HAPPENSTANCE
INDEX EDITOR S THE
IMPORTANCE THE
INTERN
NOTE
OF
PERMANENCE
PROJECT
11
HAPPENSTANCE
EDITOR S NOTE The New Republic literary editor, Leon Wieseltier, calls browsing a form of learning that s intense and indirect. Not to be confused with search, browsing yields an unforeseen result. Instead of knowing what to look for we re making a bet on the richness of the world, immersing ourselves in it, and coming away with something that we ve discovered, writes Wieseltier. Given the technological and calculating nature of our day-to-day lives, our ability to discover is uninspired. When engaged in search we set out to find a pre-existing idea of what we want, or what we think we want. Search is precise whereas browsing is imprecise, and as a result, we re blinded to an assortment of possibilities and outcomes. Activating a beginner s mindset opens us to possibility, discovery, serendipity, and surprise. Defined as a circumstance due to chance, happenstance is the marriage between a happening and a circumstance. Happenstance is uncalculated and unseen. Happenstance̶the magazine̶serves to protect the art of discovery; it forces us to pause and consider (even reconsider) our surroundings. With a rising interdependence on technologies such as Google Maps for directions and Amazon for acquiring goods, our ability to simply get lost disappears. Tangible interaction is replaced by simulated experience and algorithms point us in a preconfigured direction. Code, an inanimate set of rules, tells us where to go and what to consume. Technologies such as Google Maps and Amazon are programmed for precedence; they take you where you ve already been̶to what you ve already bought or thought of buying, says Wiseltier. They re selling similarities̶after all̶serendipity is a poor business model. Happenstance believes serendipity is what renews the spirit. This small publication hopes to evoke a sense of exploration, not promoted by search, but by way finding. Happenstance is about unexpected, un-prescribed experiences that shake our core. I met Jordan Barse in the print studio one day and started a conversation, which prompted me to uncover the story behind The Intern Project. I walked past Literati Bookstore as it was being built every day on my way to class, provoking me to inquire what the building would be, never suspecting a bookstore. Being receptive to our surroundings is invaluable, as you meet people, places, and stories that would otherwise go unheard. At the end of the day you or I could read about culture, or we could contribute to it. Happenstance hopes to inspire readers to supply cultural content, not merely exist in it. Happenstance is a movement toward real, unmediated learning. Finding and sourcing inspiration is a never-ending process that artists, writers, and creative s call upon and contribute to. Happenstance calls us not only to exist in culture but to produce it. We can let our lives be curated from a distance or we can narrate our own story. All it takes is creative confidence, or the ability to come up with an idea and to act upon it. Coming up with an idea isn t the problem. Its owning the confidence to act upon the idea and share it. We are all creative, but we may not all have the same level of creative confidence. Fear is often to blame for our creative shortcomings. Casting ideas into the world involves risk. Mrs. And Mr. Gustafson took an enormous risk opening a bookstore in the age of Amazon. Jordan Barse challenged the fashion industry̶which is no small task. Creativity starts with an idea and springs into action. With that said, get lost and embrace the poetry of pure happenstance.
.
Best, Christine Hildebrand
2
THE IMPORTANCE
of
PERMANENCE
Let s say you see an opening soon sign in a window downtown. Chances are, a bookstore is the furthest thing from your mind. With digital technology surpassing analog media bookstores are more of an endangered species than a viable business, but for Hilary and Michael Gustafson, that statement couldn t be further from the truth. Last spring Hilary and Michael Gustafson opened Literati̶Ann Arbor s only bookstore selling new titles downtown. In 2011, Hilary and Michael were engaged near the time Borders Bookstores closed nationally. Hilary worked as a sales representative for bookstores around the country. The news not only rattled her career but shook-up her hometown of Ann Arbor, which Borders Group Inc. and Hilary once called home. For Hilary, and many Ann Arbor locals, it was hard to believe that an educated town such as Ann Arbor would go without a bookstore.
Making Literati a reality hasn t been a fairytale...
Before Literati the Gustafsons lived in Brooklyn. There, attended readings and social events hosted at bookstores was a part of their everyday life. When Hilary and Mike heard Borders closed for good they had an idea. From that point on, the couple wasn t only starting a new life together; they started a business. Hilary quite her job and spent a year creating a business plan. The couple uprooted their Brooklyn nest and relocated to Ann Arbor. From the east coast to the third coast, making Literati a reality hasn t been a fairytale. The month prior to opening was the roughest time of our lives̶and our relationship, says Mike. There were times Hilary and I didn t know if Literati would work, but we weren t prepared to see it fail.
