be, of love, (a little) more careful, than of everything

Note: There are 4 parts of this single work. "Introduced to silk screening at the University of Southern California in 1951, Corita quickly earned acclaim for dense, color-laden compositions of religious iconography that departed radically from the usual Christian-themed depictions of crucifixes and Madonnas. In 1954, she began to combine typographic elements in the form of inspirational phrases—religious and secular—with her formally sensitive and playfully abstract imagery. Artist Ben Shahn declared that she “joyously revolutionized all type design.”9 As for her style, it seemed inspired early on by a folk vernacular, surely reinforced by the folk art she and her teaching colleague and mentor at Immaculate Heart College, Sister Magdalen Mary Martin, voraciously collected, not only because they could a≈ord it but also because they loved the humble acts of its producers.10 Yet to come would be the revelation of including another vernacular—that of advertising. Corita took this flotsam and jetsam of daily life and invested its seemingly banal messages with the spiritual and profound. She also was deeply influenced by Charles Eames, whom she credited with inspiring her to live out the Balinese credo 'We have no art, we do everything as well as we can' and to make connections between unrelated ideas." —Louise Sandhaus, Earthquakes, Mudslides, Fires & Riots: California and Graphic Design, 1936–1986