{"id":16811,"date":"2024-05-14T15:19:11","date_gmt":"2024-05-14T19:19:11","guid":{"rendered":"https:\/\/chimeraobscura.com\/vm\/?p=16811"},"modified":"2024-05-14T15:19:14","modified_gmt":"2024-05-14T19:19:14","slug":"episode-589-adam-moss","status":"publish","type":"post","link":"http:\/\/chimeraobscura.com\/vm\/episode-589-adam-moss","title":{"rendered":"Episode 589 – Adam Moss"},"content":{"rendered":"

Virtual Memories Show 589:
\nAdam Moss<\/a><\/p>\n

https:\/\/traffic.libsyn.com\/secure\/virtualmemories\/Episode_589_-_Adam_Moss.mp3<\/a><\/audio><\/div>

Podcast: Play in new window<\/a> | Download<\/a><\/p>

Subscribe: Spotify<\/a> | TuneIn<\/a> | RSS<\/a> | More<\/a><\/p>\n

“My whole career had been based on a dialogue with others, and I didn’t know how to talk to myself, how to listen to myself. So this book was a way to try to understand the artist’s head.”<\/p><\/blockquote>\n

\"\"<\/a>With his amazing new book, THE WORK OF ART: How Something Comes From Nothing<\/a> (Penguin Press), hall-of-fame magazine editor Adam Moss<\/a> explores the artistic process by interviewing more than 40 creators about the evolution of a piece of their art. We talk about the archeology of early drafts and sketches, why he took up painting and how its vexations drove him into making this book, what it’s like to tour artists’ heads, the creative benefits of “the bounce,” the differences between collaborative and solo art-making, and the dizzying iterations of a single artwork by Amy Sillman<\/a>. We get into where his 40-year magazine editing career began (and where it ended), the process of figuring out how to write and edit his own prose for this project, the incredible design project of bringing The Work Of Art<\/em> to life as a museum of creativity (& its early life as a ‘zine), what happened when he pitched Warren Beatty on this project, and his ongoing attraction to the artifacts of artists in the midst of artworks. We also discuss why I may be the ideal reader for this book, how the introspection of COVID & lockdown influenced The Work Of Art<\/em> and its subjects, what he learned about interviewing (& which subject intimidated him the most), how he finally learned to stop waiting for a catharsis and learned to take joy in the making of art rather than the finished artwork, and plenty more. Give it a listen!<\/a> And go read THE WORK OF ART<\/a>!<\/p>\n

“In my magazine career I was constantly trying to figure out ways to make images and text work together in different ways to tell stories.”<\/p><\/blockquote>\n