Genre is one of the most important concepts for my work, though I don't address it directly enough as I should. As I am an ancient, let me note this:. Your work has, in the best sense, a very seventies avant guard vibe for me. Street art, found art, all that... Of course your content and your eye are of this moment. Still, I am thinking of the old greats around La Mama, the Lower East Side theater of that time, where we all hung out, Judith Malina, founder of The Living Theater, etc. Carolyn Fourche, who I think has a new memoir out you might follow. Any of these once august names familiar to you??? An entirely different reference point might be Armistead Maupin's Tales of the City, a great project unevenly realized. But I am going to enjoy watching you unfold all this.
In the sense that there's a kind of internal logic to genres or movements, I think you're spot on. At least in terms of what I'm aiming at. Names I've considered: Multimedia--or Total, or Synesthetic--Microfiction. I appreciate you saying that.
While I didn't come to it in a deductive way by any means, things took a more intentional direction once I started to see more clearly the potential for distinct art forms to act as harmonious components in a single emotional experience. So I was pretty systematic about shrinking the stylistic "tolerances" of each media form to bring them all into resonance.
I may present and develop the theory behind it more over the coming weeks!
Love it Dave. While spelled differently, I can’t get the image of the children’s book Madeline out of my head and wished you ironically dressed her in a yellow flower head instead. Cigarette break- my favorite part. And I always love a good pain filled story with glimmers of beauty. Totally get that you don’t want to include an “afterward” explanation of sorts. I do appreciate when artist give some bit extra outside of their work. It offers insight into the eyes of a real human. I do understand allowing others to take the meaning they need from the work itself. But also, since humans, like myself, generally like other humans, admittedly this makes me appreciate the work a bit more.
I never read Madeline, so missed the opportunity for that reference. I do like your idea though. Maybe just a fun easter egg, but also sort of fits into my larger interest of extra details that let the piece work even if you don't consciously process them, yet aren't too distracting if you do.
Also nice and helpful to hear your perspectives on the explanations. Still trying to find the right balance there. I've personally found 90% of museum placards at best alienating, so may have tended to bias away from explanations. Your emphasis on humans communicating with humans sounds like the right way to think about it though.
The rhythm of your language is so compelling. And, of course, the images and the snapshot-like observations mixed with internal musings. Love your style!
Someone I owe a lot to is Lynda Barry. I worked with her back in 2012 as part of a writing and cartooning workshop. I feel like many of the concepts have been slow cooking for a decade. She had this one prescription to always keep the pen moving, which can have really cool stylistic consequences.
Genre is one of the most important concepts for my work, though I don't address it directly enough as I should. As I am an ancient, let me note this:. Your work has, in the best sense, a very seventies avant guard vibe for me. Street art, found art, all that... Of course your content and your eye are of this moment. Still, I am thinking of the old greats around La Mama, the Lower East Side theater of that time, where we all hung out, Judith Malina, founder of The Living Theater, etc. Carolyn Fourche, who I think has a new memoir out you might follow. Any of these once august names familiar to you??? An entirely different reference point might be Armistead Maupin's Tales of the City, a great project unevenly realized. But I am going to enjoy watching you unfold all this.
Thanks again, Cleo. As far as the forms and styles; seventies avant, street art, found art--all definitely in there.
As far as the specific names you mention though--you've given me a lot of references to check out!
Like the form a lot. It seems like a kind of genre. Subscribing!!!
Thank you, Cleo!
In the sense that there's a kind of internal logic to genres or movements, I think you're spot on. At least in terms of what I'm aiming at. Names I've considered: Multimedia--or Total, or Synesthetic--Microfiction. I appreciate you saying that.
While I didn't come to it in a deductive way by any means, things took a more intentional direction once I started to see more clearly the potential for distinct art forms to act as harmonious components in a single emotional experience. So I was pretty systematic about shrinking the stylistic "tolerances" of each media form to bring them all into resonance.
I may present and develop the theory behind it more over the coming weeks!
Love it Dave. While spelled differently, I can’t get the image of the children’s book Madeline out of my head and wished you ironically dressed her in a yellow flower head instead. Cigarette break- my favorite part. And I always love a good pain filled story with glimmers of beauty. Totally get that you don’t want to include an “afterward” explanation of sorts. I do appreciate when artist give some bit extra outside of their work. It offers insight into the eyes of a real human. I do understand allowing others to take the meaning they need from the work itself. But also, since humans, like myself, generally like other humans, admittedly this makes me appreciate the work a bit more.
Yo. Thank you, Natasha!
I never read Madeline, so missed the opportunity for that reference. I do like your idea though. Maybe just a fun easter egg, but also sort of fits into my larger interest of extra details that let the piece work even if you don't consciously process them, yet aren't too distracting if you do.
Also nice and helpful to hear your perspectives on the explanations. Still trying to find the right balance there. I've personally found 90% of museum placards at best alienating, so may have tended to bias away from explanations. Your emphasis on humans communicating with humans sounds like the right way to think about it though.
The rhythm of your language is so compelling. And, of course, the images and the snapshot-like observations mixed with internal musings. Love your style!
Thank you!
Someone I owe a lot to is Lynda Barry. I worked with her back in 2012 as part of a writing and cartooning workshop. I feel like many of the concepts have been slow cooking for a decade. She had this one prescription to always keep the pen moving, which can have really cool stylistic consequences.
I love where your art takes me, Dave!
Thank you, Hakim! Looking forward to seeing your magazine develop.