In the season 3 finale of Overshare, host Justin Gignac sits down with Brooklyn-based photographer Jeremy Cohen, whose whirlwind saga involves drone flirtation, a human-sized bubble, millions of views, a great distraction for all of us, and a reminder of our shared humanity.
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Join the WNW Community at House of Vanity: A Self-Reflective Party
Working Not Working invites you to celebrate YOU at "House of Vanity: A Self-Reflective Party" on Tuesday, December 17th at Elsewhere in Brooklyn. With two floors and multiple rooms, it's our biggest venue yet.
Read MoreKelsey Bryden Uses Design to Address What Matters Most to Her
Kelsey Bryden Uses Design to
Address What Matters Most to Her
MIKE O'DONNELL / EDITOR
There's often a social edge to Brooklyn-based WNW Member Kelsey Bryden's work. She sees her freelance career in Art Direction and Design as a unique opportunity to open up a conversation about what matters to her the most. Design becomes more than just a vehicle to express herself, but also a means to bring people together. It's rewarding to see the ways that Kelsey pushes herself to explore new methods in her mission, whether it's set design or photo-illustration or jewelry made of tampons. "They portray tampons as luxurious items, in the same way the government imposes a luxury tax on feminine hygiene products. I’m proud of this project for calling out the absurdity of taxing female health, as though it were not a priority or basic human right."
If you're unsure of how to start getting political with your work, Kelsey advises, "Think about the personal experiences you’ve had that made you feel a certain way, and let those be the foundation."
Tell us about your creative background. Who is Kelsey Bryden and how did she get here?
My dad was an art director and a painter. He had a terminal illness that progressed as I got older, so I strove to find ways I could emulate him. I took classes at great art universities in the summers when I was in high school, although I still didn’t feel very artistically inclined.
When I started as a full-time college student I was studying business at an art school. The truth that I held onto as early as I could remember was that I wanted to have my own business, be my own boss— hence the choice in major. But thankfully, being in the art school environment led me to design and I started taking design-related internships rather than business-related ones. When I think about it now, freelance design and direction DOES obviously allow me to own a business and be my own boss. It feels like the best of both worlds.
How would you describe your creative style? Do you recognize a signature style that links all of your projects, or do you try to excuse yourself and approach each project as its own entity?
The common thread I’m always striving to insert is obscurity; the something that makes people look twice. It’s also always colorful, oftentimes conceptual.
What do you see as the turning point in your creative career and development?
I worked for a little while at an interactive design agency, but found it to be pretty creatively stifling. I wanted to use my very conceptually-geared mind, which I couldn’t do there. Things changed when I started committing to this way of thinking and making, and when I left that job. Around that time I started introducing photography into my work, which was also game-changing. For years prior I would come up with ideas which I naturally saw as photographs, but it took me a while to realize that I could leverage the way my brain naturally saw things. And that I could be an AD / designer who heavily uses photography!
Which of your projects are you proudest of and why?
For a few reasons, probably the photo-illustrations of the tampon jewelry. It was an idea that I judged in the beginning, and doubted whether it could be executed the way I envisioned. The fact that in lieu of all the self-doubt, I made the images anyway AND they came out beautifully makes me very proud.
On top of that, there’s a lot of meaning behind them. I have a personal connection to the objects (don’t we all?), but more importantly they portray tampons as luxurious items, in the same way the government imposes a luxury tax on feminine hygiene products. I’m proud of this project for calling out the absurdity of taxing female health, as though it were not a priority or basic human right.
Is there often a political or social edge to your work, or do you feel a certain immediacy these days?
Yes! Not always, but I try to incorporate these things for sure. Politically, I advocate for women as you can tell in the project mentioned above. I also wanted to work on a project that responded to the awful, awful event that was the U.S. election, so I designed a set that incorporated famous activist statements. I also asked underrepresented people to appear on the set and say whatever they wanted into a megaphone.
Socially, I love bringing people together, and if I can achieve that in my work I’m happy. People don’t often think social interaction naturally intersects with design, but I think it definitely can. I worked on an experiential storytelling project over the course of a year, and it was a very cool way to meet people and to facilitate other people meeting.
What do you see as the role of an artist in addressing political and social issues through their work? Any advice you can share with creatives looking to do their part?
I think if you’re moved to address these things, that’s great. but it’s not your duty. It’s hard to form your own political opinion, or to distinguish what’s your own versus what you’re hearing, because there are so many other people’s opinions that are being broadcasted all around us. I’d say think about the personal experiences you’ve had that made you feel a certain way, and let those be the foundation.
What’s next for you? What are you working on now?
I'm pushing myself to work more in set design — the idea of creating physical worlds for people to exist in is super interesting to me. I'm also thinking about starting/making a magazine, because I think independent mags are beautiful and cool.
Who are some of your biggest creative influences?
John Waters, Iris Apfel, Rupaul
One book, one album, one movie, one show?
Men Explain Things To Me, Blond, The Handmaiden, Thrones
What do you do when Not Working?
Sometimes I roller skate! Check out the Pier 2 Roller Rink in DUMBO.
What’s the best advice you’ve ever heard or received that our members need to hear?
Send more cold emails!
