Posts Tagged ‘illustration’
August 10, 2012 | by Nathan Gelgud
Nathan Gelgud is an illustrator who lives in Brooklyn.
February 16, 2012 | by Thessaly La Force
It’s no secret how much I admire Leanne Shapton. The former art director of The New York Times’ Op-Ed page is also the author of several books, including Was She Pretty? and Important Artifacts and Personal Property from the Collection of Lenore Doolan and Harold Morris, Including Books, Street Fashion, and Jewelry. She’s also a contributor to The Paris Review. Open any of the last four issues to glimpse her beautiful illustrations of Roberto Bolaño’s The Third Reich. Or buy issue 196, whose cover she painted. I visited her studio space north of Manhattan last spring. I can still remember her dog, Bunny, running to greet me. Leanne served tea and sweets, and we talked long after I turned off my tape recorder.
I wake up, walk the dog, or let the dog out. I’ll pretty much start working right off the top, depending on what I need to do, on deadlines.
I was talking to Sheila Heti about how and where we work. Sometimes I feel I get a lot done waiting for something else, with my shoes and coat on, with the car running. I don’t have a set routine. I can work for hours at a time, but I get a lot of stuff done in these weird starts and stops, which makes it a little bit harder to track. I have so many backs of envelopes with notes written on them in my pockets or stuffed into the side door of a car. I also use my Blackberry to write myself notes. Last night, I wrote myself an e-mail that said, “Tough girls with dark pink skin, England air, etc.” Now it’s sort of coming back to me, but when I woke up and read it, I was like, “What? What did I drink?” Lots happens in these little spaces between work and eating and sleeping. Sheila said she had this image of me standing up—you know how you stand up and eat when you’re really hungry? Well I stand up and work. It’s not a Hemingway thing, it’s more like I have to get this done, because the elevator is coming up. Some thing happens then. And that’s when I work.
May 16, 2011 | by Daisy Atterbury
Maira Kalman lives surrounded by chairs both life-size and miniature. Her studio is two floors below her West Village apartment, and it's filled with such objects as hair tufts from her beloved (and now late) dog Pete, puppets from the 1930s, and hats adorned with feathers from friends and admirers. I dropped in to chat about Maira’s first retrospective at the Jewish Museum and heard, among other things, about her love for Thomas Jefferson—unlike Abraham Lincoln, he’s apparently “not boyfriend material”—and her studio moss collection.
When I left college, I decided I wasn’t going to write anymore. I started out writing fiction, and I thought I would be a writer—it was something that I just always assumed when I was a little kid. I had a teacher who told me I was a good writer, and I loved writing. Then it became tormented, as it often does when you hit your teens. So I thought, I have to lighten up a little bit. And it was the age of New Wave and punk, and there was a whole new era of illustration going on. So, I started to draw.
November 29, 2010 | by Leanne Shapton
As a Canadian, the shapes of leaves are part of my subconscious; learning to draw the maple leaf on our flag was like learning to ice skate. I feel a loyalty to Canada. I love how it is somehow still possible to be a speck in a vast landscape—the matter-of-fact feeling that something out there is bigger, greater (which probably contributes to what is taken for national humility and manners). I like that Canadian artists have always grappled with the idea of “north.” I love the mounds of beautiful Precambrian rock that swell up all over southern Ontario.
June 17, 2010 | by Caitlin Roper
R. Crumb is the subject of the first Paris Review Art of Comics interview. “I used myself as a character in the introductory page of the first few issues of Zap Comix, showed myself in a wacky cartoon, R. Crumb, the cartoonist.” His self-portraits, like the artist, have aged well.