3
Today, business is strong but there s always the chance Literati won t survive. Yes, it s scary but it s a possible reality. Literati s survival partially depends on their customer s support. It s in their hands, says Mike. Small, locally supported, businesses such as Literati live in fear, considering what they re up against. Mike explains, Ann Arbor is a unique place. I m not sure anywhere else would support the concept of a local bookstore like Ann Arbor has. When pitching our concept, there was a noticeable difference in punctuation, says Mike. People in Ann Arbor responded; You re opening a bookstore! Whereas people outside Ann Arbor said; You re opening a bookstore? This same sense of play can be found throughout the store. In the basement of the bookstore there s a mechanical typewriter patrons are encouraged to use. The typewriter acts as an important symbol for the owners. Type references black ink on white paper; a classic, crisp motif strung throughout the store. When Hillary and Michael drafted a logo they wanted something identifiable, simple, and emotional. Michael s old-fashioned typewriter, which belonged to his grandfather, encompassed all three. For Michael, the typewriter is a symbol that represents the importance of permanence. In the digital world where everyone has a blog or a Twitter there s not a lot of well-constructed writing. When writing on a typewriter however, you re aware of your thoughts and considering composition. You also make mistakes. When looking at the messages there s one that reads, There s no delete button on this thing. . . kind of how life used to be, writes anonymous. Visitors leave typed messages and Mike pastes them on the wall for public viewing. Some of the messages were funny, hilarious even. I didn t want to be the only one to read them, he says. As long as we re open I ll continue to post messages, and hopefully this entire basement will eventually be covered in thoughts. There are curious customers without a clue how to use it. They ll slam their fingers on the keys or think it s out of ink. Press Harder! Michael suggests kindly. All typewriters are different, Michael says; a refreshing concept considering the sameness of mass-produced goods today. Technology doesn t have room for quirks, but the individualism of
typewriters is fascinating. I see more and more of a demand for high-end paper journals and fountain pens. Now people want to buy typewriters from my display! Michael cries. It s wonderful. The Arts and Crafts movement is making a comeback, encouraging consumers to seek out handmade goods. Commodities have become too homologized.People are sick of it; first with food and now with material objects. with material objects. Consumers miss imperfection and crave handmade vs. machine touches. Evidence of the
4
maker s hand is desirable and valuable. Something Literati oers that Amazon can t is an element of surprise. People enjoy wandering, coming across topics that would otherwise go undiscovered. I hear people say they bought a book they didn t think they needed all the time, says Mike proudly. At Literati, there s a face behind suggestions. Literati s workers care more about their customer s interests and are less interested in making a sale. At Literati, there s no set customer, race, background, or age group who shops there. Those who ve lived in Ann Arbor for a long time have seen bookstores come and go. They visit Literati as a gesture of support. Younger generations support Literati because they re digitally burned out, Mike suggests. Today s youth constantly stares at screens, whether they re television monitors, computers, phones, or tablets. Reading a book, an actual book, provides the relief they need. Real life isn t 2D; it s the furthest thing from at. Life is three dimensional, tangible, and imprecise. Like the typewriter in the basement of Literati̜our mistakes give us character. It s those same personal touches that keep Literati customers coming back..
At Literati, there s a face behind the suggestions. . . Hilary and Mark saw something in the world they didn t agree with, so they took a risk to reverse it. Although we exist in a digital age, real world interactions do the spirit good. If we continue to favor obsolescence and ignore the importance of permanence we may never get the chance to reintroduce ourselves and discover people and places we once took for granted. Literati s business relies on people who care and if no one shows it s not Literati that fails. It s us.