Who are some other WNW Members whose work you admire and why?
I love Brooke Bamford. I also think Mattiel Brown is very talented. And of course, queen of all things set design, Adi Goodrich.
Anything else you’d like to add?
Slide into my DMs anytime girl.
Discover more creative talent and projects like this on Working Not Working. If you're a WNW Member with new work, exhibits, products, or news to share, email us.
MO' MONEY MO' PROGRESS
MO' MONEY MO' PROGRESS
WNW Member Cari Sekendur tells us that before her latest project, there had not been much of a political or social edge to her work. But like many WNW Members, Cari feels that there's now a fire lit under her. It's why she created Mo' Money Mo' Progress, which ties in with the gift-giving season and makes it easier to give a gift that matters. As Cari tell us, "Mo’ Money Mo’ Progress was born of a desire to mobilize progressives to take action. After the election, my partner Laura Zax and I knew we weren't alone in asking ourselves what we could do to protect the parts of our society we value most. So we decided to merge her background in philanthropy with mine in graphic design to create this platform."
We talk to Cari about this newfound drive, how she and her partner Laura determined which non-profits to include, and what she sees as the responsibility of creatives in addressing social issues in their work. "Visual communicators, artists, musicians etc have the opportunity and responsibility to use our skills to move people to take action. Our ability to make confusing or disparate information engaging and easy to understand is essential."
Tell us a little bit about your creative background. Who is Cari Sekendur and how did she get here?
I’m a graphic designer and art director who dabbles in illustration. My work tends to be either a little bit quirky or very clean and understated.
My path to where I am now has been a winding one. As a kid, I loved making things and told everyone I was going to be a "rainbow painter” when I grew up. That's essentially what I do now... but it took me a little while to get here. I didn't study design in undergrad and started my career in marketing and operations at tech companies. I transitioned to design about four years ago when I was given the blessing-in-disguise of being laid off by a turbulent start-up I worked for in Berlin. Since then I have spent most of my time doing branding and web design in both freelance and full-time capacities.
What is Mo’ Money, Mo’ Progress? What was the inspiration behind this new project?
Mo’ Money Mo’ Progress was born of a desire to mobilize progressives to take action. After the election, my partner Laura Zax and I knew we weren't alone in asking ourselves what we could do to protect the parts of our society we value most. So we decided to merge her background in philanthropy with mine in graphic design to create this platform.
Our first initiative is a holiday gift guide that makes it easy for people to donate in lieu of (or in addition to) giving gifts this year. The organizations we've featured are ones you may not have heard of, but they're all doing critical work -- whether at the grassroots, within the legal system, or at the level of policy and advocacy. And they all need our support now more than ever.
Who else helped in making this idea a reality?
We are lucky to have had support from many of our friends and family members. The exceedingly talented Heidi Chisholm, another WNW member, created some of the illustrations. Laura led the charge with research, vetting and copywriting and had help with some writing and editing from a handful of our friends, siblings, and parents. Leigh Nelson, owner of LMNOP Creative, where I spend my days, has kindly lent us time and resources.
What were some of the challenges of bringing Mo’ Money, Mo’ Progress to life?
One big challenge has been time constraints. Laura and I both work full-time, so this has been a classic nights-and-weekends labor of love.
But, the very biggest challenge has been getting people to donate. People have been so willing and eager to share the site -- it's been viewed by thousands of people in under two weeks -- but that has translated to fewer donations than we had anticipated, especially given the overwhelming positive response we receive at every turn. It's just plain hard to get people to give away their money.
How did you select the non-profits?
Vetting non-profits isn’t a science, but we want to break down the thought process—and rigor—behind our selections.
Within each category, we aimed to select organizations tackling distinct and timely issues. We strove for a balance of organizations working at the grassroots, within the legal system, and at the level of policy. We favored those that you may not have heard of, recognizing they may be overlooked this giving season.
For each category, we researched between 10-20 different organizations, investigating leadership, scouring press mentions, hitting up friends in the field, and of course pouring over financials.
For all 501(c)(3)s, we looked at the organizations’ 990 tax filings. Where possible, we investigated their Charity Navigator profiles as well, looking in particular at fundraising efficiency, CEO compensation, and the percentage of revenue going toward programming.
The list we’ve arrived at is by no means conclusive or exhaustive. In particular, in an attempt to make this resource broadly applicable, we skipped over some outstanding organizations working exclusively at a local level (Standing Rock excluded).
What social causes are you most passionate about?
I’ve been thinking a lot about intersectionality lately. It’s hard to pick a single cause since so many of them are intertwined -- Standing Rock is both environmental and racial justice oriented, Southerners on New Ground is a LGBTQ+, racial justice and immigrant cause. That said, I’ve always been a passionate feminist, and my undergraduate degree is in Women, Gender & Sexuality Studies. However women’s issues, too, extend throughout all of the areas we are focusing on.
Is there often a political or social edge to your work, or do you feel a certain immediacy these days?
Before we started Mo’ Money Mo’ Progress, there had not been much of a political or social edge to my work, but Laura spent the first six years of her career doing social impact work in the non and for profit sectors. As is the case with many progressives, the current state of affairs has definitely lit a fire under me to use my skills for action.
