmann Maupin gallery.

“I can achieve something in a very quick moment. But it does get very personal. I think I open up a lot too. I don’t come around as the archetype fashion photographer dude, playing the big guy with the horde of assistants. I let them know I’m also nervous or insecure. Then I let them relax. The way I photograph is quite hypnotizing. I found a way to hide my insecurity—I have two cameras and I photograph like this [mimes cameras in each hand moving hypnotically] and this helps me to figure out what I should do, where they should go…it’s so intense, so psychologically draining, it’s like my brain works on overdrive in those minutes—or hours or days—I’m photographing. That’s why I can’t do it so much because I’m really super-concentrated. Other people think it’s a stupid snapshot—I get that a lot—but it’s very precise. And it has to be very fast because if I’m on a job or something, I can’t just doodle around and days go past and I take a picture. Sometimes there’s a lot of money involved and I have a responsibility to the client to get the fucking thing done. A lot of other people say, “Stand like that, stay like that,” and they do a Polaroid and everyone—all the assistants, the hair and makeup, everyone—stands around looking at the Polaroid or nowadays looking at the screen, then they say, “Let’s do it, shoot,” by which time the model is so tense the Polaroid is better than the end product. I ease that up where they don’t feel necessarily, ‘This is the big decisive moment.’”

-Juergen Teller interviewed by Tim Blanks in the fall 2012 issue of Style.com/Print

“Everybody likes objects; everybody likes different objects. It comes down to what objects you want to put in your art. [Jeff] Koons and [Claes] Oldenburg both seem to have their agendas with their objects. So do I, I guess. I like them all: high, low, used, new, whichever works. I don’t know if the Lamp/Bear has anything more to do with Koons or Oldenburg than all three of us and everyone else have to do with [Marcel] Duchamp’s liberation of the real thing. Before him, it seems objects appeared in, or maybe as, still-lives. Duchamp’s the guy, the legend, who liberated objects from being second-class citizens. Even if his greatness lies in our imagination and how he built himself to make us imagine his work as we imagine it. His objects are often not very satisfying to spend time with outside of the fictions he created for them.”

-Artist Urs Fischer, whose solo exhibition at François Pinault’s Palazzo Grassi opens Sunday

“I keep getting this thing about painting your own work. You don’t paint the spots and all that shit. I’m doing this other stuff where I’ve got two guys in Italy carving a sculpture out of granite. So I’ve made a plaster, working in the foundry, of two figures. One of them is based on Michelangelo’s “Slaves,” the other on the sculpture of a female slave by Hiram Powers. These two guys are amazing granite carvers and they are working day in, day out. And it’s like two and a half years to make one. And it’s an edition of three. So that’s 10 years, with an AP [Artist’s Proof]. If wanted to do it I would have to go and study for 10 years, five years. To learn how to carve granite. Fucking hell! If these guys live to be 70 they are going to be able to make 12 of these. And that’s their whole careers. And that’s your whole life gone. So you have to get people.”

-Damien Hirst, in an interview earlier this year with Anthony Haden-Guest for The New York Observer. A Hirst retrospective opens Thursday at Tate Modern in London.

“My interest was to show Richter at work. How he moves, how he applies paint to canvas, his compelling squeegee technique. The purpose of the film was not to reflect the art historical discourse. It’s not that I didn’t have such concerns in mind, but I didn’t want to use the film to interpret the paintings. Books are a better medium for articulating theoretical positions. And the actual act of painting is hard to describe in words—especially the way Richter mixes primary colors on the canvas, generating such a complex system. The way layers are built up and submerged, and how sculptural they appear on canvas. The most important thing for me in this film was to show something uniquely visual.”

