Design

On a recent weekend afternoon Kyle Blue (former Walker Design Fellow) and I had a nice little iChat conversation about Dwell’s (somewhat) recent redesign. Here are the highlights:

Chad: How many people are on the design team, and how did you become design director?

Kyle: There are four designers including myself. I worked at Dwell for two years as a senior designer under the founding creative director Jeanette Hodge Abbink and then at Apple for a stint before returning to Dwell in this position. I was hired back by Sam Grawe, Dwell’s editor-in-chief. Sam has been here from the beginning and we worked together before I went to Apple. He was a Senior Editor at the time. (Side note: Kyle recently hired Ryan Nelson, a current Walker Fellow, as a senior designer at Dwell.)

Was redesigning the magazine part of what enticed you back to Dwell?

We discussed the prospect of a redesign, but it wasn’t stipulated in a contract or anything formal like that. It was something the company was considering. Sam and I were happy to take on the challenge and to bring our experiences to the table in a fresh way.

It appears to be an editorial as well as visual redesign. How long did the entire process take and how closely did you work with the editorial department?

We began brainstorming the project in March 2007 at a creative retreat in Sea Ranch. We spent a lot of time looking at how we tell stories and what we do best and what we don’t do well at all. The whole team--edit, photo, and design--considered everything from the voice to the image to the whole structure of the page. We wanted to enrich the reader experience with things like more residences, more resources, and information graphics. Both My House and Off The Grid are good examples of these changes.

So that was March of 07 and the launch of the redesign was with the February 08 issue. Not quite a year?

The redesign took about 8 months. A lot of long days and late nights, completely fueled by pizza. Thankfully the logo mark is solid and we didn’t have to start completely from scratch. This was a particularly difficult project to accomplish while adhering to producing the normal 10 issues a year. It was a very busy schedule.

What were some of the guiding principles, design wise, that were set out for the magazine with the redesign?

One thing to note here is that Dwell has always had a structure that has worked well with a variety of content. Going forward we really wanted to create a system that allowed us the same flexibility, but with richer organization. Our goal was to evolve the design and to restructure sections of the magazine that needed to change due to how the magazine has evolved over the years. By this I mean, sections have come and gone, stories have gotten longer, and some things needed refocusing. This was an opportunity to bring a fresh design perspective to the magazine that has changed considerably over its 7 year lifetime.

One section that was problematic in the past was “In The Modern World.” It started as a perforated tear out, grew to a 5 page back of the book story, then as much as a 20 page front of book section. The feeling was that the old design had ceased to do a good job of presenting the products and content to our readers in a way that indicated what the purpose of the section was--to highlight new and noteworthy events, products, and furniture for that particular month. The section relies heavily on a range of disparate art, supplied photography of products, books, and exhibitions. With the new design we’ve approached this section as an insert within the magazine. We’ve deployed a unique grid and typographic styling that doesn’t appear elsewhere in the magazine as a way to differentiate it. The pages are subdivided into quadrants and each page can now hold anywhere from 1 to 4 items. The design is very flexible and capable of handling varying content in an organized and clear fashion.

I would say for the novice it might be considered a rather subtle shift overall. Since the bones stayed the same, it must have been more about the surface elements. What were some of the things that evolved, beside “In The Modern World?” Like typefaces, etc…

We’ve also changed the size of the magazine. We've trimmed a ½ inch of the width, which meant all of the grids would need to change as well. The height remained the same which is especially nice--if you hang on to your past issues of Dwell, they will continue to look handsome on the shelf. The spine is now a color and all of the typographic details still align with the past issues. We’ve picked two new fonts: Greta and Avenir. We wanted fonts that had a bit more range to bring more variety to the pages, while maintaining a strong typographic foundation. Another shift worth mentioning is the treatment of both the Front of Book and Back of Book. In these sections the captions now fall along the bottom of the page and the primary font is Avenir. This helps to create a distinction from the Feature Well, which has unique typographic treatments (captions, fonts, etc).

I have always found Avenir to be a very “friendly” font. What kind of voice do you think it has brought to the magazine, and how did you come about using Greta?