What do you see as the role of a creative in addressing these issues through their work?
Visual communicators, artists, musicians etc have the opportunity and responsibility to use our skills to move people to take action. Our ability to make confusing or disparate information engaging and easy to understand is essential.
What’s next for you?
Once the holiday season is over, we are going to to expand Mo’ Money Mo’ Progress to include resources related to volunteering and organizing, education (suggested reading and film lists), and other ways people can use their time or money or skills to continue fighting for our shared values.
Who are some other WNW Members whose work you admire and why?
Heidi Chisholm, I see her every day and yet her talent and good spirit never ceases to amaze and inspire me.
Jing Wei, I love the whimsy and fun in her work. I especially love her little monster creatures and the magical hairdos she uses in her illustrations.
Anything else you’d like to add?
If Mo’ Money Mo’ Progress strikes a cord with you, help us share it. Spread it around your company Slack channel, your Insta, Twitter and Facebook, send it to your mom or your Uncle Jerry. If you have ideas or comments or want to get involved, get in touch!
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
PROFILES OF THE WEEK: DECEMBER 12TH
PROFILES OF THE WEEK:
DECEMBER 12TH
Kelly Beck-Byrnes, Copywriter. Los Angeles.
David Rothstadt, Editor. Brooklyn.
Meg Douglass, Art Director. New York.
Steven Preisman, Art Director. Toronto.
Sarah Jacoby, Illustrator. Philadelphia.
Colin Smight, Designer. Brooklyn.
Paul Janas, Art Director. Chicago.
Arley Cornell, Motion Designer. Oakland.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
Judge These Books By Their Covers, Designed By Alex Trochut
Judge These Books By Their Covers, Designed By Alex Trochut
MICHAEL O'DONNELL / EDITOR
Throughout your life, a lot of people have probably told you, "Don't judge a book by its cover." It's a pretty great saying, and applies to just about everything in life, except maybe books. Especially if you're looking at the new work from WNW Member Alex Trochut. Just his contributions to the design of the brand new Penguin Galaxy Series should be enough for you to want it on your shelf. The books could be hollowed out and it wouldn't matter. But sure, the inclusion of six of the most renowned science fiction and fantasy classics, like 2001: A Space Odyssey by Arthur C. Clarke and Dune by Frank Herbert, is icing on the cake. If you have a heavy preference for gritty realism, and a distaste for escapism to faraway worlds that offer intelligent insights into the one around us, then don't judge these covers by their books.
Below, we talk to Alex about this brief from Penguin Classics, and how he used the texts themselves to create such timeless covers that stand on their own and dovetail with perfect cohesion. "The most challenging part was to find that common thread across all the books that allowed them to be expressive enough to create a certain level of abstraction and visual excitement, and yet accomplish the function of being readable."
Alex also tells us about his approach to his design practice and why he tries not to have a signature style. "I try to change as much as possible (it's a survival technique). I like to discover a new visual language on each project, or at least try to. In the end there is the same hand and mind behind all works. My content comes from the style itself. As a designer, I don't have a specific message to express myself, but I like to express myself with the message."
The individual hardcovers hit shelves today. In the event you go with buying the Penguin Galaxy Series Box Set, available November 15th, you won't even be able to judge the books by their respective covers, because they're housed in a fittingly futuristic jewel-box lucite showcase.
Tell us a little bit about your creative background. Who is Alex Trochut and how did he get here?
I’m from Barcelona and moved to Brooklyn 4 years ago. I’ve been a freelancer for the last 10 years. I’m a one-man team, but I collaborate with other freelancers occasionally. I move on the surface of different disciplines: illustration, graphic design, typography, lettering, art direction, 3d, photography. I like to get lost on every project, looking to get a new experience or tool out of each venture.
I look at what I do as digital crafts. I create images, most of the times images you can read. There is an academic foundation on my lettering work, but always departing toward a subjective side, looking for my own rules (and mistakes).
2001: A Space Odyssey by Arthur C. Clarke
2001: A Space Odyssey is a timeless enigma that raises questions that scape the human comprehension. Therefore the front cover plays with the idea of a solving a game with the reader. The back cover teases the reader even more to decipher an impossible group of modular pieces that belong to the front cover. This lettering forces the reader to solve a two-second riddle, and turn the cover 90 degrees in order to read it.
What was the inspiration for your design of the Penguin Galaxy Series? Did you draw from the texts themselves, or more from science fiction book-covers of the past? Or something else entirely?
I started by reading the books (listening to them actually, as audio books, due my lack of time and slow reading skills. It's about 3000 pages of content).
The series had to be consistent in style, so the first thing was to find a visual language that could work across all titles. All of them except for The Once and Future King were sci-fi based, so a lettering style made up of lines was a flexible enough approach to allow each title to become its own world, and frame the whole collection as sci-fi themed.
Once learning about each story and coming up with a style that would help to unify the collection with diversity, the creative process was different for every book. Some were more rational and straightforward, towards visualizing a concept with letters, based on a narrative or a contextual element. So, for Neuromancer I would use the idea of glitch, for 2001: A Space Odyssey a text that looks cryptic or alien forcing you to turn the book in order to read it. In other cases the process was more of a happy accident, where the design process of the letterforms was actually the trigger that created the idea behind the cover. For example, in Dune just by using the “D” rotated 90 degrees, the word appeared as a perfect representation of Arrakis, being a point of intersection between four main powers.
