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November 2018

Psychedelically precise: Jen Stark for Smashbox

Jen Stark for Smashbox(image from laguestlist.com)

Welcome to the first of what will be many holiday 2018 artist collabs.  I figured I'd start with Smashbox since last year I didn't get around to writing about their fabulous collection with Ana Strumpf, so I was determined not to miss another artist collab from them this year.  For their holiday 2018 collection, Smashbox teamed up with L.A.-based, Miami-born (and MICA educated!*) artist Jen Stark.  For once, I had actually heard of this artist prior to the Smashbox collection, as her incredibly colorful and almost hypnotizing work had caught my eye at many of the art blogs I follow.  (The more pop-culture attuned among you might also recognize the crazy backdrops she created for Miley Cyrus at the 2015 VMAs.)  Naturally I was pleased to see it in makeup form. 

Jen-stark-smashbox-2018

I picked up the face palette, primer set and a festive red lip gloss.  I'm kind of kicking myself for not getting the lipstick set, which had some of the designs etched onto the lipstick bullets.

Jen-stark-sb-palette

Palette-open

Primer-set-angled

Primer-set-detail

Lipgloss

Lip-gloss-angled

Let's take a look at Stark's background and work.  I'll be doing my usual summary of artist/critics' quotes instead of trying to come up with my own analysis.  I fully admit my laziness, but I maintain the artist's own words serve as the best description.  Finding tons of information online about an artist is a double-edged sword:  one the one hand I love being able to learn about their work and process, but on the other hand it can be overwhelming to try to condense it all into one blog post.  There are dozens of interviews and articles about Stark's work so this fell into the overwhelming category, but I'll try to keep it coherent.

Stark was born and raised in Miami, Florida.  While she was always interested in painting and sculpture, rising early in the morning before the rest of her family to draw, paint and make collages, there was one family member in particular who recognized her talent and encouraged her to continue following her passion for art.  In an interview with Curator, Stark notes, "When I was very young my grandfather (who was a hobby artist) would invite me over to teach me how to paint with watercolors. He would paint things like waterbirds, landscapes and boats on water. One day during our painting session we decided to paint my [favorite] Cabbage Patch Kid doll. We each painted a portrait our own version, and when we were finished he said, 'Yours looks better than mine!' And I thought to myself 'Wow, maybe I can really be an artist'. Haha, I was probably 5 or 6 years old (and looking back now the painting was not very good, it was just such a thrill to get a compliment from my grandfather, who I looked up to)...He was just probably trying to make me feel good but he was really encouraging.  Our styles are completely different but he helped nurture me. He passed away a few years ago. I’ll always remember him. I tell people how he’s the one that made it happen."  I have to say, her childhood drawings are way better than anything I could do at those ages!

Jen Stark age 3.5

Jen Stark age 5

Stark's technique with paper cutouts has its roots in a tale as old as time:  the story of a young, broke art student.  During her junior year at MICA she enrolled in a study abroad program in Aix-en-Provence in France, and it was there she began finding her artistic footing due in part to her lack of funds. She explains, "Since we were only allowed to bring 2 suitcases for 5 months I decided I'll just get my art supplies when I got there. Well, the Euro was way above the dollar and things were expensive so I decided to get one of the cheapest things--a stack of construction paper--and see what I could do with it...When I arrived I had no exact artistic direction. I knew I loved colors and labor intensive work, but hadn’t pin pointed my style yet...Having little money to buy expensive art materials helped me become more creative with the supplies I had, and turn lemons into lemonade! It made me realize I could create artwork out of anything, as long as it was a unique idea and I worked hard at it. That was definitely a big turning point in my evolution as an artist. So, in this case, necessity allowed me to discover a new way of art-making."

CosmicShift-2015

Stark kept at it, and in 2007 she quit her job designing retail store spaces and took the leap to being an artist full-time.  Around 2008 is when the first "drip pattern" surfaced, which surprisingly had its origins in a t-shirt. She notes in this video:  "I just created this t-shirt design of this one rainbow drip going down the front.  I wanted to make it look sort of blooming, very psychedelic...I started honing that in and kind of creating a pattern out of it.  To me it references psychedelia, altered states, different dimensions.  I just love how it's so dynamic, it looks like it's oozing and moving down."  These sorts of patterns became Stark's signature, and over time expanded from two-dimensional to 3D mediums due to an increasing interest in Op Art effects:  "The viewer's interaction with my work is becoming more and more important to me...lately I've been experimenting with Op Art ideas, like trying to get the static lines and colors in the work to sway and make the viewer's eyes vibrate.  I'm also getting interested in colors and angles, having colors change as viewers walk around the piece.  I have a love for all kinds of optical illusions and things that seem to distort reality in a subtle way."

