Pages from the Book of Life

Have you read anything of the Book of Life yet? You should, it’s the nearest we humans get to a user guide. Here’s a little of what was in the newsletter this week.

How to be comfortable on your own in public
Eating alone in public can be one of the great hurdles of psychological life. It can be an exceptional trial because it forces us to wrestle with a set of thoughts that, for most of our lives, we successfully push to the back of consciousness: that we are in essence an unacceptable being, tainted from birth, an object of quiet ridicule or open mockery.

How to stop worrying whether or not they like you
One of the most acute questions we ask ourselves in relation to new friends and acquaintances is whether or not they like us. The question feels so significant because, depending on how we answer it in our minds, we will either take steps to deepen the friendship or, as is often the case, immediately make moves to withdraw from it so as to spare ourselves humiliation and embarrassment.

What to do at parties if you hate small talk
A lot of discomfort about going to social engagements is rooted in what can sound like a rather high-minded concern: a hatred of small talk. We can develop a dread of parties because we know how likely we are to end up wedged into conversations about the weather, parking, traffic or the way we plan to spend the forthcoming holidays – when there would be so many deeper and more dignified topics to address.

It’s from the School of Life, an organisation dedicated to developing emotional intelligence by applying psychology, philosophy, and culture to everyday life.

It was founded by the philosopher Alain de Botton. I’ve been a fan of his for a while now, after having read books like The Consolations of Philosophy (which became Philosophy: A Guide to Happiness), How Proust Can Change Your Life (which he discusses here), and Status Anxiety (which was made into a documentary).

I’ve finally got round to reading his Art as Therapy book, after having linked to that before on here, some years back.

Alain de Botton on Art as Therapy

Not to be confused with art therapy, of course. Here’s a piece about that, if you’re interested.

Art therapy gives patients a voice when there are no words
Always in any kind of therapy I think we are looking for a an act of communication, the smallest act of connection. There is a wonderful book by Martina Thomson, an art therapist, called On Art and Therapy: An Exploration and she talks about art therapy being like ‘feeding birds’ you want to be very quiet and allow the client to feel able to come towards you in some way. It is a delicate thing. You are not firing questions and needing answers. You are being together. Therapy is often seen as something for psychologically-minded people, or those of a certain class. For those with complex trauma for example, there might not be words to express the depth of what they have been through. Art can give them a voice.

Banksy backfires?

At first glance it looks like our plucky artist-as-vigilante-hero puts one over on the avaricious art world.

Banksy auction stunt leaves art world in shreds
Banksy has played what could be one of the most audacious stunts in art history, arranging for one of his best-known works to self-destruct after being sold at auction for just over £1m. […] Shortly after the hammer came down on the item, however, the canvas began to pass through a shredder installed in the frame.

Banksy publishes video detailing auction stunt plan

But this comment further down the article from the founder of MyArtBroker.com puts a different spin on it.

“The auction result will only propel this further and given the media attention this stunt has received, the lucky buyer would see a great return on the £1.02m they paid last night.

“This is now part of art history in its shredded state and we’d estimate Banksy has added at a minimum 50% to its value, possibly as high as being worth £2m plus.”

The house always wins.

Update 12/10/2018: I enjoyed reading this exploration into what Banksy and Sotherby’s were up to.

Myth busting Banksy
I believe that while Sotheby’s was likely not fully aware of what was going to happen, they had a suspicion that something was up and played along for the sake of theater. To minimize the disruption, they put the Banksy work last, but until the shredded work scrolled out the bottom of the frame, the exact nature of the prank was not clear to them. I suspect that Sotheby’s knowledge was limited to knowing something harmless was up that potentially could benefit them as a PR stunt.

It would be analogous to Banksy holding a giant sign with tape on it and Sotheby’s noticing this and graciously winking and turning around so it could be placed on their back. Sotheby’s then acted surprised when others pointed out that the sign read “kick me” and claimed to have been “Banksy’d” and then soaked up the press.

And this raised a smile too.