Dune by Frank Herbert
An intricate political story of emperors, dukes and barons. Futuristic but with the same ingredients of a medieval epic story. The lettering has a hint of Egyptian jewelry designs inspired by the desert.
DUNE is, as a word, a quite special puzzling structure of letters that allow you to read 4 different characters by simply rotating 90 degrees the “D” shape. I thought this logo, in some way, speaks of the strategic nature of Arrakis, a planet where different parts intersect from different points of view and interests. This design is used in the back cover.
What kind of research and preliminary explorations informed decisions throughout your creative process?
Since this collection was not going to use any illustration and the letters itself would have to illustrate the cover, the most challenging part was to find that common thread across all the books that allowed them to be expressive enough to create a certain level of abstraction and visual excitement, and yet accomplish the function of being readable.
I listed different themes and concepts from each book, so I knew what goals were key for the style to adapt individually, and from there it was a matter of getting lost on each cover and trying to be as expressive as possible within the limitations of the line style and using only letters.
The Left Hand of Darkness by Ursula K. Le Guin
Focused on Gethen (the frozen planet) and its androgynous society, these letters are duplicated and transparent, inducing to be interpreted as ice and the duplication of the same type of gender.
On the back cover we see the androgyne symbol.
What were some of the challenges of bringing your vision to life?
Working with foil stamping had its limitations on contrast and stroke thickness. Once the designs were done, the printer came back saying that all designs had to be modified in order to meet the needs for printing foil correctly. So that was a learning experience. No foil can be printed thinner than 0.5pt.
Neuromancer by William Gibson
William Gibson created the concept of “Cyberpunk”. The future that Neuromancer pictures isn’t clean or sleek, its low-key and obscure, mutated into a hybridization of all kinds…The glitch aesthetics is a good way to capture this mix between human and machine, physical and digital, humanising the machines and mechanising humans to make a hybrid of both. The typography has a technological nostalgia using the colors of an old screen.
In terms of your practice, do you approach book covers differently than album covers and posters?
I think this collection came in as a very unique and brave brief from Penguin Classics (Paul Buckley), who wanted 100% typographic covers. This itself set up a scenario of endless possibilities to explore and many other limitations, which is what created such a creative challenge for me.
I would not think each format or field demands different approaches. I think you can design a record as a book cover if that is something that translates well to the spirit of the record. I think each format has different advantages and limitations. Overall it is a matter of navigating throughout these limitations and making the maximum impact. I don't believe a lot in rules and preconceived ideas. In the end rules are just validated opinions that lead to conclusions that apply to most cases; but when it comes to creativity in a personal approach, they can be your worst enemy.
Stranger in a Strange Land by Robert A. Heinlein
The concept is based on the crash of perceptions based on behaviours, traditions, and religions that the book expresses in the differences between Mars and Earth. The words “Stranger in a” appear facing an opposite directions as “Strange Land”, confronting the subject and the context.
How would you describe your creative style? Do you recognize a signature style that links all of your projects, or do you try to excuse yourself and approach each project as its own entity?
I try not having one style. I try to change as much as possible (it's a survival technique). I like to discover a new visual language on each project, or at least try to. In the end there is the same hand and mind behind all works. My content comes from the style itself. As a designer, I don't have a specific message to express myself, but I like to express myself with the message.
Are you a big sci-fi fan? What’s your favorite book from the collection?
I enjoy it, but I would not call myself a big fan or an expert. I enjoyed all of them for different reasons, but Neuromancer was probably the one that sparked my imagination the most.
The Once and Future King by T. H. White
This book cover is the result of merging the line style of the collection with a medieval style lettering. The icon of the sword is on the back, appearing half-hidden, referencing the sword in the stone.
While we're on the subject, what’s your favorite science fiction film?
Mmmm, Alien and Prometheus are probably at the top of my list.
What are you working on now?
I’m trying to get myself more familiar with new tools like 3D.
Anything else you’d like to add?
Thanks for the interview! ;)
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
PROFILES OF THE WEEK: SEPTEMBER 12TH
PROFILES OF THE WEEK: SEPTEMBER 12TH
Ted Lovett, Designer. Los Angeles.
Emily Fife, Copywriter. Brooklyn.
Llew Mejia, Illustrator. San Francisco.
Gabe Abadilla, UX/IA Designer. San Diego.
Toby Triumph, Illustrator. London.
Indhira Rojas, Designer. San Francisco.
Michelle Kondrich, Illustrator. Providence.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
MEET THE ARTIST YARN BOMBING NEW YORK & REINVENTING STREET ART
MEET THE ARTIST YARN BOMBING NEW YORK & REINVENTING
STREET ART
Graffiti murals and sidewalk stencils typically come to mind when someone mentions the term "street art." But WNW Member London Kaye is broadening the possibilities, substituting spray cans and wheatpaste for her medium of choice: yarn. The Brooklyn-based artist talks to us below about her background in classical dance, how she stumbled onto the world of yarn bombing, and why New York is the perfect backdrop for her craft: "When I began almost 4 years ago, I gave myself a challenge. Everyday for 30 days I would put something outside and leave it there for people to enjoy. It forced me to try new things and create my own style. What I discovered is I love using chain link fences as a canvas for my work. It allows me to hang up crazy things...without hurting the environment or the world around us.