Jen Stark  Dimension  2013

Jen Stark  Dimesion (side)  2013(images from jenstark.com)

While it seems a bit haphazard at first glance due to the undulating lines and vibrant colors, Stark's work is actually quite precise and is based on forms found in nature as well as mathematical concepts such as fractals.  She named her 2012 exhibition "To the Power Of", referencing the exponential multiplication of numbers and how her process is informed by growing patterns in a particular ratio.  "I've always loved the idea of math in nature. There are so many natural forms that have complex mathematical equations that we don't even know how to calculate, yet is seems like this equation flows through so many living things from fractals to snowflakes, and from the shape of a hurricane to the similar-looking milky way galaxy," she says.  In fact, every once in a while she'll get a email from a mathematician who recognizes a specific equation in the patterns she's created. (While Stark says she wasn't good at math in school, she excels at representing high-level mathematical concepts visually.)  Growing up in Miami, with its abundance of lush year-round plant life, also influenced her work.  She elaborates, "I’ve always had a deep fascination for nature and how it relates to science and spirituality. I feel there is a parallel between different shapes within our universe: like how the Fibonacci spiral equation relates to so many things in nature – from the shape of shell to how a fern unfurls. Sacred geometry is a big inspiration in my work. I love thinking about how enormous shapes out in the universe can have the same patterns as tiny microorganisms under a microscope. How geometric shapes and certain spiraling patterns apply to designs in nature big and small. Also, it is interesting to me how much we still don’t know about science and the way things work. I hope to maybe reveal, on a visual level, some truth or insight about these ideas." A healthy dose of psychedelia gives Stark's work a more mystical, spiritual feel that beautifully complements the exactness of the patterns.  "Lately I’ve been delving into the world of meditation and consciousness and what is considered reality. I’ve been reading a book by Terence McKenna called Food of the Gods, which talks about how early humans may have evolved thanks to the help of psychedelic mushrooms and altered states from medicine plants. I’m so fascinated by all these ideas and the link between the psychedelic world, the afterlife, and how this all relates. For thousands of years our ancestors cultivated this amazing culture.  My work relates to the psychedelic movement because of ideas of perception, and a sense of altered consciousness. I’m also drawn to the radiant colors associated with psychedelics and the fascination with optical patterns and mind alterations. I think in certain ways, psychedelia is a quest to discover unknowns about ourselves and the universe, and I’m striving to answer these type of questions through my artwork," Stark explains.  In layman's terms, her work is pretty trippy but also oddly meditative.  I feel like I could stare at it all day and feel energized due to the vibrant color palette (like I did with Smashbox's 2015 artist collaborator Yago Hortal), but also contemplative, as I felt with the work of Hilma af Klint (who also was fascinated by merging natural, organic-looking forms with the spiritual realm.)  The repetition of shapes and the gentle, almost melting movement of the lines is calming and hypnotic, but the bright colors keep the viewer's eyes stimulated.  The controlled orderliness mixed with vivid hues led one interviewer to coin the phrase "psychedelically precise", which I think perfectly describes Stark's style.

Drippy-2-2016

This meditative quality is not accidental; Stark perceives the painstaking process to create her paper sculptures as a form of meditation.  "I wouldn’t say [making my art is] emotional because once I make it I’m not really attached to it like a lot of other artists. I just get it out in the world and I want other people to see it. I would say it’s more spiritual and meditative. It’s more about the process of brainstorming and coming up with the ideas...For me, the act and process of creating art is just as important as the final product. My art practice is very meditative and brings me to a trance-like state when I’m creating – especially with very repetitive tasks. I’m not a really OCD person in my life but with my art work it’s the satisfaction of doing intricate kind of work all day. There’s a joy I get from it which is weird but it happens. I don’t know, I’ve always liked repetitive motion; things like that make me happy...Repetition and movement play a huge role in my creative process. The repetition is similar to how the layers of a plant unfurl and reveal the future layers inside, waiting to grow out. I also love having a tedious process attached to my work, and feeling like I’m piecing it all together to create something amazing."

