I actually have not met Natalie in person yet; however, I have been working with her on several occasions including RHINO *graphic* Review 2020. In addition, my graphic poems "Spaceflight Sonata P" (the Indianapolis Review, Spring 2019) & "Spaceflight Sonata P.2" (forthcoming) were accepted by her online journal.
"Spaceflight Sonata P" was an unusual piece because it was written on a toilet paper roll. The main concept was human history may as well be written on toilet paper—frequently flushed away—before we learn from our decisions, despite how horrifying some were. For more details, please visit her journal and my essay; "Then Why Did I Use a Toilet Paper?"
This piece was challenging to publish in both print and online journals because it was toilet paper - - super long, narrow, crumbed written letters without colors - - but she accepted it. Then, I strongly wanted to know more about her acceptance style & how she juggles poetic risks.
Founder and Editor of The Indianapolis Review
There is no easy explanation for how I choose the pieces of art that we publish in The Indianapolis Review.
I could give you the obvious answer that reads like literary journal guidelines--’we want what is vivid, urgent, original’--but I won’t. We at The Indianapolis Review do want all those things, but how do I quantify and define those factors? Instead, I will tell you more about the origins of the journal, my own narrative, and what principles have shaped my 'eye.'
I began The Indianapolis Review because some mystical force wouldn't let me sleep until I committed to fulfilling the vision I was seeing of the journal. I was already suffering from a lack of no sleep and no free time, so starting a journal seemed insane; however, I knew not to dodge The Muse. The vision I had of the journal came complete with a painting in my head.
The very first thing I did besides procuring our domain name was begin creating our cover art: the Indy skyline being swallowed up by fish and a giant moon. I also knew I wanted to publish 5 artists per issue, which is somewhat unusual for a poetry journal.
The art submissions have turned out to be the most thrilling thing for me, and connected me back to my own love of visual art. Though I have a Master's in Poetry from Butler University and lots of experience running poetry workshops, I do not have formal training in visual art. Therefore, while I feel quite confident in my critique of poetry, I have felt that the way I curate art for our issues is more intuitive and strange.
I say I don't have training in art, but I have training as a florist. I worked as a one for over 13 years and created floral designs, as well as visually impactful sales displays, every day. I got into that profession due to my training in horticulture and an absolute need to "do something creative." It has only occurred to me now that I am a full-time professor how much I desire the presence and creation of visual art alongside my need for poetry and words.
I've also realized that working as a floral department manager in a grocery for over 13 years taught me a lot about art. Here are some of those things which I have learned and which act as guiding principles in my curation process:
1-There needs to be an emphasis or focal point.
In floral design this is usually achieved by including a large flower amid small and mid-sized flowers, or by creating emphasis on one group of flowers. Apparently, we creatures like to have somewhere to rest our eyes, focus, and contemplate. I find I am drawn to visual art or visual poetry that has a focal point, whether it is an image or text. These things could be a figure, face, object or larger abstract shape amid smaller shapes, for example.
2-There should be a sense of proportion and scale.
In designing a vased arrangement, you aim for the arrangement to be 1.5 times taller than the vase, or at least as tall as the vase. Also, the arrangement should fit into its environment or place it will be used. Thus, sometimes a pavé style arrangement, where the flowers barely stick up out of a low container, is more appropriate in regard to its environment. Is the artist aware of the proportions of the objects in the art or the text included in the art? What is the proportion and scale communicating to the viewer about the art?
3-Be aware of the rhythm in your designs.
Rhythm is created by repetition and the arrangement of the repetition. It is found in the precise placement of the roses in a vased dozen: how they radiate outward from a central rose and are spaced equidistant apart. Rhythm is also found in the placement of figures in a painting: how far apart they are from each other, how they are positioned towards each other and in relation to the rest of the scene on the canvas. What is the rhythm of the visual piece, and is it helping to communicate the artist’s purpose?
4-What is your purpose?
Every time I created a design, it was for an occasion, even if that occasion was only known by the customer. A design carried a mood, and an underlying message based on its container and floral make up. I made the usual bestseller arrangements for anniversaries, birthdays, get well soons and new babies: rose bud vases, half and full dozens, mixed garden vases, and containers filled with flower foam.
But I also created the unexpected: monochromatic arrangements of all yellow or a dozen purple roses with purple filler flowers. The yellow arrangement might be a bit manic, insisting joy or perhaps good health, friendship. The purple roses created fantasy, romance, the unexpected. If no purpose or message can be discerned from a piece of visual art, not even the creation or transmission of a certain mood or feeling, then it is not vital.
5-Know what you are communicating with color.
As I alluded to in the previous point, colors often symbolize and communicate specific thoughts and emotions. A well known example of color symbolism in the floral business is that red roses stand for love, and yellow roses mean friendship. I never felt that these designations were set in stone, but colors have been scientifically proven to influence mood and emotion. What colors are used in a piece and why?
Whether a piece of visual art is black and white or a composition made of contrasting jewel-tones, color says something. If the color composition is neither harmonious, nor contrasting, doesn’t make sense with the purpose of the piece, doesn’t seem to be well thought out, it’s a huge factor in my experience of the design.
6-Do your work with an open mind.
I never wanted to be a florist in a grocery store--it sounds a lot less prestigious than designing in some fancy little floral shop, right? For awhile, I tried to leave the grocery and work in one of those shops. I would go interview in those places, and often they treated me very snobbishly after reading my resumé. After a few tries, I gave up. I realized that my situation was actually pretty great.
As a floral department manager in the grocery, I had huge freedom in what I designed, and I had stability, which I knew didn’t exist that often in mom and pop floral shops. I’ve certainly heard disparaging remarks about my working in the grocery from acquaintances, customers, and family alike. I learned many things working as a grocery florist, but one of the most important things I learned was to be open minded and not judge anyone by their job or material wealth.
Sometimes I see a submission of artwork to The Indianapolis Review that treats its subject matter with patronizing judgement. I certainly see this in poetry submissions as well. Often these pieces are trying to achieve the opposite--maybe bring awareness or solidarity to some social justice issue. However, if you are coming into your creation process with a mindset that you are superior, this will show through, even if it’s all subconscious on your part. Another aspect of this is when people judge certain styles or forms of art to be not as important or as serious as other art due to their popularity among artists that might not be formally trained, etc.
7-Now, go break all of my rules.
Go break everyone’s rules. My favorite thing about visual art and about poetry is that there are technically ‘no rules’ to either of these forms of expression. The freedom I feel when approaching a blank page to write or paint on (or both) is exhilarating, as much as it is overwhelming. I think it helps tremendously to study what artists and writers believe about the practice and theory of making art, but ultimately you want to achieve that abstract, elusive goal: be an original: create in a voice that is all your own.
Well, that’s all I got for now. I hope that at least one part of this was helpful in some way to at least one person. If you’ll excuse me, I am going to return to: mothering, making my art, attempting to write poetry, and grading lots of papers!