Please don’t shred your own Banksy print unless you want it to be worth £1
Unfortunately, this is a warning that has already been given but apparently ignored. On October 6th, online art auction platform MyArtBroker tweeted it had “a number of #Banksy print owners contact us today asking if they shred their artwork will it be worth more.” Two days later MyArtBroker claimed someone did just that — shredded a limited edition “Girl with Balloon” print in order to try and raise the value of the work.

Drawing you on

That last article I linked to yesterday about children’s art leads on nicely to this one. Anne Quito from Quartz takes a look at Stick Figures: Drawing as a Human Practice, the new book by design historian D.B. Dowd.

According to Dowd, we’ve been misunderstanding the significance of drawing for too long. It’s not about performance, something left only to the “artists”, but about process, a way of observing and learning.

Drawing is the best way to learn, even if you’re no Leonardo Da Vinci
There’s another fundamental reason for using drawing as a learning tool: It can bring out our better qualities as people. “If practiced in the service of inquiry and understanding, drawing does enforce modesty,” says Dowd. “You quickly discover how little you know.”

The observation that’s necessary for drawing is also enriching. “Drawing makes us slow down, be patient, pay attention,” he says. “Observation itself is respectful, above all else.”

In the closing chapter of Stick Figures, Dowd argues that drawing can even make us better citizens, in the sense that it trains us to wrestle with evidence and challenge assumptions. “It might seem sort of nutty, but I do think that drawing can be a form of citizenship,” he says. “Observation, inquiry, and steady effort are good for us.”

It’s a really interesting viewpoint. Looking back, all my posts about drawing have been more about the finished product than the process. Even the dancing one, the wind one and the one about the inflatable ball — all heavily process-driven — are artist-led, with an end product in mind.

Watching the time go by, together

I’m embarrassed to admit this is the first I’ve heard of this remarkable piece of video art. Christian Marclay’s The Clock, from 2010, is at Tate Modern till January.

The Clock review – ‘The longer you watch it, the more addictive it becomes’
When the screen says 8.23, I check my phone and find it’s telling the same time. A gaggle of clips from the 1950s and 60s signals that it’s time for the first cigarette of the day. Ashtrays full from the previous night are getting fresh ash tapped into them. Meanwhile, in a clip from the 1993 film Falling Down, Michael Douglas is in his car in a traffic jam, face tense and twitchy as he heads for a crazed rampage. And Richard Burton as a cockney gangster serves his mum breakfast in bed in a clip from – I think – the 1971 film Villain.

All these moments contain clocks – digital clocks, grandfather clocks, watches, alarm clocks or just the time on a TV newsflash – and that time is the same as the time your watch says. The Clock is a highly reliable clock. I am sure there is an art collector somewhere who owns a copy and projects it in the kitchen on a permanent loop to tell the time.

That last line reminded me of Raymond Dufayel from Amelie, aiming his video camera at the clock on the street outside, so that he doesn’t have to wind his own clocks. I’m sure that clip will be in there somewhere.

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I wonder how many people have watched the whole of Marclay’s video. Is it really 24 hours long? Does it really not have any repeated clips in it? Quite remarkable.

‘It’s impossible!’ – Christian Marclay and the 24-hour clock made of movie clips
It is a staggering, almost superhuman feat of research that has gained a cult following ever since it was unveiled at the White Cube gallery in London in 2010. The Clock’s easy-to-grasp governing principle coexists with the almost ungraspable fact that its creator, Christian Marclay, really has pulled it off, beguilingly combining the utter randomness of each individual clip with the strict form of his overarching idea, allowing everyone to meditate on time, how we’re obsessed with it, how there’s never enough of it.

There are quite a few clips on YouTube of snatches of The Clock (start watching this one at 10:15, or this one at 12:04, or this one at 2:18), but here’s a segment on it from the BBC’s Culture Show, with Alain de Botton.

Christian Marclay – The Clock

Wanting a copy of the full video? Don’t hold your breath for a DVD release, it might be a little… costly.

The Clock (2010 film): Release
Marclay made six editions of The Clock, plus two artist’s proofs. Five copies were designated to be sold to institutions for US$467,500 each under the condition that The Clock can’t be playyed in more than one location at the same time. The last copy was sold to hedge fund manager Steven A. Cohen for an undisclosed amount. Within a day of premiering The Clock, White Cube received a host of offers from museums, some of which purchased copies jointly. The sale became one of the largest purchases of video art and one of the highest purchases to happen on the primary market.