We looked at a lot of fonts. This was really where the redesign began for the design team. Everyone pulled a number of fonts that they felt could work for the magazine. This was a fun process and a good opportunity for me to learn about my team. The team got behind Avenir because of the variety of weights and because the letterforms are clean and modern. Greta also allowed us a flexible typographic family. We were the first publication in the United States to adopt it. We worked with Peter Bil’ak to create a mono-spaced version for Dwell. It's a nice complement to the other fonts and we use it primarily for captions and labeling in infographics.

I assume that your font choices helped to inform more decisions about the magazine? If the clean forms of Avenir felt sympathetic to the architecture was that the overall goal, clean and modern?

We always aim for clean and clear presentation. That sentiment has always been very authentic to Dwell. We strive to present the stories we are telling in the most compelling way. Avenir definitely speaks to that mission of the brand.

Switching gears back to the process, did you have to make a lot of adjustments based on feedback from the other departments?

At various points throughout the redesign, we would sit down with the publisher and editor-in-chief to discuss our goals. Once we landed on our fonts and grid structure, we set out to make sure all of the sections evolved to best accommodate the complimentary editorial changes in the right way. The Cover was definitely the most difficult part of the design to land on. We must have worked on this for 6 straight months… it was always happening in the background.

Did you have to think about advertisements at all when you were redesigning? I feel that a lot of companies have tried to copy the aesthetic of Dwell photography and therefore differentiating between what is content and what is not could be tricky.

One of the moves we made to create a distinction was moving the captions to the bottom of the page in the Front and Back of Book. Since they are always accompanied by a rule, it helps to identify the page as editorial. Another consideration is the amount of Right hand pages versus Left hand pages. Some of these moves allowed us to make improvements to the overall pacing of the magazine.

Since the sections have certain looks that stay the same from issue-to-issue the feature well has always been somewhere that changes with every issue. Since it is always evolving how did you go about rethinking the well?

Each issue of Dwell has a theme--Prefab, Sustainability, Small Spaces, and Color to name a few. We design the feature well in a way which explores the particular theme graphically. At times the decisions can be really subtle. For instance, with the Feb 08 issue "Color" we chose light background tints for all of the facing pages (pink, blue, green, orange, yellow, and purple). We made sure not to duplicate any of the color pairings and linked the color of the captions to the background color. The grid changes from the Front and Back of Book, captions no longer run along the bottom of the page and the primary fonts are Greta and Greta Mono. We've also opened up the paragraph column widths throughout to indicate a longer read.

Are there any other magazines that you like out there, or think does a good job with content and design?

At the moment I am really into Fantastic Man, Tate Etc., and Esquire (UK).

I can understand the first two, having never seen Esquire (UK) what about it do you like?

The UK Esquire was recently redesigned so that may have something to do with my current affinity. It doesn’t feel like what you might expect from a gents magazine, and that is really refreshing. They created a custom title font and it is really quirky and I quite like that.

I understand you had a recent opportunity to talk with Eric Spiekermann about the redesign. Any interesting points come up in that conversation?

It was a really unique opportunity to sit down with Erik and review the new Dwell. He has long been a fan of the magazine and is a friend of our founder. There were some things that he liked and there were also some moments that he didn’t like. He thought the design was pretty busy at times and really doesn’t like the use of the Condensed Avenir. I learned from Erik that Frutiger never drew a Condensed version of Avenir. He didn’t like that we had used it so much in that first issue.

Ahhh… I can see his point about the condensed.

We were really starved for a variety of weights in the past so Erik will have to forgive us for using it.

Was there anything you really wanted to do with the redesign that was rejected?

Several covers! I really wanted to do a cover with a series of 3 images, built around the idea that we always cover 3 houses in our feature well (which explore the theme of each issue). The 3 images could also provide an overview of each issue, pulling from all stories, not just the features. The idea being that we present the variety of content that is essential to Dwell (shelter, design figures, and products). But that got killed.

I noticed there is little interaction between text and image. Is that a conscious decision?

Absolutely. Keeping the type out of the images really speaks to our approach, as well as to our method of production. Dwell is printed on a web press so at times registration is an issue. The less type we knock out of an image the fewer problems will arise. But, more importantly the photography is quite beautiful--it doesn't need to be cluttered with type to get your attention!