Tell us about your creative background. Who is London and how did she get here? When did you first become interested in yarn and crocheting?
I grew up doing ballet and started my crochet career when I was 13. My friend's mom taught me to crochet one afternoon and I instantly fell in love. I began by selling scarves to the girls at my dance studio and it became quite trendy to wear. I could have never guessed that I would still be at it 14 years later.
Yarn and crocheting are not typically associated with street art. How did you come to identify with this medium, and recognize it as a perfect vehicle for street art?
I was working at the Apple Store and knew it was not my true calling. I was trying to figure out what I really wanted to do with my life and crocheting was always at the top of my list. One day an artist came in to buy a computer and she had a crazy crochet bag. That is when a light bulb went off! I can be more creative with this crochet skill of mine and I began googling crochet art. This is when I discovered the world of “yarnbombing.” I went home that day from work and took one of my scarves and wrapped it around the tree outside of my apartment in Brooklyn. Instantly I was hooked!
You’ve been called “The One To Watch” in the world of yarn bombing. How would you define yarn bombing, and how has your process evolved over time?
Yarnbombing is when you take a piece of crochet or knit goodness and wrap it around an object. I have taken yarnbombing to the next level. When I began almost 4 years ago, I gave myself a challenge. Everyday for 30 days I would put something outside and leave it there for people to enjoy. By doing this, it forced me to try new things and create my own style. What I discovered is I love using chain link fences as a canvas for my work. It allows me to hang up crazy things like mermaids, tomatoes, and ballerinas without hurting the environment or the world around us. It is also a perfect way to stretch and manipulate the yarn in unexpected ways.
Do you feel any pressure to prove the possibilities of yarn as an artistic medium? Do the expectations and stereotypes of yarn and crocheting keep you motivated to continue exploring new ways to create and communicate with it?
Making special handmade things out of yarn is a tradition that is passed down from generation to generation. I like to say it is an apocalyptic skill! I love crocheting so much and I continue to challenge the norm of what you can do with yarn.
In using yarn and crochet, do you revel in the opportunity to play against the expectations and go really dark or subversive with your work?
I crochet things that make people smile. The topics I choose are generally in line with something that people of all ages can connect with. There is always a bit of whimsy and fun in what I do. Every once and awhile I want to go dark, do something totally out of character. I am sure it will happen at some point, but not yet.
What moment or project in your career so far has made you the proudest?
I had the opportunity to crochet a billboard in Time Square for Miller Lite. It was 50’ x 25’ and was 100% crocheted. I am so grateful for that project, it was a huge success!
Biggest career failure?
I installed a crochet mural on a wall in my neighborhood in Bushwick. I had been asked to crochet the installation for a flea market, however they did not ask the correct permission and I got caught in a gentrification battle. At the time it was difficult to wrap my mind around. However I grew a lot from this experience and am now much more aware of where I put my art and how it affects the community.
What are you working on now?
I am working on a commercial for GAP, a window display for Valentino, and an Installation for the Amazeum Children’s Museum. I am busy crocheting, and I would not want it any other way!
How would you describe your creative style? Do you recognize a signature style that links all of your projects beyond the medium you use, or do you try to excuse yourself and approach each project as its own entity?
I have my own style and a process I follow for each piece of street art I crochet. With every new project comes new learning. I was never officially taught to crochet, so I am still trying to improve my skills and create pieces that look beautiful but also have a deeper meaning and heart. Sometimes I will begin a project and think it will turn out a certain way, but halfway through I change my mind and let the yarn take over.
How does New York influence your work?
There is no city like New York. All of the different cultures and people living and working together makes me happy to call it home. The idea of being at the center of such a vibrant city allows me to have no limits to what I create. I know it will be accepted. This is why I never hold anything back, and am down to crochet absolutely anything that inspires me!
What cultural and creative venues do you frequent in New York?
I love going to the art galleries in Chelsea. They always have new work that is unexpected and free to look at. The High Line is also one of my favorite spots to get inspired.
Do you thrive off of being part of a creative community or are you more in your element as a lone wolf?
I enjoy crocheting because you can be social and productive at the same time. The way I get the most work done though is being a lone wolf and crocheting all day everyday. I am so lucky to do something I love as my career because putting in the work is never an issue.
Who are some of your biggest creative idols and influences?
Picasso, Olek, and Einstein would be my biggest creative influences.
If you weren’t a street artist, what do you think you’d be doing instead?
I would love to own a flower shop!
What do you do when Not Working?
When I am not working I am doing ballet, smiling and loving life!
What are some things you would tell your high school or early twenties self?
Everything works out better than expected.
The project takes however long you have.
The world only throws at you what you can handle.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
PROFILES OF THE WEEK: AUGUST 8TH
PROFILES OF THE WEEK: AUGUST 8TH
Diego Salinas, Designer. New York.
Andrew Seger, Editor. Brooklyn.
