Saturday, September 29, 2012
Thursday, September 27, 2012
Sunday, September 23, 2012
|Staghorn Fern, Platycerium bifurcatum, growing comfortably above the door to the greenhouse(s)|
View from side street, not from Martin Luther King Jr. Blvd.
I have known about the Rockefeller Greenhouse Garden most of my life, as I whizzed down MLK Blvd on my way to classes at CMA or to visit the Clev Museum of Art, or to take harp lessons at CIM, or to work at University Hospitals or to the many places I frequent on the east side.
You cannot see the greenhouse from the street, you must turn up a side street.
You must take time to slow down.
Never have I visited until this past week.
So I went twice
and I spoke to Perrin who works there and who said I could hold some of the India Flint workshops there.
But, too many of my plans for the workshops are set in stone right now.
Too many logistical changes would have to take place in a short period of time.
When you do something fast, it breaks.
Just like how mindful gardeners care for the slow growth of the Bonsai tree.
|A visit to Cleveland's Rockefeller Greenhouse Garden (free and open to the public) yesterday found a room full of The Cleveland Bonsai Club members trimming their own Bonsai trees|
|I asked for the cuttings from this ficus tree, and |
I will try some eco-dying later today with the little bits
|Persimmons on the ground, I must return and gather for potential eco-dye|
|Who knew that Pomegranates grow in Cleveland? Under glass...|
|There is a lovely garden for the blind, complete with an audio guide, ropes to help navigate the edges of the garden and plant signs in braille.|
|Had I taken the time to visit this garden sooner, |
India Flint's classes could have been held here.
Although, less students.
But next time!!!!!
Thursday, September 13, 2012
|Edge, 2009, Christine Mauersberger|
|Redland 11, 2009, Christine Mauersberger|
|Redland, 2009 Christine Mauersberger|
or if you scroll down in this post here.
Remember this work?
|Redland, 2009, stitched onto vintage linen Christine Mauersberger|
|Detail, Redland, Christine Mauersberger|
And then I made an installation piece earlier this year see here.
I keep pushing this idea forward, I made this piece last month.
|Push, 2012, transparency film, tulle, 6 feet x 4 feet, 2 layers, Christine Mauersberger|
|Detail, Push, 2012, C. Mauersberger|
If you think of something do it!
I think I got pushed into this, don't you?
One month ago today she left,
this piece, PUSH,
is what I made after she did.
Sunday, September 9, 2012
|Inside Cleveland's West Side Market. Photo taken around 11 am on a weekday when there was little traffic in January 2012.|
Cleveland, Ohio USA
Cleveland's West Side Market is 100 years old this year.
I shop there.
It is full of good food and interesting people.
If you will be attending any of the workshops India Flint will be giving in Cleveland this fall, I insist that you arise early in the morning on a Friday or Saturday. They open at 7 am, take in this wonderful market located at West 25th Street and Lorain, free parking in back. Directions here and then attend the workshop.
|Veggie stalls at the West Side Market, Cleveland, Ohio @ January 2012|
Inside the Mediterranean food store at the West Side Market in Cleveland, Ohio 9.8.12
Sunday, September 2, 2012
Christine Mauersberger, Guide, detail, 2011, hand stitched on deconstructed wool skirt.
It is Labor Day weekend in the U.S. Where Americans honor working people.
Yesterday morning, a former college classmate and I had a short instant message conversation on Facebook. She asked "I am thinking of starting to draw again, but need some motivation...got any good ideas to help motivate me?"
I gave her the link to Bruce Mau's An Incomplete Manifesto for Growth. Number 9 is my favorite mantra at times of low energy.
Presently, I am in a good place with my labor (heh, pun is intended).
Enjoy your weekend!
1. Allow events to change you. You have to be willing to grow.
Growth is different from something that happens to you. You produce
it. You live it. The prerequisites for growth: the openness to experience
events and the willingness to be changed by them.
2. Forget about good. Good is a known quantity. Good is what we
all agree on. Growth is not necessarily good. Growth is an exploration of
unlit recesses that may or may not yield to our research. As long as you
stick to good you’ll never have real growth.
3. Process is more important than outcome. When the
outcome drives the process we will only ever go to where we’ve
already been. If process drives outcome we may not know where we’re
going, but we will know we want to be there.
4. Love your experiments (as you would an ugly child).
Joy is the engine of growth. Exploit the liberty in casting your work as
beautiful experiments, iterations, attempts, trials, and errors. Take the long
view and allow yourself the fun of failure every day.
5. Go deep. The deeper you go the more likely you will discover
something of value.
6. Capture accidents. The wrong answer is the right answer in
search of a different question. Collect wrong answers as part of the
process. Ask different questions.
7. Study. A studio is a place of study. Use the necessity of production
as an excuse to study. Everyone will benefit.
8. Drift. Allow yourself to wander aimlessly. Explore adjacencies. Lack
judgment. Postpone criticism.
9. Begin anywhere. John Cage tells us that not knowing where to
begin is a common form of paralysis. His advice: begin anywhere.
