THIS was going to be a simple artist-at-work article about Al Jaffee, a man who could lay claim to being the world’s oldest adolescent and who just now is enjoying a fresh burst of public and professional recognition. The idea was to look in on him as he created the latest installment of a feature he has been drawing for Mad magazine since, incredibly, 1964.
But because that feature is the Mad Fold-In, which embeds a hidden joke within a seemingly straightforward illustration, it should come as no surprise that the simple article ended up being not so simple after all. There were times when Mr. Jaffee, who faced a serious health scare over the last few weeks, thought it might be something closer to a eulogy.
If you were young at any time in the last 44 years, you know the fold-in: the feature on the inside of Mad’s back cover that poses a question whose answer is found by folding the page in thirds. September 1978: “What colorful fantastic creature is still being exploited even after it has wiggled and died?” A picture of a garish butterfly, folded, becomes an equally garish Elvis.

Creativity Step by Step: A Conversation with Choreographer Twyla Tharp

Posted on March 30, 2008 by Jim Zellmer

Diane Coutu:

The notion that some people are simply born artistic—and that there is a profile that can help organizations identify them—is quite firmly entrenched. All the talk of genetic determination nowadays undoubtedly has a lot to do with that. But the idea that creativity is a predetermined personality trait probably appeals at a psychological level because it gives people an excuse for not innovating or initiating change themselves, reducing the problem of creativity to a recruitment challenge.
Significantly, the people least likely to buy into the idea that creativity is preordained are the creative geniuses themselves. Choreographer Twyla Tharp, for one, doesn’t subscribe to any notion of effortless artistry. As someone who has changed the face of dance, she’s certainly qualified to have an opinion. The winner of a MacArthur fellowship (popularly called “the genius grant”), two Emmy awards, and a Tony award, she has written and directed television programs, created Broadway productions, and choreographed dances for the movies Hair, Ragtime, and Amadeus. Tharp, now 66, did all this while creating more than 130 dances—many of which have become classics—for her own company, the Joffrey Ballet, the New York City Ballet, the Paris Opera Ballet, London’s Royal Ballet, and American Ballet Theatre. The author of two books, she is now in the process of simultaneously developing new ballets for the Miami City Ballet, American Ballet Theatre, and Pacific Northwest Ballet.
At her Manhattan home, Tharp met with HBR senior editor Diane Coutu to discuss what it takes to be a choreographer. In these pages, she shares what she has learned about fostering creativity, initiating change, and firing even top-notch performers when push comes to shove. In her suffer-no-fools way, she talks about her “monomaniacal absorption” with her work and the need to be tough, even ruthless, when that work is at stake. What follows is an edited version of their conversation.

Milwaukee Art Museum VR Scene

Posted on March 21, 2008 by Jim Zellmer

Click for a full screen VR view.

There are some flaws in this hand held scene, but it’s a pleasant view of a spectacular space, particularly the day before our latest snowstorm.

Workshop of the World – Fine Arts Division

Posted on December 19, 2007 by Jim Zellmer

James Fallows:

Which brings us to the Dafen “art factory village” outside Shenzhen, in southern China. I had heard a lot about Dafen, including in a very good story by Evan Osnos of the Chicago Tribune early this year. (The story seems no longer to be on the Tribune’s site. For reference, it was published on February 13, 2007.) But only this weekend did I see it, guided by Liam Casey, the Irish “Mr. China” I described a few months ago in an article about Shenzhen’s more conventional factories. Now that I’ve seen it — my lord!

An Extraordinary VR Journey – The Latest VRMAG

Posted on December 3, 2007 by Jim Zellmer

Editorial Director Marco Trezzini, via email:

Since I believe we have created the best issue of VRMAG ever, I’m writing you with the hope you will accept to dedicate 5 minutes of your time to explore our online magazine dedicated to photographic virtual reality exploration of people, places and events around the world. Almost forgot to mention, VRMAG is a no profit publication, with no ads.
This issue features the closed zone of Chernobyl, Wired NextFest in Los Angeles, Cuba’s capital city La Habana, Red square in Moscow, the Palaces where European Royalties lives, New York’s Tribute in light, the island of Cyprus’s Aphrodite beach, Valentino’s exhibit Ara Pacis museum in Rome, the Mayan ruins Chinkultic and Tenam Puente in Mexico, Vienna, the Copenhagen Opera House, Seattle, RedBull AirRace Abu Dhabi ….
For VRMAG showing panoramas of the physical world is not enough,
so we’ll take you to Second Life in order to visit Anshe Chung’s Picture Gallery Dresden, and to DanCoyote’s Full Immersion Hyperformalism and get behind the scenes on the creation of next generation interactive screenshots for the gaming industry, take a visit to an “wellenkreis” an art installation of an endless sine curve in real space …
You will experience the view a sleeping pill has from it’s medicine bottle,
watch the world as a coca cola would do, transport you into a washing machine and feel like your sock. Be a fish and be intrigued by a guy ironing underwater,
enter the head of Hermann’s sculpture, chat with Jonathan livingston, experience a bubble party, feel the thrill of extreme canyoning, and much more …

Visit www.vrmag.org now.

Asian Artists Paint the Color Of Money

Posted on November 14, 2007 by Jim Zellmer

Hannah Beech:

Throughout Asia’s developing nations, once penniless painters are getting used to this most unexpected emotion. The region’s contemporary-art market has never been so hot. Last year, a collection of dreamlike portraits and landscapes by China’s Zhang Xiaogang raked in just over $24 million — more than British enfant terrible Damien Hirst made in 2006. In March, a sale of modern Indian art in New York City raised a record $15 million, including just under $800,000 for Captives, a stark evocation of desiccated torsos by New Delhi–born Rameshwar Broota. Two months later, an auction in London elicited $1.42 million for a Tantric-inspired oil painting by India’s Syed Haider Raza. Even in Vietnam, idyllic rural scenes coated in the country’s distinctive lacquer that sold for a few hundred dollars a few years ago are now selling for 10 times that. A gouache-and-ink painting by Vietnamese post-impressionist Le Pho, whose work is part of the permanent exhibition at the Modern Art Museum in Paris, captured nearly $250,000 at a Singapore sale. Overall, leading auction houses Sotheby’s and Christie’s auctioned $190 million in contemporary Asian art last year, compared to $22 million just two years before. “This is just the beginning,” says Swiss art dealer Pierre Huber, who in September oversaw a debut contemporary Asian art fair in Shanghai. “For so long, people did not know about Asian art. But now the world is turning to Asia, and what they see is amazing.”

The Apollo Prophecies

Posted on May 14, 2007 by Jim Zellmer

The Apollo Prophecies: Overview: The Apollo Prophecies Project has been in development and production since 2002, when it was started at Toni Morrison’s Atelier Program at Princeton University. Working with 15 students, Kahn/Selesnick built three major sculptural and architectural installation pieces, The Mind Rocket, Lunar Explorer and the Moon Cabinet. A revelatory text was created in collaboration with a brilliant physics graduate student, Erez Lieberman. This text was altered by Kahn/Selesnick so that American and Russian Astronauts involved in the 1960’s-70’s Aquarian lunar expeditions became Gods for the Edwardian expedition members who were waiting for them in their Mind Rocket. Initial props and costumes were drawn and created.