In this engaging conversation, Adam Moss, a renowned magazine editor and author of "The Work of Art," shares his journey from editorial excellence to exploring painting. He discusses the creative process, highlighting the challenges and joys of starting from scratch. Moss reflects on mentorship, emphasizing kindness and supportive growth over traditional criticism. He also delves into how his experiences in journalism enriched his artistic path and the importance of finding joy in the creation itself, rather than solely in the finished piece.
Adam Moss's transition from magazine editing to painting illustrates the importance of pursuing new creative directions for personal fulfillment.
The dialogue on mentorship emphasizes the reciprocal learning process between mentor and mentee, fostering an environment of collaboration and kindness.
Moss highlights the necessity of embracing failure as a critical component of the creative journey, ultimately leading to genuine satisfaction in artistic endeavors.
Deep dives
Adam Moss's Editorial Journey
Adam Moss, a former prominent magazine editor, has had an influential career that shaped the landscape of publishing. He began as the founding editor of Seven Days magazine and later transformed New York magazine for the digital age, earning numerous accolades along the way. Moss supervised many writers and editors during his tenure, creating an impact that reached countless readers. In 2019, he stepped down, seeking a new direction in life after decades in the industry.
The Concept Behind 'The Work of Art'
Moss's debut book, 'The Work of Art,' explores the intricate processes behind the creation of art and ideas, structured as a series of interviews with various creators. The book is designed as a visual and narrative journey that mimics magazine aesthetics, filled with sketches, sidebars, and extensive graphics. It features prominent figures such as Stephen Sondheim and Samin Nosrat, allowing their stories to illustrate the complexities of artistic creation. This book represents a departure from his editorial past, reflecting Moss's desire to understand how something comes from nothing.
The Role of Mentorship
The conversation emphasizes the significance of mentorship in developing one's skills and creative abilities. Moss reflects on the dual nature of mentorship, noting how both the mentor and mentee learn from each other, fostering a collaborative relationship. He specifically recalls how Lee Eisenberg, his early mentor, guided him while allowing fresh perspectives to emerge. This dynamic highlights the importance of kindness and encouragement in nurturing talent, contrasting with more traditional, demanding mentorship styles.
Navigating the Challenges of Editing and Creation
Moss describes the role of an editor as a blend of grandiosity and humility, requiring an understanding of how to manage a collaborative creative process. He emphasizes the need for editors to motivate their teams while maintaining high standards for their publications. The challenge lies in balancing one's vision for the magazine with the contributions of various individuals, akin to conducting an orchestra. This leadership approach reflects Moss's understanding of the complexities involved in transforming ideas into compelling narratives.
The Artistic Process: Success and Failure
Moss's discussions delve deep into the relationship between success and failure in the creative process, underscoring how failure is often integral to eventual success. He advocates for artists to find joy in the act of creation rather than focusing solely on the final product, as true satisfaction stems from the journey itself. The conversations reveal a common thread among artists: they often wrestle with self-doubt and the pressures of expectations but ultimately find value in perseverance. Moss's journey into painting taught him essential lessons about creativity, reinforcing that every artist must embrace their individual path, including the inevitable failures along the way.
Adam Moss was the best magazine editor of his generation. When he retired, he took up painting. But he wasn’t very good, and that made him sad. So he wrote a book about how creative people work— and, in the process, he made himself happy again.