Painting-Random-2016
(images from jenstark.com)

In looking at her work, I can absolutely see how someone would be as mesmerized actually creating the piece as a viewer would be just looking at it.  Of course, if there's a deadline I imagine it might be less fun, given how labor-intensive the process is.  Speaking of which, I wanted to highlight how much work goes into each of these paper sculptures.  Depending on the size and complexity of the piece, it can take anywhere from a week to a month to complete, and consist of 50 to 150 layers of carefully cut and glued paper.  The paper is cut entirely by hand using an X-acto knife, then adhered with archival glue to wooden backing for sturdiness. Stark explains: "Typically, I sit down at my studio desk and begin sketching ideas in my sketchbook. I write down lots of words in addition to images. Then, once I pin down a favorite idea, I’ll begin to create it. If it is a paper sculpture, I’ll cut each layer out by hand with an exacto knife and sequentially put it together."  While assistants help with the gluing of the layers, Stark eschews their assistance as well as technological advances when it comes to the actual cutting of the paper because the technique is so integral to her style - and it's individual to her.  "The whole handmade thing is a part of my work.  Using a laser cutter would cause the work to lose a lot...I’ll do the cutting myself because it’s kind of impossible for someone else to do that part—it would look like their hand."  I think the photo below gives a good idea of the work involved to create these sculptures. 

Jen-stark-at-work(image from contemporist.com)

So why go through all this?  Stark points out that paper is a universally recognized material, and again, she finds joy in doing repetitive work that also transforms a flat, 2d surface like paper into something three-dimensional.  Plus, Stark's training in fibers helped her explore the possibilities of paper and fostered her passion for handmade pieces. In a 2012 interview, she notes: "In college, I majored in Fibers. This usually throws people off because I mainly work in paper and wood, but Fibers at my college was more of a technique and concept-based major. They taught us the basics of things like sewing, screen-printing and weaving, but there was also a big emphasis on ideas, process and accumulation...I’ve always been drawn to intricate work and labor-intensive, handmade things, so discovering the paper sculptures was a gradual journey from age two to 28! I love how common and versatile paper is. It is in everyone’s daily lives and people tend to overlook the amazing things it can do and be transformed into. I also love the idea of taking something that’s two-dimensional and flat and making it three-dimensional and intricate."

Pedestal-OutsideIn--2016(image from jenstark.com)

The drawings and paintings are less labor-intensive, and for Stark these provide relief from the repetitive nature of the sculptures. It makes sense; I think we need a break from even things we enjoy.  "I make drawings too, and see these as more of a spontaneous, organic process. They allow both my mind and hands to take a break from the monotony of the sculptures. [Drawings are] a way for my mind to just breathe. The sculptures are structured and I have to go through this strict process to create them. The drawings are spontaneous, I literally put paper down in front of me and start making a little mark here and a little there and it just grows."  This organic process also reflects Stark's fascination with nature and how natural shapes evolve as they grow.  "I kind of want [my works on paper] to seem like some sort of cosmic, chaotic eruption but at the same time still beautiful.  I try to make them an organized type of chaos, like what happens in nature...[they're] kind of an escape from doing sculptures.  They're a breath of fresh air because they're very spontaneous.  I usually don't have an idea of what they'll look like in the end.  I don't do any sketches, I just start making marks on the paper and it grows from there.  I really like the idea of an object, through slow, gradual, layered changes, completely changing over time...I feel like a lot of my work comes from that, taking one shape and tracing it, changing it a little bit through the layers of evolution."

Signing-print

Since my love of makeup stems mostly from my love of color, I wanted to briefly discuss Stark's use of color.  As with the patterns she creates, her sense of what shades to use are also inspired by nature. "My process with color comes from the interest of color in nature and how color is such an attention-grabber…to caution poison in mushrooms, or to reveal a delicious fruit that will spread it’s seed. I love how certain colors look next to each other and attract the viewer’s attention. The exact color schemes are not typically planned out. I usually spontaneously pick colors that I think will look great next to each other and build from there." Stark also relies on her own artistic instincts.  "I took color theory in college, so I absorbed all of that, but in my own way of choosing colors, it’s very instinctual. I’ll just know what colors to put next to each other. Usually it deals with contrasting, light and dark hues, stuff like that, but it’s pretty much just my brain deciding. I normally don’t have to think about it too hard."  While there's not a creative bone in my body, I feel like this approach is similar to mine when it comes to makeup.  I never really have to think about which colors go together, I just sort of know.  (I also wake up "feeling" certain colors or textures - not synesthesia, per se, but similar.)