Savannah Rusher, Designer. Brooklyn.
Lindsay Johnson, UX/IA Designer. Brooklyn.
Andrey Smirny, Illustrator. Brooklyn.
Philip Owens, Editor. Los Angeles.
Julia Robbs, Photographer. New York.
Andrea D'Aquino, Art Director. New York.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
PROFILES OF THE WEEK: AUGUST 1ST
PROFILES OF THE WEEK: AUGUST 1ST
Ricardo Portocarrero, Designer. Rio de Janeiro.
Ida Kristina Andersson, Animator. London.
Sara Vrbinc, Designer. London.
Jacob Stead, Illustrator. Amsterdam.
Dan Rollman, Copywriter. Los Angeles.
Eric Anderson, Front-End Developer. Brooklyn.
Giedre Domzaite, Motion Designer. Sydney.
Josh Goldsmith, Producer. Los Angeles.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
PROFILES OF THE WEEK: JULY 18TH
PROFILES OF THE WEEK: JULY 18TH
Brandon Burns, Designer. Brooklyn.
Jill Silberstein, Producer. Nashville.
Kelsey Hannah Walsh, Designer. Brooklyn.
Nitzan Hermon, Designer. New York.
Riikka Laakso, Illustrator. Berlin.
Job Hall, Producer. Los Angeles.
Pouya Ahmadi, Designer. Chicago.
Noemie Le Coz, Designer. New York.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
PROFILES OF THE WEEK: JUNE 27TH
PROFILES OF THE WEEK: JUNE 27TH
Moritz Welker, Designer. Munich.
Ann Shen, Illustrator. Los Angeles.
Aldo Gonzalez, Motion Designer. Brooklyn.
Beatriz Coias, Designer. London.
Gilles Uzan, Art Director. Los Angeles.
Jameela Wahlgren, Illustrator. Philadelphia.
Jeff JungKoo Han, Designer. Los Angeles.
Ben Kendall, Illustrator. Los Angeles.
Are you a WNW Member with new work, exhibits, products, or news to share? Email us!
PROFILES OF THE WEEK: JUNE 13TH
PROFILES OF THE WEEK: JUNE 13TH
Adam Epstein, Editor. Brooklyn.
Ana Jaks, Illustrator. Falmouth.
Anne Sanguinetti, Copywriter. San Francisco.
Zachary Slovin, Copywriter. Boulder.
Angie Schoemer, Producer. Minneapolis.
Tim Hucklesby, Designer. New York.
Claudia Goetzelmann, Photographer. San Francisco.
Eddie Perrote, Designer. Brooklyn.
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PUT A BIRD ON IT: ART THAT ADDRESSES CLIMATE CHANGE
PUT A BIRD ON IT: ART THAT ADDRESSES CLIMATE CHANGE
In December 2015, a rainbow-colored Painted Bunting arrived in Prospect Park, Brooklyn, diverted from its typical migration to Florida, Mexico, and the Caribbean. Strange juxtapositions like this are becoming commonplace in the wake of rising temperatures across the globe.
This rare sight inspired WNW Member #5758 Tatiana Arocha to create “Tropical Birds,” a public art project launching a migration of birds into the trees of New York City neighborhoods to initiate a conversation around climate change.
The first migration is based on five different species of tropical birds from Colombia. Each is constructed from laser cut MDF and wheat pasted original illustrations with gold paint details. The handmade silhouettes include toucans, parrots, and hummingbirds with intricately-layered textures. The birds have been installed at specific sites and arranged in proportion to the size and scale of the trees they inhabit.
So far, Tatiana has created over a hundred Colombian birds (300 more in the making). She'll be installing birds in public spaces in The Navy Yard, Fort Greene and the Queens Botanical Garden; the installation at BLDG 92 will also be incorporated into the SONYA Art Walk this weekend (May 21-22). The National Audubon Society will be supporting the project through social media and a project feature.
When you discover a bird, tag it on Instagram with #tropicalbirdsnewyork.
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LAMPO: The Modern Lamp that Comes in a Tube
LAMPO: THE MODERN LAMP THAT COMES IN A TUBE
You no longer have to suffer under that fluorescent overhead lighting in your studio. Or keep answering "Ikea" when guiding a guest on a tour of your home; help is here. Combining a modern aesthetic with an elegant and functional design, LAMPO is the newest project by WNW Member #4013 Kasia Ozmin and frequent collaborator Lindsay Richardson, who are currently raising funds on Kickstarter.
What is LAMPO? "Inspired by the mechanics of threaded wooden toys and the infinite possibilities of origami," LAMPO is a modern lamp that comes in a tube. It's easily shipped and assembled, and beautifully rendered with threaded maple legs and a geometric origami shade. LAMPO's warm and tactile qualities are a welcome contrast to our abundance of screens and appliances. With only 9 days to go, head over to Kickstarter to back LAMPO and help Kasia and Lindsay reach their goal.
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PROFILES OF THE WEEK: APRIL 11TH
PROFILES OF THE WEEK: APRIL 11TH
Luke & Omid, Copywriter + Art Director. San Francisco.
Nate Luetkehans, Designer. San Francisco.
Sarah Bruns, Art Director. New York.