Were there any other production issues that informed design decisions? The speed at which you have to produce each issue? etc…

What we’ve learned from printing definitely informed the final weight of Greta Mono. Since we commissioned Peter to produce this for Dwell as a caption font, which normally knocks out of images, the weight was important. We did several rounds to get this just right. We kept asking Peter to thicken it up a bit each time.

About how long does a single issue take?

It takes about 5 weeks for an issue of Dwell to make it through design, this includes production and image pre-press.

That's pretty efficient. How many months in advance do you work?

Well it is the beginning of July and we are finishing the design of October. On Monday, while closing the design of October, we will start thinking about November. These issues will overlap for about two weeks.

Do you guys have production meetings daily with the entire magazine staff?

We meet as a group every Tuesday, where we review the progress of 3 issues at a time. Our studio space allows us to freely collaborate with each other and the edit team pretty organically.

Being four issues into the new look how is it all working for you? Is there anything in the new look of the magazine you want to redesign yet?

We’ve actually got five issues back from the press at this point. So far so good. I really like where we are, but the nature of working for a publication is that your are continually working on the next issue and evolving the product. We’re still tweaking things and learning as we go. It’s a great project to be a part of.

Is there anything I haven’t hit upon that you would like to discuss?

Yeah, I have to thank my extremely dedicated art team. Each and every one of them were vital to the redesign, and to the work we do daily. Brendan Callahan, Geoff Halber, Kathryn Hansen, Suzanne LaGasa, Dakota Keck, Kate Stone and the photo team.

With its tattered and sad looking manila envelope marked only by a hastily written exhibition description, this exhibition catalogue has a very unassuming appearance in the context of an entire shelf of fine, hardbound art catalogues.

Expecting to open the envelope to find a fits-in-your-palm-sized catalogue, I was instead delighted to find the unexpected: 138 unbound index cards representing one of the most important avant garde art exhibitions of its time, titled 955,000. Taking place at the Vancouver Art Gallery from January 13 to February 8, 1970, this exhibition—containing conceptual art, process art and land art—was organized by Lucy R. Lippard.

Prior to the 955,000 exhibition (the number 955,000 was derived from the approximate population of Vancouver in 1970), Lippard curated and organized 557,087 (the approximate population of Seattle in 1969) for the Contemporary Art Council of the Seattle Art Museum at the Seattle Art Museum Pavilion from September 5 to October 5, 1969. This catalogue originated with the 557,087 exhibition in Seattle, consisting of 95 10cm x 15cm index cards, and in light of its continuation into the 955,000 exhibition in Vancouver, 42 new index cards were added to the collection.

Despite its unbound, randomly ordered and aesthetically uniform (hand and typewritten text printed in black on index cards) characteristics, this catalogue is peculiar because each artist in the exhibition was not only asked to contribute their artwork but they were also encouraged to make/design their own index card(s) for the catalogue. In theory this publication still functions, despite these abnormalities, as an exhibition catalogue because it represents the artists and their ideas. And while it’s not a rarity for an artist to make and submit his or her own text, image or artwork for a catalogue, it does seem rare that their contributions would not be collected and placed into the context of a book page.

Although this catalogue is far from revolutionary in terms of materials and format, I was simply drawn to the concept it presents because it completely surpasses the need for a designer and the processes so inherently paired with designing art-related catalogues (such as developing typographic systems and grids, sequencing, pacing, templating and even the process of preparing images and illustrations for high-end reproduction).

In essence, it could be argued that this catalogue (and the model it represents) comes closer to communicating the ideas of each artist and their raw proposals and is more authentic than traditional art catalogues that tend to remove or filter out certain nuances by way of such restrictions as page sizes and counts, the process of editing available content and even designer preference. And regardless of the fact that this catalogue is void of the parts and systems that many of us enjoy and expect from more traditional approaches, it reveals itself in an equally as intriguing way as catalogues that are defined by comprehensive and thoughtful orderliness.

According to The Centre for Contemporary Canadian Art (www.ccca.ca):
"The catalog consists of… index cards in random order including [101] cards compiled by the artists themselves, [21] text cards by [Lucy R. Lippard], [3] title page cards, 1 acknowledgements card, 2 lists of the council members and officers, 1 forward by the council president, [2] list of artists, [5] selective bibliographies, 1 list of films shown, [and] 1 addenda to [the] artists."