-Filmmaker Corinna Belz, who wrote and directed Gerhard Richter Painting, which opens next Wednesday at Film Forum in New York

Finally—a music video starring pencils! Motion graphics wizard Dropbear (also known as Jonathan Chong, whose pseudonym is that of a vicious yet imaginary marsupial) has outdone himself with a colorful feat of stop-motion animation for Hudson. This video for the Melbourne-based indie-folk band’s “Against the Grain” will delight viewers of all ages, falling somewhere between Surrealist film festival fare (we’d put it right after Hans Richter‘s Dreams That Money Can Buy) and Sesame Street interstitia:

Wondering how he did that? Here’s a quick behind-the-scenes look at the 920 pencils and 5,125 images required:

“Every artist gets asked the question, ‘Where do you get your ideas?’” says Austin Kleon. “The honest artist answers, ‘I steal them.’” This is the first of 10 pieces of advice that the Austin, Texas-based writer and artist offered to an assembly of college students earlier this year. Last week, Kleon inked a deal to develop his life lessons into a book, Steal Like an Artist: a “guide to the creative life for makers in the digital age” that is slated for publication by Workman Press in March, just in time for his SXSW panel with Kirby Ferguson. Until then, you can find the annotated lecture slides on his website. They offer valuable tips on everything from achieving professional success (“The Secret: Do good work, then put it where people can see it.”) to staying inspired (“Side projects and hobbies are important.”). “More very soon,” promised Kleon in a blog post announcing the book deal. “In the meantime, there’s a new book page with pictures of the work-in-progress, and I’m posting deleted scenes and research on my Tumblr.”
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“I’m always looking for an unconventional way to do holiday,” Simon Doonan told us the other day. The famed window dresser and style authority, who holds the plum title of creative ambassador-at-large for Barneys New York, prides himself on “crafty ingenuity”—think Rudolph made from old Coke cans—and his latest project came with a high-tech twist. PayPal hired Doonan to whip up festive window displays for its pop-up “Shopping Showcase,” a ground-level space in New York where the online payments giant will show off its latest offerings to retailers beginning tonight. So how did he conquer the challenge of selling, well, selling? “After they called me, I was walking past an art supply store, and I saw these,” he said, holding up a posable wooden manikin. “I thought they would be a great way to represent the 100 million people that use PayPal. They’re zillions of these in different sizes in the windows. They’re chic, they’re connected, they’re flexible.”

After Doonan submitted his initial sketches (one is pictured above), the displays were fabricated on site. “That’s a tremendous advantage, because it allows you to keep running outside and seeing what everything’s actually going to look like,” explained Doonan, dressed in a snappy Thom Browne jacket in a shade that he described as “PayPal blue.” The company’s signature color is a key theme of the windows, which feature an industrious bunch of wooden people going about their seasonal preparations amidst a flurry of wintry tissue and tulle. “It’s a fantasy holiday vignette,” he said, standing in front of the largest window. “Buy your gifts, throw them all in a sleigh, and then haul them off through the snow.” For those eager to bring a bit of Doonan’s kooky approach to their own December decor, he recommends a trip to Home Depot for some chicken wire, which he used to make the PayPal wreath. “Chicken wire is such a versatile, incredible material,” he said. “Make yourself a chicken wire Christmas tree and then just start shoving things into it.”
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“[Kevin] O’Callaghan began what he calls the ‘monster’ object phase of his career back in the early 1980s when he was an advertising major at the School of Visual Arts. Upon graduating he showed his work to Milton Glaser. Rather than carry a standard portfolio up the two flights to Glaser’s 32nd Street Manhattan studio, O’C (as I call him) decided to build a two-story portfolio case. ‘I was a little late,’ O’C recalled, ‘because my portfolio got stuck in the Midtown Tunnel.’ In fact, it was wedged against the roof, and O’C had to let some air out of the tires of his trailer to free it. Showing up tardy, O’C met the slightly annoyed Glaser, who stated he didn’t have much time, and asked ‘Where is the portfolio, anyway?’ O’C answered, ‘Look out the window.’ The portfolio was level with the second floor. O’C continues, ‘So he got on his intercom to tell everyone “go to the windows,” and just as he did that a reporter from People magazine, who heard about the Midtown Tunnel incident, came to write a story that appeared on two pages in the magazine.’ After this, O’C started getting an enormous amount of work.”

-Steven Heller in his foreword to Monumental: The Reimagined World of Kevin O’Callaghan (Abrams)