Prisma+Chrome-2017(image from jenstark.com)

Since her move from Miami to L.A. in 2012, Stark has continued expanding the materials and techniques she uses (though the dry weather there is a great boon to working with paper, since it doesn't "wrinkle or do weird things" as is the case with Florida humidity.)  "Living in LA has helped to expand my ideas on fabrication and thinking about what artwork can be. There are so many possibilities to be able to create work using particular materials, with so many fabrication houses. The possibilities seem endless. Also living in LA has made me more open to the definition of what an artist can be. I’m diving into all different avenues of artwork like creating clothing, digital animations, public art, working with great brands, etc. It has made me realize I don’t have to have one set path, I can create my own world. I use many different materials in my work, like wood, plastic, paint, metals, etc." 

Finally, while I admire Stark's smaller works, it's the large-scale ones that capture my imagination the most.  Seeing these mind-bending designs on a building feels even more tremendous than viewing a painting or even a sculpture in a gallery.  Once again, Stark's interest in natural forms drives her desire to create public installations that have "visual and environmental benefits":  My dream commission would definitely be a public sculpture in nature. I’d love to create a large scale sculpture that incorporates renewable energy and gives back energy to us, yet at the same time is an intriguing and beautiful object. It would be amazing to do this in a park or at a school (and that same energy would go directly into the school). It would be great to make big installation type work where the viewer can be immersed and actually walk through the piece out in nature...I would absolutely love to someday make a monumental artwork that transcends a gallery. Maybe something dealing with outer space or in the ocean would be great." Stark also recognizes the importance of making art accessible.  "I would love to keep doing more public art because I think that’s the most powerful, and people don’t have to go into a gallery or a museum to view it," she says. 

Technicolor+Ooze-2015-mural

ChromaticCascade-2015

I particularly enjoy this mural she did for the Fashion Outlets of Chicago in 2013.  Can you imagine going underneath the escalator and being greeted with that?!  Makes one's shopping experience far more interesting, that's for sure.

Drippy-2013(images from jenstark.com)

Getting back to the Smashbox collab, despite the numerous articles and interviews, I was unable to find anything specific about their partnership (and obviously was too intimidated to reach out to the artist directly, especially since I had been burned before.)  Stark is no stranger to collaborations, having previously teamed up with Vans and Google, but there was nothing about her experience working with Smashbox or how it came to be.  I'm assuming Smashbox contacted Stark since they prefer championing L.A.-based artists, and her work looks as good on a palette as it does on a building.  I'm wondering if the company got the idea to team up with Stark based on a December 2015 Vogue article in which she mentions her admiration for the brand, among others (MAC and Urban Decay also had shout-outs).  "Lately, I've been wearing a lot of Smashbox, and love their lipsticks and glosses for nighttime."  The article also provided some insight into Stark's approach to makeup, which, as you probably guessed, is as boldly colored as her sculptures. "I try to dress as colorfully as my work, and wear amazing vibrant makeup to connect everything," she says. "Your face becomes its own blank canvas—it's fun!  I usually keep my face au naturel—no powder, or even foundation—and focus on the eyes and lips, using vibrant colors to add brightness to my face."  I have to say, in nearly every photo I've seen of her, it seems she wears minimal makeup with muted colors (or at least they're not visible in the photos.)  Anyway, Stark also got the attention of nail art company Vanity Projects, who recreated the artist's patterns in gel nail form for Art Basel Miami.

Jen-stark-nails(image from observer.com)

As for the collection packaging, I honestly couldn't tell which exact paintings of hers made it on to the palette and other items.  Did she create something entirely new for Smashbox or did they recycle one of her earlier pieces?  This print from 2015, originally created with nothing but paper and markers, seems very similar but it's not identical. 

