This is the first issue of our newsletter in the format we like so we’ll call this volume 1.
Can someone tell me what ‘Californication’ means?
I don’t know and I was almost afraid to ask.
Always a crash-landing back to reality post-vacation. I enjoyed Los Angeles a lot but to the grind, I return. I received a 57-page-zine-swap package in the mail today and I’m extremely excited to dig in. I will post more about the pages I liked in the coming weeks with some additional reading. The past two weeks we had a new zine and stickers go up on the Digital Future store. There are still a few zines left and a ton of stickers. You can place an order by going here.
We’re still looking for contributors, send us an email, DM, smoke signal. Please just get ahold of us.
* * *
Digital Future Podcast anchor
Our guest for episode 3 was Carson Wilcox from Texas. He plays drums in Narrow Head, Skourge, The Pose, Dress Code, and many others in the past. We talked to him about his move to Dallas, the new Narrow Head record, Hum, and everything in between.
How to Spot a Military Imposter newyorker
Dan Darrah – “Perennial Fields” selfpublished
Beyond the language of Dan Darrah’s poetry – a language filled with searching, wondering, reflecting – lies the language of bodies. The poems collected in Perennial Fields are filled with people. Mostly nameless save for a few, the citizens of Darrah’s work are complicated yet realized and represented economically, as if to imply that the reader knows them so well, maybe even is them, that they don’t need any explanation at all. Some spread marmalade amidst bouts of crying, some drop bags of groceries, some flick bugs, but everyone does this with, to, or for someone else. All of these actions lead to a connection or a desire for it. Darrah’s poems are successful meditations on a universal personal: how do we live with ourselves and with others?
How Simple Shaker Furniture Has Influenced Centuries of Design gq
Written by the legend Sam Reiss.
What Really Happened with Armie Hammer’s Divorce? nymag
This is a call back to episode 2 of the Digital Future podcast where we talked about Armie Hammer ad nauseam.
My new favorite website of people just recommending things. I encourage everyone to check it out.
A 2003 Interview with Willem Dafoe index
My new muse, Index Magazine. Cringe.
* * *
Here is a small excerpt from my interview with Joey Goergen (Joey’s World). The full interview goes live on Digital Future dot com Tuesday afternoon.
Speaking of realism, during my two years at community college I took two art history classes and I realized that normal people or people outside of the art world have a deep admiration for hyper-realism. Do you find it boring since it’s almost the polar opposite of your work? What are your thoughts on it?
I respect it and I understand the skill that’s needed. I think there is an importance of learning traditional techniques but only so you can undo it. I think even though I’m doing a non-traditional style I know to some degree basic composition and basic design skills because I learned a traditional way. The conversations I hate about hyper-realism is, let’s say I paint a portrait of my grandma. The conversation is going to be more focused on the fact it looks realistic but it fails to acknowledge things like the composition, the pose, the lighting, or even the spirit or the aura the person gives off because that is what makes you want to capture them but again everyone just wants to talk about how smooth the paint looks.
[I go on an incoherent rant about a tweet that says a hyper-realistic rendition of Cafe Terrace at Night by Haixia Liu is better than the original by Van Gogh]
What is your artistic process like?
It depends on the piece. If I’m doing personal work it’s a lot of repetition. A lot of my drawings are stacks of stuff. Like there will be an island of things. A TV, a guy with a hat walking around and it generally starts off this way. Then something new will happen from there when I sit down to do another stack of drawings. From there I can isolate single images I like and combine them with others. A lot of my ideas come from my everyday life. For example, the Digital Future piece ties into my work very well because the subject matter I deal with is human interaction or the lack-of.
For commissions, I do enjoy it when people seek me out for my style in particular. I usually take input from them as well. I like to view commissions as collaborations and not just you hired me to draw this exact idea for you and here it is. I’ll do those projects but they’re just not as fun.
Have a good week and Halloween weekend! Episode 4 of the Digital Future podcast will be available before election day. Hopefully, you’ve made a plan to vote if you feel so inclined.