the world needs more love letters

Or at least, more handwritten letters.

Enter the Handwritten Letter Project, by Craig Oldham. Since 2007, Oldham has invited designers and creatives to submit handwritten letters on the stationary of their choice, compiling the results in book form (now in its second edition) and for exhibitions worldwide. There remains something intimate and delightful about the handwritten letter, and both the charm and quirks of their writers and their penmanship are laid bare in Oldman’s collection. Below, some excerpts. You can purchase the complete book here.


Armory Arts Week, NYC

**Forgot to post this earlier this month, but better late than never, right?

This weekend (3/9-3/11) was a big weekend for the art world, and a big one for the digital media/tech world as well. I’ve got a foot in both camps so was torn about which to attend – SXSW in Austin, TX, or Armory, etc in NYC? I opted for the Armory’s week of art shows, but truth be told, I was a little disappointed.  Volta was so underwhelming it won’t get more than a sentence here; only a few galleries caught my eye, and then just barely. The Spring Break Art Show was a fun mashup of work by mostly amateur artists; they showed some strong video work, but there seemed to be a lot of filler pieces in the perhaps too large show. The pendulum of success there swung wildly from room to room.

The Armory was, as expected, pretty impressive; and the caliber of the artworks was top notch. But some of it did feel a little tired. Victoria Miro showed three of the same Francesca Woodmans they showed at FIAC in Paris earlier this year (they showed at least twice as many in Paris); and while Lisson showcased an impressive Anish Kapoor, let’s be honest – they show one at every fair. (New York’s was admittedly more impressive than the the Kapoor they showed at Zona last year.) Max Wigram also showed some repeats of the Marine Hugonnier works shown in October at Frieze; yes, the same Hugonniers I raved about back in October.

Beyond the British galleries, the focus on Scandinavian artists seemed to be a crowd-pleaser. The Nordic corner was a casual one, with posters for the taking for those ready to sweep them off the floor. Somehow I was lucky enough to get through the fair without being trampled (not the madhouse it was two years ago), which meant there were plenty of posters for those intrigued.

Over all, solid show. But a surprising show? Not so much.