Jen Stark, Drip Cascade, 2015

I couldn't even begin to try to guess the designs on the other products.  In any case, I thought it was a great collection despite my preference for seeing Stark's work on a larger scale.  As for the artist herself, she doesn't seem like she's interested in cashing in; as one article notes, "[Stark] is especially mindful about how much commercial work to accept and for which companies.  It's more than just a desire to avoid overextending: she wants what she does to fit." In everything I've seen, Stark remains humble and simply wants people to enjoy her art.  As I always say, artist collabs are a wonderful way for people to access art if they can't purchase it or even see it in person, which can be difficult if you're not part of the art world.  Stark's take: "Good art should be inclusive rather than exclusive. I enjoy that my artwork attracts all different types of people from students, to teachers, artists, designers, middle-aged housewives and even mathematicians. My audience isn’t just limited to people in the art scene. Many different types of people are able to enjoy it and take something away from it."  Coupled with her passion for public art, it follows that she would be enthusiastic about a makeup collaboration with a brand as well-known as Smashbox.

What do you think of this collection and Jen Stark's work?

 

 

*As someone trying to move out of Baltimore City, I can't help but be amused at Stark's comments regarding her brief time living here while attending MICA. "I guess the cold weather and fear of crime rate sort of forced me to become creative in the studio," she states (silver lining?) and also: "I don't recommend Baltimore." That makes two of us, Jen!


Fall/holiday 2018 color trend

We're used to seeing red lips for the fall and holiday seasons - everything from deep crimson to bright, borderline-orange is fair game - but this year it seems the fiery hue has gained significant traction as an eye shadow trend.  Some makeup aficionados consider red eye shadow to be difficult to pull off, especially for pale pasty folks such as myself, as it can go from "cutting-edge runway" to "severe eye infection" very quickly.  However, if anyone can get me to try this seemingly difficult shade, it's Mother (a.k.a. the legendary Pat McGrath.)  I tested out the aptly named Blitz Flame shade from her Mothership V palette and found it was shockingly wearable.  While I suspect it's the prettiest and best quality out of the palettes below, there is no shortage of reds to try this year as seemingly every fall and holiday palette contains a red shade.  Honorable mentions include Charlotte Tilbury Palette of Pops, Viseart Libertine palette and Morphe Your True Selfie palette - I simply couldn't fit them all in one image!

Fall 2018 red

  1. Bobbi Brown Infra-Red palette
  2. Pat McGrath Labs Mothership V Bronze Seduction palette
  3. NARS Provacateur palette
  4. Violet Voss Berry Burst mini palette
  5. Karity Picante palette
  6. Maybelline Soda Pop palette
  7. Huda Beauty Obsessions palette in Ruby
  8. Zoeva Spice of Life palette
  9. Natasha Denona Cranberry palette
  10. Ace Beaute Blossom Passion palette

I can't say I was seeing any red eye shadow on the fall 2018 runways, so I'm not sure what the reason is for the trend. Perhaps it's the influence of the larger cherry/burgundy beauty craze (see Urban Decay's Naked Cherry collection, Maybelline's Burgundy Bar, and my post on burgundy makeup from last fall), or maybe given the success of other reddish-toned colors released previously - again, with Urban Decay leading the way with their Naked Heat palette this summer - it's an expansion on colors that were once viewed as odd choices for eye shadows.  It's similar to how nearly every brand now has non-traditional lip colors.  (Speaking of which, who else wants to see a Black Satin lipstick from Chanel?  I'm wearing the nail polish right now...)

Have you tried or will you be trying red shadow?  It's still not my favorite shade for eyes, but I must say that Pat McGrath, once again, has made a look that I previously thought was off-limits for me totally doable.


Lunar luxury: Chikuhodo Moon Rabbit brush

This was one of the few acquisitions I actually researched before buying.  Not because I didn't love it at first sight but because I wasn't spending $134 on a single item unless I could get a blog post out of it.  Fortunately Chikuhodo's Moon Rabbit (Tsuki No Usagi) brush gave me something awesome to write about.  The notion of a rabbit on the moon sounds pretty crazy, but as I discovered, the moon rabbit is a fairly big part of culture and history throughout East Asia.  I will be focusing on the Japanese version of the story since Chikuhodo is a Japanese brand. 

Chikuhodo Moon Rabbit brush

Chikuhodo Moon Rabbit brush

Let's admire the stunning gold and silver design on the handle.

Chikuhodo Moon Rabbit brush

Chikuhodo Moon Rabbit brush

I absolutely adore the iridescence of the moon!

Chikuhodo Moon Rabbit brush detail

Here's the brush head.  If you plan on buying it I can assure you it's just as soft as a bunny itself (although it's actually made from squirrel and goat hair.)