Bob Pullum, Art Director. San Francisco.
Caroline Lee, Copywriter. Venice Beach.
Lisa Kaplan, Producer. New York.
Casey Harper, Designer. Portland.
Fuzzy Wobble, Creative Technologist. Brooklyn.
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BOOK LAUNCH: OCTOBER 7TH, BROOKLYN.
BOOK LAUNCH: OCTOBER 7TH, BROOKLYN.
WNW Member #5360 Adam Turnbull is an Australian-born, Brooklyn-based artist and graphic designer. He has a new book launching tomorrow, called Noted: A Journal to Explore How We Shape, Create, and Develop Ideas. Noted opens up the creative process to jump-start your ideas. So to all you New Yorkers, head over to Dumbo tomorrow night at 7 at the Powerhouse Arena to celebrate Adam's book launch.
WHO: WNW Member #5360 Adam Turnbull
WHAT: Book launch for Noted: A Journal to Explore How We Shape, Create, and Develop Ideas
WHEN: Wednesday, October 7th @ 7-9pm.
WHERE: Powerhouse Arena, 34 Main Street. Brooklyn, NY.
RSVP@powerHouseArena.com
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FROM COMMUNE TO COPYWRITER: ETAN NECHIN
FROM COMMUNE TO COPYWRITER: ETAN NECHIN
WNW Member #2960 Etan Nechin grew up in an artist commune in Israel. He started his career as a musician but after getting injured in a surfing accident found himself writing. Less than a year later, Etan packed his bags and headed to London. And thus, a copywriter was born. Etan describes his upbringing as "Fellini-esque" and marvels that his entire village could fit in one subway car. Being the son of an artist, and one who straddles the worlds of art and commerce, Etan has strong words about the source of creativity:
"I think the most important lesson is that creativity is not a gift, it is a skill. My dad raised three kids with his art. It is not about finding that moment when the muse hits. Fuck the muse! She’s a fickle one. Always gone when you need her, always there when you brush your teeth two minutes before you go to bed. Creativity is simply a way of looking at the world from different angles. The more open you are, and the more you work on it, the better creative you’ll be."
Tell us your story! Who is Etan Nechin and how did you get here?
If I could describe where I come from in one word, it would be Fellini-esque. I grew up in an artist village in the northern part of Israel, and when I say a village, I mean that in my regular New York morning commute, there are more people on one subway car than in all of my village. Professionally my first creative gig (music) was with a fringe theater group that years later I also did sound design for. I was 7 and performed on the flute in one of their shows. Even got paid!
I was a professional musician before I started writing. I got injured in a surfing accident and couldn’t play for a year, so I thought to myself, “What the hell else can you do?” So I started writing. My first paid writing gig was for a blog about baby names!
I went to art school in London, concentrating on writing and film. There I wrote for magazines. One of my editors always criticized me because my headlines were too pithy (which I guess was a sign.) When I finished my degree, I met a producer in Berlin who brought me to New York to write a film. That’s how I met fellow WNW member Nathan Avila, who was a Creative Director at a small shop in the city. For some reason, he hired me as a freelance copywriter. That was the first time I was in an office. I was 28.
Advertising was a weird and foreign world to me, but I liked it. After creating a campaign for the movie Ted, they let me go and I started to look for another gig. But I had no real portfolio to speak of. So I found a recruiter at mcgarrybowen online and sent her a postcard I found in a junk shop. I can’t remember what it said, but it was on a cheesy postcard from a Sheraton in Helsinki in the 1970’s. To my surprise I got a call two weeks later. I was at mcgarrybowen for a year and a half, working on campaigns for Verizon, 7up, Droid, and was on the team that won Maserati (yay fast cars!)
So I guess I’m creative by default. It’s like if you come from a family of bankers, or republicans—you just can’t help but becoming one yourself.
How did you start freelancing?
I left mcgarrybowen in December 2014 and have been freelancing ever since. I love freelancing because it allows me to work in amazing shops and do big campaigns, as well as projects that are not advertising-related. I published short stories in literary magazines, which led me to a summer graduate program at the Iowa Writers' Workshop. This year I took some time off advertising to work on a script for a performance-installation piece for the Slovenian Pavilion at the Venice Biennial. It was amazing!
I guess that's what makes me creative, and that’s why I love freelancing so much. Freelancing is not a job—it is a state of mind. It’s getting excited every time you step into a new unknown office, not really sure what you’ll be working on, not really knowing the culture of the place, not knowing who your partner is. It keeps me on my toes, and lets me challenge myself creatively. That’s how I find inspiration: by meeting new people, discovering new ways of thinking, and finding new ways of communicating to different audiences, from car enthusiasts to upper-middle-class Chinese families (I worked on a pitch for a Sony handheld camera for the Chinese market.) I can’t fathom going full-time ever again.
With your artistic background, how does advertising fit in?
Advertising for me is a great hybrid of creativity and communication. It is a challenge to find that right balance between being insular or too broad. That is what I try to do in my work.
What are some of your favorite things you've worked on?
I am always looking for the next project that will excite me. My two favorite advertising projects couldn’t be more dissimilar. The first is a sound installation I did for Maserati, and the second is a campaign that was a spoof on the Winter Olympics starring Kevin Hart.
