Sometimes when the 6-year-old and I get mad at each other we just pass notes back and forth under his bedroom door.
The most valuable book on my nightstand
I have a lot of books on my nightstand, but the most valuable is the one I like to read that never fails to put me to sleep within three to five pages. Previously, it was Italo Calvino’s Invisible Cities. Currently, it’s Charles Simic’s Dime-Store Alchemy: The Art of Joseph Cornell. These are books that have good sentences but structures that knock me out — not in the “wow” sense, but the “ZZZ” sense.
When my wife can’t sleep she reads A Bird in the Hand, a book of chicken recipes.
Whatever works, man…
What can be lost when we share what we love
“There’s nothing about fame that I’ve ever seen that is healthy… it’s very hard to survive.”
—Shep Gordon
When I read Kevin Alexander’s “I Found the Best Burger Place in America. And Then I Killed It,” a story about naming a #1 burger joint only to see it quickly shuttered, I immediately thought of “The Broccoli Tree: A Parable,” described as “some thoughts on what can be lost, and what can’t be, when we share what we love.”
To share something is to risk losing it, especially in a world where sharing occurs at tremendous scale and where everyone seems to want to be noticed, even if only for cutting down a beloved tree. […] And the truth is, if we horde and hide what we love, we can still lose it. Only then, we’re alone in the loss.
I think about The Broccoli Tree all the time, now, especially when it comes to fame. Emily Dickinson wrote some terrific poems asking why anybody would want it:
I’m Nobody! Who are you?
Are you – Nobody – too?
Then there’s a pair of us!
Don’t tell! they’d advertise – you know!How dreary – to be – Somebody!
How public – like a Frog –
To tell one’s name – the livelong June –
To an admiring Bog!
Kay Ryan has a poem called “Lime Light” that goes:
One can’t work
by lime light.A bowlful
right at
one’s elbowproduces no
more than
a baleful
glow against
the kitchen table.The fruit purveyor’s
whole unstable
pyramiddoesn’t equal
what daylight did.
Food critic Helen Rosner points out — along with the ethical pitfalls of the burger piece (turns out the owner was already in deep trouble before the list) — that some restaurant owners actively dodge any such list hype to avoid Instagram tourists, etc.:
Kenny Shopsin, the late proprietor of Manhattan’s idiosyncratic Shopsin’s restaurant, was famous for giving false information to guidebooks in order to keep ‘review trotters’ away from his door.
They know what Emily D knew:
Fame is a bee.
It has a song—
It has a sting—
Ah, too, it has a wing.
Detritus
After I posted about her creative residue, Wendy sent me a link to a show she was in at the San Jose Institute of Contemporary Art last year called “Detritus.”
Detritus explores the leftover scraps and byproducts of the art-making process that artists do not discard for a number of compelling reasons.
Wendy exhibited empty sketchbooks with all the pages torn out. (More at KQED: “ICA’s ‘Detritus’ Looks at What Artists Leave Behind.”)
The residue of creativity
A few days ago, my friend Wendy MacNaughton (who has a terrific new column in the New York Times) posted this “Mistakes” jar, filled with eraser shavings “and tears.”
Einstein supposedly said that creativity is the residue of wasted time, but I think a lot about the residue of creativity. Sometimes that residue is a work of art, but more often than not, it’s a tiny trail of waste —debris, dust, shavings, clippings, trash, etc.
I love it when artists collect and display this residue. (Sometimes they even sell it.) One of my favorite parts of Edward Carey’s show at the Austin Public Library was a bowl of his pencils, used all the way to the stumps.
Years ago, I saw a show of book carver Brian Dettmer, and there was a box of his X-acto blades on a pedestal. (He estimates he goes through “15-50 blades a day, usually switching over to a new blade every ten minutes to half hour.”
In 2013, designer Craighton Berman ran a funny, tongue-in-cheek Kickstarter called “The Campaign for the Accurate Measurement of Creativity.” It included a “Sharpener Jar” — “a product designed to quantify creative output.”
Since I wrote Show Your Work! in 2013, I’ve been interested in how artists share their process, how social media allows you to share when there’s nothing, really, to share, and how sometimes the scraps and ephemera from our process can turn into their own attractions. (Above: Amanda Palmer’s sticky notes posted while working on The Art of Asking: “[I] was trying to find a way to share their colorful beauty without also revealing their content.”)
Oh, and while I’m riffing: “Butt Pattern,” from the #MTAMuseum (more here) is this idea of process-residue-as-art taken to its most extreme and funny conclusion.
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