Art and AI #2

More about computer science’s latest foray into the art world.

The first piece of AI-generated art to come to auction
As part of the ongoing dialogue over AI and art, Christie’s will become the first auction house to offer a work of art created by an algorithm.

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The portrait in its gilt frame depicts a portly gentleman, possibly French and — to judge by his dark frockcoat and plain white collar — a man of the church. The work appears unfinished: the facial features are somewhat indistinct and there are blank areas of canvas. Oddly, the whole composition is displaced slightly to the north-west. A label on the wall states that the sitter is a man named Edmond Belamy, but the giveaway clue as to the origins of the work is the artist’s signature at the bottom right. In cursive Gallic script it reads:

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This portrait, however, is not the product of a human mind. It was created by an artificial intelligence, an algorithm defined by that algebraic formula with its many parentheses.

It’s certainly a very interesting image — it reminds me a little of Francis Bacon’s popes — but the pedant in me would rather they stick with “created by an algorithm”, rather than generated by an artificial intelligence. We’re not there yet. It was the “product of a human mind”, albeit indirectly. Take that signature, for example. I refuse to believe that this artificial intelligence decided for itself to sign its work that way. Declaring the AI to be the artist, as opposed to the medium, is like saying Excel is the artist in this case:

Tatsuo Horiuchi, the 73-year old Excel spreadsheet artist
“I never used Excel at work but I saw other people making pretty graphs and thought, ‘I could probably draw with that,’” says 73-year old Tatsuo Horiuchi. About 13 years ago, shortly before retiring, Horiuchi decide he needed a new challenge in his life. So he bought a computer and began experimenting with Excel. “Graphics software is expensive but Excel comes pre-installed in most computers,” explained Horiuchi. “And it has more functions and is easier to use than [Microsoft] Paint.”

Those are amazing paintings, by the way. Colossal has more, as well as a link to an interview with Tatsuo. But anyway, here’s some more AI art.

This AI is bad at drawing but will try anyways
This bird is less, um, recognizable. When the GAN has to draw *anything* I ask for, there’s just too much to keep track of – the problem’s too broad, and the algorithm spreads itself too thin. It doesn’t just have trouble with birds. A GAN that’s been trained just on celebrity faces will tend to produce photorealistic portraits. But this one, however…

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In fact, it does a horrifying job with humans because it can never quite seem to get the number of orifices correct.

But it seems the human artists can still surprise us, so all’s well.

Holed up: man falls into art installation of 8ft hole painted black
If there were any doubt at all that Anish Kapoor’s work Descent into Limbo is a big hole with a 2.5-metre drop, and not a black circle painted on the floor, then it has been settled. An unnamed Italian man has discovered to his cost that the work is definitely a hole after apparently falling in it.

Nigel Farage’s £25,000 portrait failed to attract a single bid at prestigious art show
The former Ukip leader has been a dealt a blow after the work, by painter David Griffiths, raised no interest at the Royal Academy’s summer exhibition in London.

Perfect pairings

Buffalo Bill Gates makes celebrity portraits like you’ve never seen
Buffalo Bill Gates, aka Swedish artist Kalle Mattsson, a creator whose work is very much perfect for the part of the web made up of memes, idol irreverence and anarchic art. His weirdo celebrity portraits mash up famous faces with other celebrity identities or even fictional entities to create offbeat hybrid personalities like Putintin featured here.

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As well as being really funny, I love how perfectly these faces line up. It must have taken ages to find photos with just the right angle.

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Eye to eye

From Chris Eckert, a maker of “little art machines”, has made what could be described as a surveillance sculpture.

A disconcerting installation featuring 20 blinking kinetic eyeballs that track a person around a room
San Francisco artist Chris Eckert, who wanted to make a point of increasing surveillance and decreasing privacy of the population, has created “Blink”, an absolutely incredible series of mechanically operating blinking single eyeballs in a row, each equipped with face tracking software to deliberately evoke a disconcerting sense of privacy violation.