There were 71 artists from North America and Europe participating in 955,000:
Vito Acconci, Carl Andre, Keith Arnatt, Richard Artschwager, Terry Atkinson, John Baldessari, Michael Baldwin, Robert Barry, Rick Barthelme, Gene Beery, Mel Bochner, Bill Bollinger, Jon Borofsky, Daniel Buren, Donald Burgy, Rosemarie Castoro, Greg Curnoe, Hanne Darboven, Walter de Maria, Jan Dibbets, Christos Dikeakos, Rafael Ferrer, Dan Graham, Hans Haacke, Alex Hay, Michael Heizer, Eva Hesse, Douglas Huebler, Robert Huot, Stephen Kaltenbach, On Kawara, Edward Kienholz, Robert Kinmont, Joseph Kosuth, Christine Kozlov, John Latham, Barry Le Va, Sol LeWitt, Roelof Louw, Duane Lundon, Bruce McLean, Robert Morris, N. Y. Graphic Workshop, N.E. Thing Co., Bruce Nauman, George Nikoliadis, Dennis Oppenheim, John Perreault, Adrian Piper, Robert Rohm, Alan Ruppersberg, Ed Ruscha, Robert Ryman, Fred Sandback, George Sawchuk, Richard Serra, Randy Sims, Richard Sladden, Robert Smithson, Keith Sonnier, Jeff Wall, Lawrence Weiner and Ian Wilson

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1 2 3 4 5 6 7 8 9 10 11 12 13

While working at the Walker Art Center as one of the 2006-7 design fellows, I greatly appreciated the Walker's amazing library resource. A trip to the library was always a welcome break from the heavy workload in the design department, but also an excuse to visit to Rosemary, the Walker's librarian for 25 years. Rosemary always had wonderful stories to tell, and in particular I enjoyed her commentary on the extensive artist book collection. Recently I decided to ask her a few more questions:

Did you inherit a collection; how did the collection at Walker get started?

When I arrived at the museum in 1983, there was no collection of artists' books to speak of, but an initiative had been made by Graham Beal, Chief Curator who organized an exhibition, Artists' Books, in 1981. Remnants from that exhibition formed a small nucleus of material, enough to let me know that artists' books were on the radar screen and worthy of serious consideration. Collection development would have to include artists' books. After all why shouldn't an artist, whose painting or sculpture might be in our permanent collection, be represented by the bookworks as well?

How do you go about acquiring artist books for the Walker collection and are there any guiding principles behind your selection?

Books for the Walker Library Collection are acquired by various means. For out-of-print books, it is through antiquarian dealers whose lists are exceedingly helpful when trying to fill gaps in the collection. This year the Library bought a copy of Der Blaue Reiter (1912). This almanac has illustrations by Kandinsky and Marc, whose masterpiece, Large Blue Horses, is one of the anchors of our permanent collection. These lists of rare books come through the mail but increasingly are found on the Web. The Library tries to have books by all artists represented in our permanent collection who have made books. Many of these permanent collection artists are prolific book artists–LeWitt, Weiner, and Ruscha come to mind. Also there are outlets for recently published artists' books, i.e. Granary, Booklyn, Printed Matter, and Women's Studio Workshop to name only four. The reps for these and other vendors are constantly calling or sending e-mail alerts. Artists themselves often make appointments to show their work. Over the years many books have come into the collection as a result of artists bringing in their latest book. The visual arts staff is also a source for artists' books. Curators are often given books or they pick them up during their travels to far-flung places. Lastly, this year, for the first time, we acquired several books at auction from the estate of Cornelia Butler who showed Dieter Roth for the first time in Los Angeles. As a result of a nail-biting session on the phone we managed to get three out-of-print books, two by Dieter Roth and one by James Lee Byars. I am constantly trying to balance the need for new titles with an attempt to acquire out-of-print material that might represent a significant period or style of book making. Yes, there are Futurist and Surrealist books in the collection!

What constitutes an artist book?

