Mike Mills is an artist, filmmaker, photographer, musician, handsome gentleman and multi-disciplinary imagination vessel. His recent film Beginners arrives on the heels of decades of nimble, idiosyncratic and hella special work like his other films Thumbsucker and Paperboys (among others) and his music videos for Yoko Ono and Air, as well as album covers for Sonic Youth, Beastie Boys and Ol’ Dirty Bastard. If you saw him in that seminal documentary of outsider art, Beautiful Losers, you probably remember what an eloquent voice he has on behalf of his craft, and on behalf of being human. That voice, carried over into his film, print and other work, is what moves us so deeply.
Mike has created a pair of limited edition printed posters for Commune — the group of people who helped design Ace Hotel & Swim Club, and old friends of Ace; you can see some behind-the-scene shots of Mike working on the posters on their blog here. The prints are centered on civil disobedience, and we had a chance to ask the man in question about what counts as disobedience and why color is a power tool.
You are civilly disobedient in much of your work — both via civil disobedience and by being civil while being disobedient. Is art a friendly way to disobey? Does being friendly make change more possible in the world?
Who was it that said if you’re going to break some laws you should dress nicely as to not be detected. I think that’s a powerful metaphor. I think the art world is actually too open for disobedience to be very impactful, that’s partly why I prefer to work in the design context or the entertainment world — while there is less room for subversion, I feel that what you can get away with in that context just has more traction in terms of making the world a bit more open. And lastly, yes, I love courtesy, friendliness, empathy and manners and I think all those qualities can be lethally subversive.
You’ve designed books, scarves, advertisements, music videos, fabrics and probably a bunch of stuff no one but you has ever seen. How do all the mediums you’ve used inform one another? When you’re designing or imagining, do you have a specific medium in mind? How does this change when you’re working on a commission or for a specific brand or project?
I very often just have ‘interests’ or maybe they’re obsessions and things on my heart and mind that are churning, churning, churning, and they come out in whatever opportunity is in front of me (a shirt, part of a script, a record cover, etc.). And yes, something I do in an art show can totally help me figure out a problem I’m having with a script, or something I learn doing a record cover can teach me about how I want to film something. I think I took my Bauhaus book I got in high school way too seriously and I thought this was how it was going to be in the future, everyone was gonna have multidiscplinary artistic lives, and that most of those ‘discplines’ were little lies made up by cultural institutions and schools anyways.
Color and you seem to have a great relationship. You have a way with gold foil. And Beginners has some beautiful full-screen color blocks. Is it California-born blood that brings out all this color? What does it mean to you? Can bright colors be sad? Can gold be depressing?
To be honest, I don’t totally know where all that came from. My father was, in addition to an art historian, a flag designer and did really amazing work that was always around the house. My mother loved minimalist art and color-field paintings, and I do carry that with me. I often feel a simple field of color says so much, is gorgeously open-ended and inviting, and, like music, works on a much more interesting and powerful subconscious level. And let’s face it, color is cheap — you get a lot of bang for your buck with a field of color and I really admire and respect that simple power.
What’s it like to make a movie about relationships when you’re in a relationship with someone who makes movies about relationships? Do you find yourselves in there sometimes, or is it a kind of therapeutic fiction (knowing that fiction is a great form of truth-telling)?
Oh, that’s private of course!
Photo of Mr. Mills by Autumn de Wilde
We worked with Commune Design to make Ace Hotel & Swim Club in Palm Springs. They made The Commune, designed guest rooms and communal spaces, and worked with other collaborators to make Ace Palm Springs the magical place that it is. Commune just opened a Community Shop at our hotel, with things that are handmade by real people, including cups and bowls by Heath Ceramics, who made Do Not Disturb signs for the doors. You can see pictures from the store at PSFK, and read about it in the LA Times.
Visit Community Store during Palm Springs Modernism Week 2010. We’re hosting many of the week’s events including lectures, architecture tours, films, martini parties, and a show of vintage Airstream trailers. We have two room packages for the week, The Frey and The Modern. See more about it here.
Ace Hotel & Swim Club is built in a mid-century Howard Johnson motel. We’re excited about the local enthusiasm for Desert Modernism, so we kept the original things people loved about the hotel intact and mixed in some newer things that inspire us.