Yes, that combination of a very realistic eyeball looking directly at you from a very unreal, robotic face is unsettling, but I think what really works well is what happens after, as Chris explains in this video.

“You would have these interactions with them, and hopefully enjoy yourself playing with these eyeballs, only to go around the corner to discover that you’ve been recorded and observed the entire time by multiple eyeballs. And that anyone in that room was watching those video feeds and observing you doing that. And it kind of shifted your view of what was happening there. It changed it from being fun to being kind of invasive.”

Look Out! Chris Eckert’s Machines Are Watching You | KQED Arts

There are many more remarkable art machines on his website, and here is a piece on his Privacy Not Included exhibition, that Blink formed part of.

Chris Eckert: Privacy Not Included exhibition at San Jose Institute of Contemporary Art
Privacy Not Included presents a sensorial experience that considers how we are viewed, followed, and tracked. As technology progresses and, in conjunction, as we continue to share personal data and information, what will be the consequences of our own privacy, our right to personal space, and ultimately, our freedom? In George Orwell’s dystopian novel 1984 about omnipresent surveillance and public manipulation, the author writes, “The choice for mankind lies between freedom and happiness and for the great bulk of mankind, happiness is better.” The works in the exhibition challenge us to contemplate this dilemma. They reflect the conundrum we face in our contemporary society: appreciating the joy of convenience and technology’s ability to provide us security and safety, versus negotiating between the disconcerting, constant surveillance and intrusion in our lives.

And to really bring that point home, here’s an article from Aeon on the same theme, convenience versus surveillance.

Orwell knew: we willingly buy the screens that are used against us
One can easily imagine choosing to buy a telescreen – indeed, many of us already have. And one can also imagine needing one, or finding them so convenient that they feel compulsory. The big step is when convenience becomes compulsory: when we can’t file our taxes, complete the census or contest a claim without a telescreen.

Filmed memories

Here’s a interesting idea, a film of reconstructed memories.

“No Blue Without Yellow” by artist Maciek Janicki
San Francisco-based artist and animator Maciek Janicki takes us into the world of Vincent van Gogh with his latest short film. Created in partnership with the Van Gogh Museum in Amsterdam, “No Blue Without Yellow” offers an immersive 3D tour, constructed using sampled paintings from consequential times in the renowned artist’s life.

No Blue Without Yellow

It’s very atmospheric, wandering around Van Gogh’s landscapes like that. It reminded me of this other attempt to bring his paintings to life, from Serena Malyon.

And here’s another film from Maciek Janicki, Paper City.

Paper City

Back to school

If you work in schools I’m sure it feels like September comes round quicker every year. We were just starting to finally relax and unwind and before you know it we’re back, reading things like this.

Dozens of secondary schools exclude at least 20% of pupils
A spokesman for the trust said it had taken over “some of the toughest schools in England” and repeatedly turned around their performance. He said that in many cases, the schools it had taken over had previously been excluding high numbers of children informally, meaning the increase in the number of official exclusions was misleading.

The Guardian view on education: some things money should not buy
These figures point up a general hollowing out of trust in the state system, which the introduction of competition both reflected and greatly exacerbated. Catchment areas operate as a kind of pre-exclusion mechanism, which keeps poorer children out of good schools just as surely as later exclusions can expel them. In all this, both schools and parents are responding to the logic, and the incentives, of a system predicated on competition as a zero-sum game. We are all poorer as a result.

But cheer up, we’re not the only ones feeling this way. Some of the great artists have identified the same issues.

An art history of back to school
Ever since I published ‘An art history of school inspections’ a few years ago, studying the way that art has portrayed schools has been somewhat of a hobby of mine. In this post, I’ll take you through the ways that artists throughout time have interpreted that key moment in a teacher’s year: going back to school.

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The first day back has finally arrived in Benjamin West’s ‘These Are the New Guys’ (1776), which depicts the moment when the school’s new staff members are introduced in the first staff meeting, and the entire faculty stare back at them. The new staff members hang their heads and blush as every current member of staff looks at them, some with a sense of envy at their youth, and some with a sense of pity at what these new guys have let themselves in for.