Chikuhodo Moon Rabbit brush

The concept of the moon rabbit has its roots in variety of cultures, most notably Chinese, Aztec and other indigenous American ones.  The folklore comes from particular markings that can be seen when the moon is full, which resemble a rabbit using a pestle.  More specifically, "The rabbit's head is formed by the Mare Serenitatis (Sea of Serenity); its ears by the Mare Tranquillitatis, the Mare Fecunditatis and the Mare Nectaris (the seas of Tranquility, Fecundity and Nectar); and the body and legs by the Mare Imbrium (the Sea of Showers) and the Oceanus Procellarum (the Ocean of Storms). A small, puffy bunny tail is formed by the Mare Nubium (the Sea of Clouds)."

Moon rabbit
(image from tvtropes.org)

In East Asia, the tale originated in China and spread to other Asian cultures.  While in China the rabbit represents a moon goddess pounding the "elixir of life", in Japan the rabbit is making mochi (sweet rice cakes).  Here's the Japanese version of the story.  "Many years ago, the Old Man of the Moon decided to visit the Earth. He disguised himself as a beggar and asked Fox (Kitsune), Monkey (Saru), and Rabbit (Usagi) for some food. Monkey climbed a tree and brought him some fruit. Fox went to a stream, caught a fish, and brought it back to him. But Rabbit had nothing to offer him but some grass. So he asked the beggar to build a fire. After the beggar started the fire, Rabbit jumped into it and offered himself as a meal for the beggar to eat.  Quickly the beggar changed back into the Old Man of the Moon and pulled Rabbit from the fire. He said 'You are most kind, Rabbit, but don't do anything to harm yourself. Since you were the kindest of all to me, I'll take you back to the moon to live with me.' The Old Man carried Rabbit in his arms back to the moon and he is still there to this very day exactly where the Old Man left him. Just look at the moon in the night sky and the rabbit is there!"  While no one knows the exact origins of the story, it may be based on a Buddhist fable, or could be a bit of wordplay:  "The rabbit pounding mochi is also a play on words…the word mochitsuki describes the act of pounding mochi, while the word mochizuki refers to the full moon."

In any case, it's a charming tale, and one that's heavily ingrained in Japanese culture.  Images of rabbits frolicking in the light of the full moon are quite common in Japanese art.

Rabbits by Ogata Kōrin (1658–1716)
(image from metmuseum.org)

Hares and Autumn Full Moon, attributed to Suzuki Harunobu (1725-1770(image from mfa.org)

Moon; White Hare in Snow by Taisosai Hokushu, 1819
(image from metmuseum.org)

Rabbits in Moonlight by Utagawa Hiroshige, ca. 1847-1852(image from mfa.org)

Rabbit in the Moon, unknown artist, 1915
(image from mfa.org)

Rabbits and the Moon by Ohara Koson (Shōson), 1931
(image from ukiyo-e.org)

Rabbits and the moon are also a common scene for home goods - it seems to be particularly popular for noren (Japanese doorway curtains.)

Moon rabbit noren
(image from global.rakuten.com)

Moon rabbit noren
(image from nipponcraft.com)

Moon rabbit noren
(image from 1stdibs.com)

You can find nearly any household product depicting the moon rabbit, from washi tape and towels to kitchen items.

Moon rabbit washi tape and towel
(images from yozocraft and amazon)

Moon rabbit chopsticks and dipping dish
(images from global.rakuten.com and amazon)

Additionally, each fall there are entire festivals throughout Japan to view and celebrate the harvest moon. The moon-viewing, or tsukimi ("tsuki" means moon and "mi" is watch) is held on the 15th day in the evening of the eighth lunar month.  These gatherings date all the way to the 9th century and, like the moon rabbit story itself, were introduced by the Chinese. "The O-tsukimi festival began in the Heian era (794 to 1185). During this period, Japanese aristocrats gather themselves and recite poetry under the light of the full moon. In the Japanese lunisolar calendar, this gathering usually falls on the 8th month. They believed that the 8th month is the best month to look at the moon because the positions of the Earth, sun, and moon further illuminate the night sky. Later on, the event is not only centered on poetry reading. Decorations were made. Japanese pampas grass (susuki) was put into place. Tsukimi ryore, sake, and other food were shared by everyone viewing the moon. People who attend the gathering also begin to thank their moon god and pray for another bountiful harvest. Hence, the O-tsukimi festival tradition as we know it today. Even when the moon is not visible or there is rain, O-tsukimi festival is still being held. The Japanese call it Mugetsu (no moon), or Ugetsu (rain moon)." 