This question of what constitutes an artist's book reminds me of something I saw recently in a publication called Some Forms of Availability. In the section "Polemical Postcards" Simon Cutts, author, quotes the following over-heard and intentionally mis-heard question: "What's the difference between artist's books and books made by artists which are not artists' books, and books?" See how confusing this topic can be? Cutts, a great bookmaker and publisher of Coracle Press, spends a good deal of time trying to sort it out for the reader. Martha Wilson, who founded Printed Matter, once said an artist's book was a book that was more self-conscious of itself as book (or words to that effect). I maintain, as a collector of more than 1600 artists' books, that it is a book that refuses to behave like a book (like the 35,000 books that sit in the stacks).

Could you talk a bit more about what you mean by 'refuse' to behave like a book?

I mean books that have no pages, books that refuse to open, books that wear trousers like Daniel Spoerri's Kosta Theos: "Dogma I Am God". I mean books that when opened become sculpture, Teraguchi's Cuckoo for Coracle Press, Rein Jansma's Stairs or books that cannot stand upright; Unnecessary Disclosures by Sarah Peters rolls like a ball and Sarah Parkel's book, Even The Birds Were On Fire is meant to hang like a Buddhist prayer flag. I mean books with no title page or table of contents or index, books devoid of text. Think Sol LeWitt, but there are others too numerous to mention.

Why do you think artists are attracted to working with the book form?

Artists were attracted to working with the book form originally because, as Marian Goodman who founded Multiples, Inc. put it: "Artists were really interested in experimenting and also in the idea of reaching a larger population and younger public who could actually afford to collect such work." An excellent example of what she's talking about would be Artists and Photographs. Published by Multiples, Inc. in 1970 it is a box full of multiples and artists' books, Clearsky by Bruce Nauman and Babycakes by Edward Ruscha among them. Nowadays I am not so sure what the motivation might be; it might vary with each artist. The examples would be endless.

I agree that accessibility and reaching a wider public must be a big motivating factor behind producing artist books. Do you think an artist book offers anything else that the artists' work doesn't - the serial nature of a book for example, or the opportunity to use text? I can't help but think, that with your unusually large and comprehensive experience with artist books certain threads must begin to emerge?

Artists who deliberately choose to work with poets must see the text as an opportunity for expression, an easy way into bookmaking because it follows a tradition, and there are many, many, many examples in Walker's collection from Lesley Dill who took the poetry of Emily Dickinson to Ellen Phelan who illustrated Ann Lauterbach's prose as part of the Whitney Museum Friends of the Library publishing effort that paired an artist and an author and commissioned a book every year for some 15 years, to Led Almost By My Tie, poems by Jeremy Sigler and images by Jessica Stockholder published just a few months ago, a book that represents our latest acquisition.

Finally, are there, in your opinion, artist books that have added substantially to, or materially altered, the interpretation of their work by the wider community? What would your most significant example be?

Although there are many examples, I will cite Lawrence Weiner whose first book Statements (1968), a collection of general and specific statements as works of art, puts his art directly into the hands of his public. The meaning and the consequence of the work is left in the hands of the reader. His propositions are all works which the artist fabricated although no documentation is offered. The book itself, with its recipes for making art, whether public or private or left unrealized, is the only lasting effect.

Fig. 1: Wassily Kandinsky, Der Blaue Reiter, edited by Kandinsky and Franz Marc; 2nd Ed.; Munich: R. Piper, 1914

Fig. 2-3: Daniel Spoerri, Kosta Theos, "Dogma I Am God", Lebeer-Hossmann, 1987. Edition of 25

Fig. 4: Yoko Terauchi, Cuckoo; Coracle Press, 1992. Edition of 30

Fig. 5-6: Rein Jansma, Stairs, Elffers, 1982 Fig. 7-8: Sarah Peters, Necessary Disclosures, Women's Studio Workshop, 2003. Edition of 40

Fig. 9-11: Jeremy Sigler (poems) and Jessica Stockholder (images) in collaboration with Ruth Lingen, Led Almost By My Tie, 2007, Edition of 30

Fig. 12-13: Lawrence Weiner, Apples & Eggs/Salt & Pepper, CCA Kitakyushu, Japan, 1999

(more…)

I recently stumbled upon this amazing Flick’r set of archival photography from the Library of Congress and felt compelled to share … it’s a nice change from the knee-deep waters of riff-raff I typically find myself wading through. Outside of the aesthetic beauty, images are also meticulously captioned and the collection frequently updated. You can read more about the motivations behind the project here.