10. Everyone is a leader. Growth happens. Whenever it does,
allow it to emerge. Learn to follow when it makes sense. Let anyone
11. Harvest ideas. Edit applications. Ideas need a dynamic, fluid,
generous environment to sustain life. Applications, on the other hand,
benefit from critical rigor. Produce a high ratio of ideas to applications.
12. Keep moving. The market and its operations have a tendency to
reinforce success. Resist it. Allow failure and migration to be part of your
13. Slow down. Desynchronize from standard time frames and
surprising opportunities may present themselves.
14. Don’t be cool. Cool is conservative fear dressed in black. Free
yourself from limits of this sort.
15. Ask stupid questions. Growth is fueled by desire and
innocence. Assess the answer, not the question. Imagine learning
throughout your life at the rate of an infant.
16. Collaborate. The space between people working together is
filled with conflict, friction, strife, exhilaration, delight, and vast creative
17. ——————————. Intentionally left blank. Allow space for
the ideas you haven’t had yet, and for the ideas of others.
18. Stay up late. Strange things happen when you’ve gone too far,
been up too long, worked too hard, and you’re separated from the rest
of the world.
19. Work the metaphor. Every object has the capacity to stand for
something other than what is apparent. Work on what it stands for.
20. Be careful to take risks. Time is genetic. Today is the child of
yesterday and the parent of tomorrow. The work you produce today
will create your future.
21. Repeat yourself. If you like it, do it again. If you don’t like it, do it
22. Make your own tools. Hybridize your tools in order to build
unique things. Even simple tools that are your own can yield entirely new
avenues of exploration. Remember, tools amplify our capacities, so even
a small tool can make a big difference.
23. Stand on someone’s shoulders. You can travel farther
carried on the accomplishments of those who came before you. And
the view is so much better.
24. Avoid software. The problem with software is that everyone
25. Don’t clean your desk. You might find something in the
morning that you can’t see tonight.
26. Don’t enter awards competitions. Just don’t. It’s not
good for you.
27. Read only left-hand pages. Marshall McLuhan did this. By
decreasing the amount of information, we leave room for what he called
28. Make new words. Expand the lexicon. The new conditions
demand a new way of thinking. The thinking demands new forms of
expression. The expression generates new conditions.
29. Think with your mind. Forget technology. Creativity is not
30. Organization = Liberty. Real innovation in design, or any
other field, happens in context. That context is usually some form of
cooperatively managed enterprise. Frank Gehry, for instance, is only able
to realize Bilbao because his studio can deliver it on budget. The myth
of a split between “creatives” and “suits” is what Leonard Cohen calls a
‘charming artifact of the past.’
31. Don’t borrow money. Once again, Frank Gehry’s advice. By
maintaining financial control, we maintain creative control. It’s not exactly
rocket science, but it’s surprising how hard it is to maintain this discipline,
and how many have failed.
32. Listen carefully. Every collaborator who enters our orbit brings
with him or her a world more strange and complex than any we could
ever hope to imagine. By listening to the details and the subtlety of their
needs, desires, or ambitions, we fold their world onto our own. Neither
party will ever be the same.
33. Take field trips. The bandwidth of the world is greater than that
of your TV set, or the Internet, or even a totally immersive, interactive,
dynamically rendered, object-oriented, real-time, computer graphic–
34. Make mistakes faster. This isn’t my idea — I borrowed it. I
think it belongs to Andy Grove.
35. Imitate. Don’t be shy about it. Try to get as close as you can. You’ll
never get all the way, and the separation might be truly remarkable.
We have only to look to Richard Hamilton and his version of Marcel
Duchamp’s large glass to see how rich, discredited, and underused
imitation is as a technique.
36. Scat. When you forget the words, do what Ella did: make up
something else … but not words.
37. Break it, stretch it, bend it, crush it, crack it, fold it.
38. Explore the other edge. Great liberty exists when we avoid
trying to run with the technological pack. We can’t find the leading edge
because it’s trampled underfoot. Try using old-tech equipment made
obsolete by an economic cycle but still rich with potential.
39. Coffee breaks, cab rides, green rooms. Real growth
often happens outside of where we intend it to, in the interstitial spaces
— what Dr. Seuss calls “the waiting place.” Hans Ulrich Obrist once
organized a science and art conference with all of the infrastructure of
a conference — the parties, chats, lunches, airport arrivals — but with
no actual conference. Apparently it was hugely successful and spawned
many ongoing collaborations.
40. Avoid fields. Jump fences. Disciplinary boundaries and
regulatory regimes are attempts to control the wilding of creative life.
They are often understandable efforts to order what are manifold,
complex, evolutionary processes. Our job is to jump the fences and
cross the fields.
41. Laugh. People visiting the studio often comment on how much we
laugh. Since I’ve become aware of this, I use it as a barometer of how
comfortably we are expressing ourselves.
42. Remember. Growth is only possible as a product of history.
Without memory, innovation is merely novelty. History gives growth a
direction. But a memory is never perfect. Every memory is a degraded
or composite image of a previous moment or event. That’s what makes
us aware of its quality as a past and not a present. It means that every
memory is new, a partial construct different from its source, and, as such,
a potential for growth itself.
43. Power to the people. Play can only happen when people
feel they have control over their lives. We can’t be free agents if we’re