The Thing Quarterly is an “object-based publication” based in San Francisco, the mindpup of artists Jonn Herschend and Will Rogan. Each issue is some useful thing, as conceived by the nimble imaginations of a shifting line-up of artists — a shower curtain by Dave Eggers, a pull-down window shade by Miranda July, a set of ceramic wine cups by Chris Johanson.

The latest edition of The Thing is the Fabric of Events 2013 Calendar by our esteemed colleague and friend, artist and filmmaker Mike Mills. The edition combines a series of half-toned images of historic persons, things, animals and events culled from Google Image searches and accompanied by text, some more obviously inter-related than others — with a notebook for planning your next calendar year. In Mike’s own words: “The idea of a historical fabric points to a non-hierarchical, non-linear way of understanding how moments, events, laws, things external and ‘real’ and things internal and subjective can shape our present story of who we are and how we love and are alone, how we are controlled and attempt to be free, and our relationship to different kinds of people and plants and animals.” The Mike Mills’s edition of The Thing Quarterly is available starting today at Project No.8 at Ace Hotel New York.

The Thing Quarterly is an “object-based publication” based in San Francisco, the mindpup of artists Jonn Herschend and Will Rogan. Each issue is some useful thing, as conceived by the nimble imaginations of a shifting line-up of artists — a shower curtain by Dave Eggers, a pull-down window shade by Miranda July, a set of ceramic wine cups by Chris Johanson.

The latest edition of The Thing is the Fabric of Events 2013 Calendar by our esteemed colleague and friend, artist and filmmaker Mike Mills. The edition combines a series of half-toned images of historic persons, things, animals and events culled from Google Image searches and accompanied by text, some more obviously inter-related than others — with a notebook for planning your next calendar year. In Mike’s own words: “The idea of a historical fabric points to a non-hierarchical, non-linear way of understanding how moments, events, laws, things external and ‘real’ and things internal and subjective can shape our present story of who we are and how we love and are alone, how we are controlled and attempt to be free, and our relationship to different kinds of people and plants and animals.” The Mike Mills’s edition of The Thing Quarterly is available starting today at Project No.8 at Ace Hotel New York.


INTERVIEW : MIKE MILLS

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


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