The National Building Museum in Washington, D.C., calls Eero Saarinen “the least-known famous architect of the 20th Century.” This illuminating, illustrated primer at Slate does something to change that. So does Eero Saarinen: Shaping the Future, which moves at summer’s end from the National to Minneapolis, where the Walker and Minneapolis Institute of Art are divvying up the exhibition (opening in both locales September 13).

One reason the exhibition is headed here — the Walker’s design director and curator, Andrew Blauvelt, studied and later taught at Cranbrook, the school that gave birth to both Eero and his influential father, Eliel.

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The 1999 Design Insights Lecture Series poster for the Walker Art Center (co-presented by AIGA Minnesota) is simply the most thorough and exhaustively produced poster I have seen in my day. Thus the poster is a deserving addition to our Flat Files collection.

With the informational side of the poster designed by Daniel Eatock and Andrew Blauvelt and its opposite side including an intensive drawing by Conny Purtill, this poster appears to have required the full attention and the contributions of the entire Walker design and editorial staffs. With such a well-crafted and carefully considered poster as proof, their efforts are hard not to appreciate.

Intended to act as a regional and informational “guide” for the out-of-town lecturers, the shear information overload (which could be considered a theme of Eatock’s work) of the poster references the overwhelming nature of traveling to a large city and being presented with a disproportionate number of resources about the city. Conny Purtill’s mosaic pencil drawing of an airplane in flight (best viewed from a distance) also compliments the informational side of the poster in regards to the reference of traveling as well as in its obsessive nature, its relation to “making” and in the attention to detail.

The amount of content showcased on this poster is more on par—in terms of the research, structural and editorial work required—with a small book. To give you an idea of the extent and depth to which this poster extends to, here is a sampling of what is included:

– Full lecturer biographies (with footnotes)
– A detailed description of the selection process and the meetings that were held to discuss the lecturers
– A short history of the AIGA
– A 21 paragraph description of AIGA’s Standards of Professional Practice
– Information about AIGA memberships, conferences, competitions, initiatives and much more
– The Walker Art Center’s Mission Statement
– A history of the Walker Art Center
– A list a practical information about the Walker (such as information on admission, gallery hours and how to contact the Walker)
– A complete column detailing the types of Walker memberships available
– An comprehensive collection of regional information including travel information, parking, airport, taxi and bus information, information about weather conditions and safe winter driving, as well as a listing of hotel accommodations, restaurants and clubs
– A description of the Walker Auditorium, its rules and an inventory of each lecturers audio-visual technical needs
– A column of 27 informative footnotes
– A glossary containing 15 entries from sources including the Oxford Encyclopedic English Dictionary and Merriam Webster’s Collegiate Dictionary
– A large listing event and design credits as well as a printer credit which specifies the press used, the paper size, the inks used, the folded size, the folding machine used and the number of posters printed.

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Furthermore, a simple documentation of this poster would not serve it justice. Instead, in the spirit of its meticulous production and content, I decided to dissect the poster in a very detailed method in order to communicate just how extensive this poster is in terms of its layers of information and its hierarchies.

Total word count: 8064 words

Total character count: 44343 characters

Bulleted items: 47

Footnotes: 27

Glossary terms: 15

Sections: 9
Words per Section: 881.78 words

Sub-Sections: 32
Words per Sub-Section: 247.9 words

Sub-Sub Sections: 173
Words per Sub-Sub Sections: 45.87 words

Words typeset in 30 point type: 5 words (0.062% of total words)

Words typeset in 12 point type: 58 words (0.71% of total words)

Words typeset in 10 point type: 25 words (0.31% of total words)

Words typeset in 8 point type: 2477 words (30.09% of total words)

Words typeset in 5 point type: 5532 words (68.6% of total words)

Words typeset in other sizes or typefaces: 17 words (0.21% of total words)

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Other obscure and useless information:

