UPDATE: This party is RAIN OR SHINE! The awesome folks at the O. Henry are going to let us have it inside! So cool of them.
Keynoting
Very pleased (and no, not at all terrified, not me!) to announce that I’ll be giving the opening keynote at SXSW Interactive 2014. I’ve been drawing and organizing panels at the conference since 2008, but this is quite the step up, and I’m honored that the SXSW crew asked me.
I gave my last keynote back in June at HOW Design Live in San Francisco. It was a huge room with a couple thousand people — definitely the biggest room I’d done up until that point, and probably the best talk I’ve given, ever. Alas, due to a miscommunication on my part, we didn’t get any video, but some lovely people on Instagram captured bits and pieces, which you can see below.
Maybe my favorite part of speaking, other than Q&A (yes, I actually love Q&A, because it’s unrehearsed and time I get to think on my feet), is signing books afterwards and getting to talk to people who were in the audience. The line at HOW was at least a hundred people long and it took me 2 hours to get through, but, as should be expected from a design conference, there were some creative moments along the way, such as when Genevieve asked me to sign with a silver Sharpie (why had I never thought of that!?)…
…and when Allan (maybe frustrated from the line length), did a blackout on the last page of Steal:
I’m not doing a lot of speaking for the second half of 2013, but I’ll be hitting the road again next spring for the release of Show Your Work! If you’re interesting in having me talk at your event, drop me a line.
Show Your Work! My Creative Mornings Talk
It was my pleasure to give the inaugural talk at the first Creative Mornings here in Austin last month. The monthly theme was “The Future,” so I tried to make the talk a sort of rallying cry to encourage future presenters and attendees to open up and share the process of their creative work, not just the products of that process. (That happens to also be the subject of my next book.)
If you don’t want to watch the video, I’ve pasted my notes and a few slides from the talk below. Enjoy.
* * *
It’s weird to try to give a talk about the future, because most of the time, talks like this are actually about THE PAST. A speaker is asked to get up on stage and talk because they’re someone who’s accomplished something, so they must have something to say, some sort of wisdom or experience or advice to impart to the audience.
But I happen to think that most advice is autobiographical — a lot of the time when people give you advice, they’re really just talking to themselves in the past.
Now, we usually think that the past is behind us, and the future is in front of us. This seems totally natural, right? But years ago I read about this tribe of indigenous people in South America called the Aymara, and they have this very different way of talking about the past and the future.
When they talk about the past, they point to the space in front of them. When they talk about the future, they point behind them. Strange, right?
Well, the reason they point ahead of them when talking about the past is because the past is known to them — the past has happened, therefore it’s in front of them, where they can see it.
The future, on the other hand, is unknown, it hasn’t happened yet, so it’s behind them, where they can’t see it.
This kind of blew my mind when I read about it. The past is right in front of us, but the future is behind us.
The future is hard to talk about because it hasn’t happened yet — it’s behind us, where we can’t see it.
Newspaper Blackout show in Denton, Texas
Last week I hung my very first solo gallery show up at UNT on the Square in Denton, Texas.
All the pieces for the show were done in the five months after my son Owen was born—I made probably 60 or 70 poems, threw out at least half, and kept 30.
Most of the time I post poems to the blog or Instagram right after I make them. This is how I’ve always worked, and the whole reason the project exists—if it weren’t for online feedback and response, I would’ve stopped making these things a long time ago.
But for this show, I thought I’d experiment and work the way I imagine most artists working, toiling in the solitude and secrecy of my office, keeping the work to myself, editing at the very end, and doing the “big reveal” of the work at the show. (My wife, who reads all my stuff before anybody else, didn’t see most of the poems until a week or two before the show.) I was hoping maybe this way of working would teach me something.
What it taught me is that I hate working this way! I completely take for granted what working in the open online does for me — the feedback, the sense of connection, the sense that I’m moving towards something, etc.
Since NewspaperBlackout.com has been such a big part of the project, it was important to me that in addition to my own work this show have a section where people can make their own poems. The gallery has these cool moveable walls that we could play with, so we made the middle and focus point of the show this space with tables piled with newspaper, Sharpies, and binder clips that visitors can use to hang their own poems. Much to my delight, visitors who attended the opening were already taking advantage—it’ll be great to see how those walls fill up over the next couple of weeks.
I also wanted the space to feel really inviting, so we made a sign encouraging people to take photos of their favorite pieces and post them online with the #NewspaperBlackout hashtag:
The third and final section section of the show was a sort of last-minute idea we had — originally, I was going to project a slideshow of images from NewspaperBlackout.com, but I decided instead to project timelapse videos of me working on the show. (Again, the idea was to be inviting, to let visitors in on the process—I wanted the show to make you want to try out the method on your own.)
Here’s a timelapse video of us hanging the show:
Here’s a short video walkthrough of the opening:
And some more photos (see more on Flickr):
This was way, way more fun than I even though it would be, and I’m already thinking about what I’d do if I get the chance to do another show. Thanks so very much to everyone who came to the opening, and many, many thanks to Nicole Newland, Herbert Holl, and Meredith Buie for making it all happen. The show runs until May 6th if you’re up that way.
UPDATE: I made a little catalog of the show that you can view or download below. If you have an iPad, you can download the catalog for iBooks, here.
Introducing Owen Wells Kleon!
After 23 hours of labor, my wife gave birth to our first son, Owen Wells Kleon, on October 25th at 4:32 a.m. He came in at 6 lbs., 11 oz., 20 3/4″ long.
His birth was the most amazing feat of human strength and endurance I’ve ever witnessed. (Granted I’ve now attended exactly *one* natural childbirth.) If you know my wife Meghan, you know her brains, her class, and her charm, but in that room you would’ve seen a force of nature, something primal and powerful. I’m so unbelievably proud of her.
The day after we got back from the hospital, I gave a talk at the Texas Book Festival, and luckily John Anderson from the Austin Chronicle was there snapping a few pictures:
Austin Kleon (Steal Like an Artist) began his presentation on the creative process by showing off pictures of his newborn son. “I’m sure you can all tell I’m super sleep-deprived.” He inhaled his sleeve deeply. “But I am a little high on new baby smell.”
Owen’s now a week and two days old, feeding well, sleeping a little more, getting bigger and even more alert. He’s pretty much the coolest project I’ve ever worked on, the ultimate creative collaboration, and anyone who says publishing books is like birthing babies, they’re nuts — birthing babies is way, way harder, and way cooler.
If you’d like to see more pictures of him, follow me on Instagram: @austinkleon
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