So how do you combat the end of holiday blues and keep that vibe of novelty and freedom going? Suggestions here include joining a club, starting a new hobby, changing your commute. I liked number 7.

Sad summer’s over? 18 ways to keep the health, humour and happiness of your holiday alive
7 Buy a carafe. No, seriously. The best €3 I ever spent went on a little glass carafe that says “quarto litro” at its neck, just like the ones in which the cheapest wine is served in my favourite holiday trattoria. Back home, it encourages restraint on the wine front, while adding ceremony.

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Wet paint

Bringing Baroque painting into the twenty first century — but without the paint.

Baroque underwater photography by Christy Lee Rogers
Photographer Christy Lee Rogers produces luminous scenes of swirling figures swathed in colorful fabrics. She creates a painterly quality in her large-scale images not by using wet pigments, but rather by completely submerging her subjects in illuminated water and photographing them at night.

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Some incredible imagery. This video gives you an idea of her process, and what her models have to go through.

Muses Underwater by Christy Lee Rogers

It reminded me of David Bickley’s Swim piece, though that’s more Impressionism than Baroque.

Brainy music

Music can affect us in different ways, but here are two I hadn’t considered before.

First, an article about Brain.fm and how it’s using AI to create music (or is it just sound?) designed to help you focus.

The science behind the ‘beats to study to’ craze
According to Woods, good focus music has no vocals, no strong melodies, ‘dark’ spectrum, dense texture, minimal salient events, heavy spatialization, a steady pulse, sub-30-200Hz modulation and above 10-20Hz modulation.

This is compared to an example of a more traditional approach to music that can help you work — the “lofi hip hop radio” playlist from YouTuber ChilledCow, described as “the type of tune you’d put on at a backyard barbecue: mellow beats with an analog flair.” When discussing Brain.fm, its ‘composer’ admits that:

All of his parameters for good focus music are understandably clinical. “These acoustic features I’ve been talking about, they’re things about sound, not things about music,” he admitted. “The world that musicians live in has key signatures, time signatures, major and minor keys. I haven’t been talking about that at all, but what this ‘lo-fi’ [channel] shows is those things can be enormously important.”

I think I know which I prefer, but it’s an interesting project nonetheless.

And for a completely different take on how music affects the brain, take a look at the artwork of Melissa McCracken. She has synesthesia and paints what she sees when she listens to music.

The artist who paints music
Basically, my brain is cross-wired. I experience the “wrong” sensation to certain stimuli. Each letter and number is colored and the days of the year circle around my body as if they had a set point in space. But the most wonderful “brain malfunction” of all is seeing the music I hear. It flows in a mixture of hues, textures, and movements, shifting as if it were a vital and intentional element of each song.

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It’s all absolutely gorgeous, and the video Kottke links to really gets across her passion and talent.

The Artist Who Paints What She Hears

Looks who’s back

Or maybe isn’t.

Yet more mysterious Aphex Twin-related artwork has popped up
Aphex often emerges briefly only to disappear back into the acid-lashed shadows, a ginger mystery, leaving little behind except a string of deeply weird, often brilliant records. We think he might be about to drop another one. Possibly. Maybe.

Design Museum’s political exhibition gets political

It was supposed to be an exhibition about politics …

Design Museum to exhibit political graphic design from past decade
An exhibition at London’s Design Museum will present the most poignant political graphic iconography from the past decade, created in the wakes of events such as the Charlie Hebdo attacks, Brexit, and Donald Trump’s presidency.

… but the Design Museum’s Hope to Nope exhibition is caught in a political controversy of its own. Here’s a post from one of the groups of artists involved, BP or not BP.

Artists say ‘Nope’ to arms
This morning, we’re part of a large group of artists, designers and activists who have written to the Design Museum asking that our work be removed from the current Hope to Nope exhibition of political art. […] Why are we demanding our stuff back? Because last Tuesday, 17th July, the museum hosted an arms industry event as part of the Farnborough International arms fair.

They’re not the only ones unhappy with where the Design Museum gets its funding from.