Little moon-shaped dumplings called dango are made especially for the season.  And the pampas grass is so pretty...I'm wondering if the curved lines on the Chikuhodo brush are meant to represent it.  I think they could, given the prominence of stylized grass in the art I included above.  The grass also symbolizes a bountiful harvest and is believed to ward off evil.

Pampas grass (susuki) and dango
(image from facebook)

Chikuhodo Moon Rabbit brush detail

I couldn't resist sharing these fairly elaborate bunny-themed treats.  Needless to say, if I ever make it to Japan, I will have a tough choice whether to go during spring or fall - the former has fantastic cherry blossom festivals but, as I'm learning, the autumn moon-viewing festivals are amazing too!

Moon rabbit egg tart

Moon rabbit cake roll

Moon rabbit sweets

Moon rabbit dessert
(images from soranews24.com) 

In addition to festivals, the moon rabbit story figures prominently in Japanese culture in other ways, most notably in the popular anime Sailor Moon (whose human name is Usagi Tsukino - literally "rabbit of the moon" ) and a rover designed to explore the moon named Hakuto ("white rabbit").  Given all of this I feel fairly embarrassed that I was completely unfamiliar with the moon rabbit story and the festivals and other cultural touchstones associated with it.  But at least Chikuhodo provided a beautiful way for me to become aware. 

What do you think of this brush?  Had you heard of the moon rabbit story before?


Curator's Corner, October 2018

CC logoAs you've probably already guessed, there won't be a fall exhibition this year.  However, I'm working away on the Museum's 10-year anniversary exhibition and as well as the holiday one.  ;)  More on those later but in the meantime, here's what was in store around the interwebz in October.

- I was so pleased to be interviewed for and quoted in not one but two beauty-related articles during the month. *pats self on back*

- Talk about inclusive:  Herbal Essences's new shampoo and conditioner packaging features "tactile indentations" for the blind so they can tell the bottles apart.  I think all companies should start including these - and on shower gels too!

- On the not-so inclusive side, I'm glad someone is finally mentioning that the over-30 crowd is being left out.  For all the talk of inclusivity, I'm kind of taken aback (and annoyed) at how many brands continue ignoring us.  With my 40th birthday quickly approaching, I'm more aware of it than ever.

- I wish I could have gone to Sephora's very first beauty festival, Sephoria - it sounded pretty fun!

- The Cut had an interesting series of essays on lipstick.

- I'd like to hear your thoughts on this Bustle article.  As an owner of one of the original Revlon Fire and Ice ads, I must say I have a completely different take on the campaign. 

- We know glitter is bad for the environment, but I had no idea child labor was involved too.  It's very disappointing that something so sparkly and fun is actually quite sad, so we need a solution ASAP.

- As a sort of follow-up to my post about beauty packaging waste, here's the latest development in the fight for more environmentally-friendly products.  Maybe blue beauty can save the mermaids?

- Allure simply loves to name hair color trends after beverages, which apparently doesn't sit well with In Style.  Personally I'm siding with the latter on this.

- Happy Halloween!

The random:

- In '90s nostalgia, TV show Charmed and Britney Spears' hit "Baby One More Time" turn 20, along with New Radicals' "You Get What You Give".  However, nostalgia is all well and good until you start messing with classics like 1995's Clueless - seriously, a remake?  As if!

- On the art front, Banksy pulls off what is possibly one of the greatest stunts in art history, only for it to be immediately monetized.  Then again, it's a good alternative if you can't afford a shredded $1.4 million painting.  Also of note:  doctors can now prescribe museum visits - I always knew art was good for your health! - and a statue in Georgia gets a very silly modification.  Normally I shudder upon seeing vandalized art, and I'd be super pissed if someone ever messed with the Museum's collection should it ever be available to the public, but for the life of me I cannot stop laughing at it.  Finally, unlike the Museum of Pizza and Cheat Day Land (will this ridiculous fake "museum" trend never end?!), the Disgusting Food Museum actually seems to have some educational and historical merit, albeit on an unappealing topic.

- Is it bad I'm looking at holiday things the day after Halloween?  Me and the plushies are still in a candy coma, but we're already excited for many more holiday/winter treats.

Babos

How was your October?  Are you gearing up for the holiday season?