Days elapsed since date of production: 3429 days

Top 10 most used words:
1) the (370 -- 4.58% of total words)
2) and (263 -- 3.26% of total words)
3) of (214 -- 2.65% of total words)
4) a (154 -- 1.9% of total words)
5) to (142 -- 1.76% of total words)
6) in (139 -- 1.72% of total words)
7) for (93 -- 1.15% of total words)
8) or (86 -- 1.06% of total words)
9) is (62 -- 0.76% of total words)
10) Walker (62 -- 0.76% of total words)

Other notable word counts:
design (56), center (38), AIGA (38), designer (32), information (27), Minneapolis (26), March (21), Insights (12), Tuesday (11), Earls (11)

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Lastly, in order to push this post into a state of informational overload and absurdity, you’ll find the entire body of text used within the poster—in its most raw state with a completely flattened hierarchy—below for your browsing curiosities:

American Institute of Graphic Arts/Minnesota & Walker Art Center present
Insights Lecture Series, March 1999
Figure 01
Step A
Step B
Step C
Step D
Step E
Step F
American Institute of Graphic Arts/Minnesota & Walker Art Center
75 Market Street, Suite 54
Minneapolis, Minnesota 55405
Nonprofit Organization
U.S. Postage
PAID
Minneapolis, Minnesota
Permit Number 3213
Figure 04 United States of America
Figure 05 Minnesota
Figure 06 city map
Figure 07 local street map
Figure 08 Walker Art Center ground floor plan
Section 01 speakers
Lecture one(1)
Tuesday, March 2, 7pm
Andy Altmann
Why Not Associates(2)
Emerging on the scene in the late 1980s along with several other young British designers, Why Not Associates helped establish London's reputation as a leading center for contemporary graphic design. Their typically irreverent approach to communication problems yields atypical solutions of formal and conceptual richness, a rigorous articulation of typography, and a fusion of saturated color and fluid images. Why Not Associates' diverse projects span printed matter, exhibitions and environments, and motion graphic work. Their eponymous monograph, Why Not Associates,(3) which surveys projects completed over the last ten years, was recently published by Booth-Clibborn Editions.
Lecture two(4)
Tuesday, March 9, 7pm
Susan Yelavich
National Design Museum(5)
Susan Yelavich is the Assistant Director for Public Programs at Cooper-Hewitt National Design Museum, Smithsonian Institution,(6) New York, and is responsible for all of the Museum's program-matic activities including exhibitions, educational programs, and publications. Yelavich's diverse range of projects reflects the Cooper-Hewitt's mission to explore the impact of design on everyday life and include the development of the museum's new award-winning graphic identity, the recent exhibition and book Design for Life,(7) and the critically-acclaimed symposium and book, The Edge of the Millennium.(8) A frequent writer and speaker on design, Yelavich will discuss how we deal with different traditions of making and conceiving objects at the turn of the century that thinks it invented design.
Lecture three(9)
Tuesday, March 16, 7pm
Elliott Peter Earls
The Apollo Program
Earls' hybrid projects freely cross and combine different media, from posters and digital typefaces to interactive CD-ROMs. His first CD release, "Throwing Apples at the Sun,"(10) garnered much critical acclaim and his latest release, "Eye Sling Shot Lions"(11) combines 30 minutes of spoken-word poetry, original music, and animated typography and illustration with photographs and digital videos. Engaging in dialogues and diatribes with animated characters and synthesized voices, Earls presents an intense and dynamic amalgamation of sound and image. As a new media artist, Earls will perform his latest multimedia project in concert format, using
a range of interactive devices.
Lecture four(12)
Tuesday, March 30, 7pm
Marlene McCarty & Donald Moffett Bureau
Since 1989 Marlene McCarthy and Donald Moffett have maintained an on-going collaboration in their New York studio, Bureau. Although both partners are known for their socially engaged projects for groups such as Women's Action Coalition and Gran Fury, they
