This week’s New Yorker cover is a doozy, from no other than artist Kadir Nelson. The magazine interviewed him about the work and why he prefers the slow process of oil painting in the digital age.
I love the oil medium. It’s timeless and has been used for hundreds of years. I want to create artwork that will live outside of the printed medium or the computer. I like to think that I’m creating fine art that happens to work as a cover for The New Yorker.
“Don’t shy away from discomfort. Enter it, especially if it’s a potential door to progress. When I picked up those paint supplies as a suddenly jobless thirty-year-old with three young kids and without enough savings to coast, it was a very uncomfortable move. The left side of my brain was screaming at me to go find a job, any job, before I ran out of money. It was screaming at me to stop screwing around with some ridiculous art form at which I had no experience. But my right brain was telling me otherwise. I knew it was right regardless of the logic that told me it was flippant and dangerous. The truth was that I cared deeply about what I was doing and that the greatest danger lay in going down another wrong path and finding myself stuck in another rut at forty.”
“What has prompted me to write over the years is the hunch that something needs to be told and that, if I don’t try to tell it, it risks not being told. I picture myself not so much a consequential, professional writer, as a stop-gap man.”
Called the “Prophet of Dystopia,” Margaret Atwood is one of the most influential literary voices of our generation. In her first-ever online class, the author of The Handmaid’s Tale teaches how she crafts compelling stories—from historical to speculative fiction—that remain timeless and relevant. Explore Margaret’s creative process for developing ideas into novels with strong structures and nuanced characters.
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Vividly-coloured and shaped like stars, ships and castles, several churches in Kerala appear to defy one of the basic tenets of architecture as set by the influential American architect Louis Sullivan – “form follows function”.
Imagine you are eighty years old – assuming you’re not eighty already, that is; if you are, you’ll have to pick an older age – and then complete the sentences ‘I wish I’d spent more time on…’ and ‘I wish I’d spent less time on…’. This turns out to be a surprisingly effective way to achieve mortality awareness in short order. Things fall into place. It becomes far easier to follow Lauren Tillinghast’s advice – to figure out what, specifically, you might do in order to focus on life’s flavours, so as to improve your chances of reaching death having lived life as fully and as deeply as possible.
The Codex Huygens is a Renaissance manuscript for a treatise on painting closely related to Leonardo da Vinci (1452–1519). Its author has been identified as the North Italian artist Carlo Urbino (ca. 1510/20–after 1585), who must have been familiar with Leonardo’s notes before they were dispersed. Some of the drawings are faithful copies of now lost originals by Leonardo. Others, like the Vitruvian Man, are related to Leonardo but independent interpretations in their own right. The extant manuscript, which appears to be only a fragment, includes five sections (books or regole).