Enough of the professional stuff, what do you do when you're not hustling?
When I’m not working I surf, travel, grow tomatoes on my roof, and try to learn new languages. At the moment it’s Spanish. It’s going muy mal.
What lessons can be learned from growing up in an artist village? Any particular stories that shaped you personally and professionally?
I think the most important lesson is that creativity is not a gift, it is a skill. My dad raised three kids with his art. It is not about finding that moment when the muse hits. Fuck the muse! She’s a fickle one. Always gone when you need her, always there when you brush your teeth two minutes before you go to bed. Creativity is simply a way of looking at the world from different angles. The more open you are, and the more you work on it, the better creative you’ll be.
The downside to an artist village is that it's a small-ass place and everyone gets into everyone else’s business. Secondly, artists can be self-absorbed, small-minded egomaniacs. In one gallery opening, I swear I overheard someone saying to their friend, “The art’s shit, but the cheese plate is amazing!” That’s how you spot a real artist. They won’t be admiring the pictures-- they'll be hounding the free wine.
After you got into a surfing accident, what was the impact of not being able to play music?
That was a pretty dark time. When you no longer have the main tool for you to communicate with the world, you shut down. I simply severed my connections to my musical past, worked in bars, and did nothing. After a year of just meandering, I came up to visit my parents. I stayed there for almost a month just reading, swimming in the ocean, and started writing again, this time with the intent of making something out of it. I went back to Tel Aviv, somehow applied to schools in the UK (till this day I don’t know how…), and was accepted into this really great art school. I took out a loan and left Israel four months later. I haven’t played professionally since then but recently I was thinking of kindling that part of my life again.
How did your family react to you leaving for London?
I was living in Tel Aviv at that point and basically I just up and left. I had to get some distance, find my own voice, as a writer, creative, and person.
Which films and filmmakers have most influenced you?
Oh wow, ok. So when I was growing up in Israel, there was only one channel on TV. 100% rating! Every Friday night they showed a movie, usually a classic. Also, we had like ten video cassettes we would watch over and over again. So basically I grew up on The Marx Brothers, Mel Brooks, all the epics (Charleston Heston is the man.) In the past few years I really got into Kusturica, who tells stories like no other.
In your nomadic life, where do you feel most “at home”?
I think I feel most at home wherever I manage to build a small community of friends, when you are past that “let’s get together for drinks” phase, and can just call each other in a moment’s notice, just to hang out. That said, last year while in Iowa, there was a war in Israel. The tranquility of the Midwestern air just strengthened the feeling of being so far away from my family who still live there.
Bonus round time! Two truths and a lie:
1. I dropped a tray of champagne glasses in front of of the Duke of Edinburgh (the Queen’s husband), while working as a bartender in London.
2. I was bitten by a viper, was allergic to the anti-venom and was in an induced coma for almost a month.
3. While shooting with Kevin Hart, I saw he was wearing a really dope sweater. As he was doing one of the scenes, I noticed the sweater just lying there. So I grabbed it (Kevin, if you are reading this, yes, I DO know where your sweater went!)
Last things you Googled:
1. New comment shortcut on Microsoft Word (Microsoft Office, you are the worst!)
2. What Zeppelin album “Kashmir” is from
3. Neckbeards (I did not know so many people walk amongst us sporting that awful awful look)
4. Things to do in Beacon (My parents were in town. They were on vacation which meant that I was on duty.)
Other WNW members you admire and why:
1. Yomar Augsto - motherfucking talented illustrator. I love his energy. He’s always on, positive. I think he sleeps an hour a night.
2. Mark Lowe and Russell Heubach - These cats, along with Mark Koelfgen (Mcgarrybowen CCO), took a chance on me, challenged me to be better, to really think not only about what I thought was cool, but also to listen to the client, and guide them to where you think they should be. Also, they always pick up the tab!
In one word, describe each city you've lived in:
1. Ein Hod, Israel - Feral
2. Tel Aviv - Kaleidoscope
3. Washington, DC - Why?
4. Berlin - History-channel-with-a-techno-soundtrack (I know, I know.)
5. London - Pints
6. New York - Tinnitus
What advice would you give to your high school self?
Take what comes naturally, focus, and fuck what everybody else thinks. Also, that girl who you think looked at you during lunch but you're not really sure because your friend told you that she likes some other guy? Yes, she did. So get a haircut and go talk to her!
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WNW MEMBERS BEHIND EDWARD SNOWDEN MONUMENT
WNW MEMBERS BEHIND EDWARD SNOWDEN MONUMENT
On the morning of April 6th, a four-foot, 100-pound hydrocal statue of NSA whistleblower Edward Snowden appeared at Fort Greene Park. Later that day, TIME published an article titled, "New York City Takes Down Edward Snowden Statue Erected By Guerrilla Artists." A month later, the New York Post published an article, "City returns Edward Snowden bust to mystery artists." These mysterious guerrilla artists are now known to be none other than WNW Members #63 Andrew Tider and #2120 Jeff Greenspan, in cahoots with sculptor Doyle Trankina. Below, we share their statement regarding "Prison Ship Martyrs' Monument 2.0" and some behind-the-scenes images.