Literati Bookstore 124 E Washington St, Ann Arbor, MI literatibookstore.com
5
THE INTERN PROJECT
6
Jordan Barse s interest in fashion started at a young age. I ve always been a visual person, says Barse, but when you re young and impressionable it s hard to see past the smoke and mirrors. After interning for a celebrity stylist last summer, Jordan met the real persona behind the fashion industry, and it was far from pretty. Barse s boss̶a celebrity stylist who also serves as a fashion editor for fashion publications̶ promised a variety of work, or so Jordan thought. Upon starting her job, Jordan s involvement was limited. What she imagined to be a rich learning experience turned into dystopia, and other than being an errand girl, Barse s greatest disappointment was realizing her unpaid labor wouldn t give her the creative payoff she banked on. Before the internship began, Jordan was excited to be a part of a small team, where she d be given the opportunity to build an intimate relationship with her boss. The team consisted of Jordan s boss (the head stylist), her boss s assistant, Jordan, and another intern who quit two weeks in. When things fell through with the other intern I was expected to pick up the slack, says Barse. Suddenly, Jordan was responsible for twice the workload, and working overtime with the stylist meant Jordan had to put another job on hold. Jordan hoped to be a studio assistant to a New York City artist, which would hopefully have given Jordan
the creative outlet she desired. To Jordan s dismay, the workload increased and she was barely recognized for her commitment. Weeks passed and the day arrived where the stylist assistant sat Jordan down for coffee, only to reprimand her for voicing too much of an opinion and hovering during a celebrity styling consultation. From that point on, Jordan was expected to communicate with her boss through the assistant. I was disappointed more than anything, says Barse, and offended. Although the fashion industry left a sour taste in Jordan s mouth, her appetite for fine art and photography ached. Jordan s negative experience confirmed that a career in fashion wasn t what she wanted. With one dream dismantled, a hope arrived. Barse needed more substance. Barse was never naive of the industry. The summer before college, she interned at Interview Magazine, where holding the clothes was special, Barse reminisces. Given her past work experiences, Jordan went into her most recent internship with a good sense of humor concerning the ridiculousness of the tasks the fashion industry labors interns with. For instance, she was running around New York City in the heat when her flip-flop broke. Of course it was a bother, considering she was working on a deadline and trying to get across town. Instead of getting upset she took a photo. In a way it helped blow of steam. It was then
7
that Jordan realized the idea behind her summer project. Jordan knew if she could photograph these ridiculous moments, she could tell a story while exposing the ludicrous side of industry that is lesser known. Thus, The Intern Project was born.
I felt pretty alone , running around the city by myself... Today, fashion blogs are increasingly narcissistic. People encourage it, Barse says. They re feeding into our crazy, self consuming culture. The Intern Project starts a conversation about fashion blog and illustrates the industry as both obsessive and humorous. The Intern Project isn t just a critique, but it s also an outreach project. It s a photographic series of sixteen images, each communicating with individuals on the streets of New York City. The project is inspired by street photography and the culture and aesthetics surrounding it. While running errands Jordan approached strangers and asked them to take her picture using a film camera. At first I was apprehensive, says Barse. It was intimidating, but Jordan quickly conquered her fear. In a way, approaching strangers on the street gave Barse a sense of connection. I felt pretty alone, running around the city by myself. Some days Jordan would be gone all day and she d return to work with hardly a thank you. I needed to connect with someone even if it was for a short while. Interacting with the photographers became a token of connection, Barse says. Strangers captured Jordan s photograph with an Olympus 35mm point and shoot. Film photography is magical, says Barse. Unlike film cameras, digital cameras have no restraints, making the images you capture on a DSLR less important. I rather get that one shot on film rather
than getting it with fifty others using a DSLR, says Barse. Images captured on film feel like they re frozen in time. Digital photographs don t feel like a memory and capturing the moment was something Jordan wasn t willing to compromise. The Intern Project taught Jordan the importance of keeping an open mind. Life would be easier if she pursued a career in the fashion industry given her resume and established contacts, but that s not her goal. A senior in art school, Jordan s still unsure where she ll end up after graduation. The easy decision isn t always the best decision. Jordan s happier pursuing a new interest, rooted in fine art, rather than settling for something that s right in front of her. It s a nervous feeling, but it s also exciting. Similarly, The Intern Project makes Jordan nervous; It s personal and controversial, she says. However, nervousness and fear make the project successful. I never wanting to start a fire, Barse explains. Rather, The Intern Project is in defense of her dignity. I m not trying to call anyone out, and it wasn t the worst job in the world, she continues. The photographs speak for their selves. They re humorous, critical, and beautifully composed. Jordan bit her tongue in the moment but she found an outlet that enabled her voice to be heard and gave her room to be creative. She channeled her frustration into creative energy to make something that let her voice be heard. Barse took a risk and ventured outside of her comfort zone. As a result, she crafted something beautiful, potent, and permanent. She took an ugly situation and made it better. Let Jordan s perseverance remind us that no one̶despite how important they may seem̶can t cap creative potential. Rather, it s up to us to realize our own potential, and to run with it without looking back.
8
9
HAPPENSTANCE
CREDITS F E A T U R I N G L I
T E R A T I
B O O K S T O R E &
J O R D A N A R T I S T CH R I S TI N E
&
B Y
A U T H O R
H I L D E B R A N D
C O V E R S U P P L I E D
B A R S E
L O O K
T H E
G E T U P
V I N T A G E
P H O T O G R A P H E R C H R I S T O P H E R
T E R R E L L
C O N T A C T I N F O
&
S U B M I S S I O N S
@ CHRISTINEHILDEBRAND.COM
10