30 artists have requested their work be removed from Design Museum exhibition
The letter states that, “We refuse to allow our art to be used in this way. Particularly jarring is the fact that one of the objects on display (the BP logo Shakespeare ruff from BP or not BP?) is explicitly challenging the unethical funding of art and culture. Meanwhile, many of the protest images featured in the exhibition show people resisting the very same repressive regimes who are being armed by companies involved in the Farnborough arms fair. It even features art from protests which were repressed using UK-made weapons.”

The letter and full list of signatories are published in full on Campaign Against Arms Trade website.

Design Museum – Campaign Against Arms Trade
It is deeply hypocritical for the museum to display and celebrate the work of radical anti-corporate artists and activists, while quietly supporting and profiting from one of the most destructive and deadly industries in the world. Hope to Nope is making the museum appear progressive and cutting-edge, while its management and trustees are happy to take blood money from arms dealers.

The Guardian quotes a statement from the Design Museum in response to this.

Design Museum challenged over private ‘arms industry’ event
“The Design Museum is committed to achieving its charitable objective to advance the education of the public in the study of all forms of design and architecture and is thus a place of debate that, by definition, welcomes a plurality of voices and commercial entities. However, we take the response to Tuesday’s event seriously and we are reviewing our due diligence policy related to commercial and fundraising activities.”

They’ve acknowledged (kind of?) the controversy on their exhibition webpage …

Hope to Nope: Graphics and Politics 2008-18
As of 1 August, some artwork has been removed from the exhibition, before the exhibition closing date of 12 August, at the request of the lenders. As a result, and until the end of the run, the exhibition will now be free to visit. […] ‘We are sorry for any disappointment caused for visitors. We believe that it is important to give political graphics a platform at the museum and it is a shame that the exhibition could not continue as it was curated until its original closing date’.

… but have not made their peace yet with the artists and designers involved.

Design Museum attacks its own exhibitors, defends working with arms dealers
We were shocked to see the Design Museum’s latest statement about our request to remove our art from the Hope to Nope exhibition. Rather than engaging with the issues we and other exhibitors have raised, the museum has instead made the bizarre (and offensive) suggestion that over 40 artists and groups featured in its exhibition have all somehow been duped by some mysterious ‘professional activists’.

Simon Stålenhag’s sci-fi to hit our screens

I was happy to read that the work of sci-fi illustrator Simon Stålenhag may be on our screens, in the not-too-distant future.

Simon Stålenhag’s dystopian art to come to life in a new Amazon sci-fi TV series
Its eight-episode run will tell the tale of the town of people who live above ‘The Loop’, a machine built to unlock and explore the mysteries of the universe. A cast hasn’t been announced, but we do know Mark Romanek (Never Let Me Know) will be directing the pilot, while Legion‘s Nathaniel Halpern and Planet of the Apes sequels director Matt Reeves are on board as executive producers.

They’re talking about his book Takes From The Loop, but my money’s on his other work, The Electric State, being the bigger winner. As I mentioned before, this one may also make it to the big screen, if the Amazon page for its Kindle edition is to be believed.

Monsters within

Studying the Middle Ages through its monsters
Artefacts such as illuminated manuscripts and tapestries are adorned with unicorns, dragons, antelopes with forked tails, blemmyes—humanoids with no heads, their faces instead on their chests—and more. These images inspire awe and a keen respect for medieval artists’ use of colour, but it is the undertones of racial and gendered prejudice that make the exhibition more than a spooky show and tell.

Glasgow School of Art devastated by fire again

‘Heartbreaking’: fire guts Glasgow School of Art for the second time
She said she witnessed the fire from her flat and saw the start of the blaze in 2014. “This time around I feel numb, like ice, legs like jelly,” Sutherland said. “The fire was immense. People were dodging fist-sized flaming embers last night. All the neighbours were out; we were all worried all the roofs were going up. This area is full of architectural gems. It was terrifying last night. The smell of it and you could feel the heat of it two blocks away.” […]

“It should have been the safest building in Glasgow,” she said. “It’s so ironic that all that money was put back in to restoring the building and celebrating the Mackintosh anniversary. It’s devastating to see when you know what’s in that building.”

