I listened to the HD video and wrote down what I thought I heard. It was a little difficult in some parts where there was a lot of singing over top of the instrumental… but I did my best!
If anyone finds a mistake please let me know! Hope people like this!!
Ruth Asawa, an artist who learned to draw in an internment camp for Japanese-Americans during World War II and later earned renown weaving wire into intricate, flowing, fanciful abstract sculptures, died on Aug. 6 at her home in San Francisco, where many of her works now dot the cityscape. She was 87.
Her daughter Aiko Cuneo confirmed the death.
Ms. Asawa had been shunted from one detention camp to another as a child before blossoming under the tutelage of the artists Buckminster Fuller, John Cage, Franz Kline and Josef Albers. Gaining notice in the art world while still a student, she soon began building a wider following with abstract wire sculptures that expressed both the craftsmanship she had learned from Mexican basket makers as well as her ambition to extend line drawings into a third dimension. Many of these were hanging mobiles.
Ruth Asawa Andrea US (1966-1968) Cast bronze fountain Ghirardelli Square, 900 North Point, San Francisco [Source]
In 1968 she startled her admirers by creating her first representational work, a fountain in Ghirardelli Square on San Francisco’s waterfront. It had two mermaids — one nursing a “merbaby” — frogs, turtles, splashing water and a recording of frogs croaking.
Lawrence Halprin, the distinguished landscape architect who designed the waterfront space, had planned to install an abstract fountain. But after a long, unexplained delay, the developer chose Ms. Asawa for the job. Her creation set off a freewheeling debate about aesthetics, feminism and public art. Mr. Halprin, who had been a fan of Ms. Asawa’s abstractions, complained that the mermaids looked like a suburban lawn ornament.
Ms. Asawa countered with old-fashioned sentiment. “For the old, it would bring back the fantasy of their childhood,” she said, “and for the young, it would give them something to remember when they grow old.”
“There is no money in answering letters.” —Groucho Marx
A couple of years ago, I was getting sent this article, “Creative People Say No,” at least twice a day. The idea was that creative geniuses say “no” to a lot of requests (like, a psychology professor researching processes of creative genius) in order to get their work done, so if you want to be a creative genius, you have to say no a lot so you can get your work done.
[Y]ou have to say ‘yes’ for a long while before you can earn the right to say ‘no.’ Even then, you usually can’t say ‘no’ at whim. By the time you can say ‘no’ indiscriminately, then you’re already so super-privileged that being able to say 'no’ is not a prerequisite of success, but a result of it.
There was a little index card in the back of Steal Like An Artist that didn’t make it into the book that sums up my own point of view: “Be as generous as you can, but selfish enough to get your work done.” (I recycled the line later in Show Your Work!)
Of course, sometimes you just have to say no for whatever reason. For that, Alexandra Franzen suggests this format in her piece, “How To Graciously Say No To Anyone”:
Hey [name],
Thanks for your note. I’m so proud of you for ___—and I’m flattered that you’d like to bring my brain into the mix.
I need to say “no,” because ___.
But I would love to support you in a different way. [Offer an alternative form of support here]
Thank you for being such a wonderful ___. I am honored to be part of your world.
[A few closing words of encouragement, if you’d like]