More photos from the scene from the Guardian.

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I went to an art school in Newport, South Wales, and they too had a fire this weekend…

Drawing on the walls

From Colossal, two different approaches to getting rid of those boring, blank walls.

Scribit: the programmable robot that draws on walls (on purpose)
Invented by MIT Professor Carlo Ratti, the Scribit is a new robot drawing machine that creates text and images using erasable inks. The project’s creators bill it as a useful tool in work environments as well as an easy and interchangeable way to decorate one’s home.

Reminds me of that turtle from years ago. But perhaps you want something with a little more artistic pretentiousness?

A gigantic helium-filled and charcoal-studded sphere covers rooms with unpredictable designs
The artist describes ADA in a statement: “The globe put in action fabricates a composition of lines and points, which remain incalculable in their intensity, expression, and form however hard the visitor tries to control ADA, to drive her, to domesticate her. Whatever he tries out, he would notice very soon, that ADA is an independent performer, studding the originally white walls with drawings and signs.”

ADA at Muffathalle

Illustrating good mental health

In support of Mental Health Awareness Week earlier this month, several freelance illustrators discussed their own experiences with anxiety, depression and a range of other mental health issues, with the aim of supporting and encouraging others that may be facing similar issues.

‘None of us need to be alone’: Illustrators’ raw and honest accounts of how they’ve coped with mental illness
“My experience is that many creative types often have hermetic tendencies. Working for yourself, by yourself will see you spend perhaps an unhealthy amount of time alone — sometimes this is even fetishised and encouraged with the suggestion that one isn’t really ‘hustling’ unless they have what amount to terrible habits,” says Canadian illustrator, designer, and founder of Poly Studio, Jamie Lawson.

“This is, of course, nonsense. Though it’s an attitude that I see changing in the culture, it still bears repeating that developing healthy social habits is as important for a freelancer as their technique, professional practices or work ethic.”

There are links to a range of resources and suggestions, but I think the interviews with the dozen or so artists on their issues and successes is most inspiring.

Tobias Hall on how mindfulness helped with insomnia and anxiety
What did you find helped your situation? “Mindfulness was and is the single biggest reason behind my recovery. It taught me a completely new way of looking at what happens in the mind. Over time I have learnt to identify the ‘my mind’ and ‘me’ as two separate things – I accept that I’m not always in control of the noise which goes on up there. I understand that behind all of that noise, my mind is only ever looking out for danger, as it’s evolved to do. And as such, it means I buy into thoughts and feelings a lot less than I did in the past. For sure, I still get caught up in negative thought and anxiety is still a part of my life, but my relationship with it has fundamentally changed and it’s no longer a big problem for me day-to-day.

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Illustrator Sharmelan Murugiah on coping with depression
How have these experiences stemmed from, or been tied to, the life of being a freelance illustrator? “I do feel the life of being an illustrator can be quite lonely. I am set up in a solitary home studio. I made my way into this profession via architecture and then design so I have not had those early connections with folks in the industry. The growing effect of social media on my work can also make you feel pressured. Seeing work pour out of other artists social accounts even though I know we use social media generally to present the best of ourselves online.”

#artworldproblems

I would say staff at this museum dedicated to the Fauvist artist Étienne Terrus need to look into hiring a few skips, as they’ve got a lot of rubbish to get rid of.

‘Catastrophe’: French museum discovers half of its collection are fakes
Eric Forcada, the art historian who uncovered the counterfeits, said that he had seen straight away that most of the works were fake. 
“On one painting, the ink signature was wiped away when I passed my white glove over it.”

Meanwhile, from works of art that shouldn’t be in galleries, to those which were but are no longer.

Bad week for art world as Jeff Koons piece is smashed and imitation Happy Meal thrown away
May evidently did too much of a good job, as a cleaning crew working at the Marco Polo HongKong Hotel which hosted the Harbour Art Fair, mistook it for the real thing and threw it away. “A lot of my pieces involve very small alterations to familiar items: changes that aren’t maybe obvious at first glance,” the artist explains, adding that “initially, I didn’t find it funny at all. But later I realised it meant my imitation had been a success.”

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