are also practicing artists as well as designers for print, video, and film. Their practice includes innovative contributions to the area of film-titling design. Recent film-titling projects include Ang Lee's The Ice Storm,(13) Cindy Sherman's directorial debut, Office Killer, Mary Harron's I Shot Andy Warhol,(14) and Todd Haynes' films Safe and Velvet Goldmine. Bureau's diverse range of projects cross not only different media but also the disciplinary boundaries between artist, designer, and author by seeking powerful visual and spoken languages that can affect contemporary issues and trends.
Section 02 how to order tickets
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To order by mail, please complete the registration form, detach, and mail to the address listed below.
Urgent
Advance ticket purchasing
You are encouraged to order your tickets in advance as there are more than 10,000 AIGA members, 9,687 Walker members, and only 344 seats in our Auditorium. This means that only one in 58 members will have the opportunity to participate in the American Institute of Graphic Arts/Minnesota and Walker Art Center's 1999 Insights lecture series (approximately 2%).
The Walker Art Center enforces a first-come, first-served policy, so purchase your ticket immediately to avoid disappointment.
About tickets
Patrons with special needs(16) are asked to call two weeks in advance.
Tickets are good only for the date and performance indicated and cannot be refunded or exchanged.
Registration forms must be completed using ink; pencil is not permitted as it can easily be altered and will continue to smudge as time passes. The estimated time to fill out the registration form is two minutes. This includes the time it will take to read the instructions, gather the necessary facts, and provide the information.
Figure 02 ticket front shown 20% actual size
Name
Insights Lecture
Date
7pm Auditorium
Price
Figure 03 ticket back shown 20% actual size
www.walkerart.org
Photocopy or detach
Section 03 ticket order form for Insights lecture series
($) = price for AIGA/Walker members & full time students
Number of tickets
Price each
Total amount
Complete Insights Series
(Purchase the entire series at a discount)
$56
($28)
Andy Altmann,
Why Not Associates
March 2
$16
($8)
Susan Yelavich,
National Design Museum
March 9
$16
($8)
Elliott Earls,
The Apollo Program
March 16
$16
($8)
Marlene McCarty and
Donald Moffett,
Bureau
March 30
$16
($8)
Processing Fee $1.50
Grand Total $
Name Company
Address
City State Zip
Telephone: Day
Evening
E-mail address
AIGA/Walker membership number, or if a full-time student please name school
Check or money order enclosed made payable to Walker Art Center
MasterCard
VISA
American
Express
Discover
Card number
Expiration date
Ticket orders received more than one week prior to the event will be mailed. All others can be picked up at the box office.
Mail or facsimile ticket order information to:
Walker Art Center Box Office
Vineland Place
Minneapolis, MN 55403
Facsimile: 612.375.7595
Section 04 Insights
Previous speakers
1986
Paul Prejza / Christopher Pullman / Peter Seitz / Jayme Odgers
1987
Muriel Cooper / Douglas Scott / Bill Stumpf / Steven Heller
1988
Lorraine Wild / Keith Goddard / Clement Mok / Dugald Stermer
1989
Tibor Kalman / Philip Larsen / Paula Scher / Stephen Frykholm
1990
Alexander Isley / Michael Bierut / Pat Gorman / Judy Olausen / Stormi Greener / Lynn Geesman
1991
Katherine McCoy / Joe Duffy / Rudy Vanderlans / Kit Hinrichs / Steven Heller(17)
1992
John Jay / Chip Kidd / Jilly Simmons / Kent Hunter / Steven Doyle(18)
1993
Fo Wilson / Massimo Vignelli / Judy Corcoran / Peter Goode & Patrick McCaughey
1994
Dana Arnett / Rick Poynor / Michael Bierut / Nancy Skolos
1995
Emily Oberman & Bonnie Siegler / Matthew Carter / Randall Rothenberg / John Plunkett & Barbara Kuhr
1996
Tucker Viemeister / Samina Qureashi / P. Scott Makela / Duane Michals
1997
Alicia Johnson & Hal Wolverton / J.otto Seibold / J. Abbott Miller / Andrea Moed
1998
Lauralee Alben / James Victore / ReVerb / Piotr Szyhalski
1999 Insights Selection Process
The 1999 Insights lecture series committee consisted of two representatives from the Walker Art Center Design Department and three representatives from the American Institute of Graphic Arts/Minnesota chapter.
Initial concerns of AIGA/Minnesota Board of Directors:
The Board asked committee members to maintain/encourage readability of promotional materials and requested that chosen speakers have enough "market interest" to allow for a successful attendance at the series.
Meeting one
Tuesday, November 10, 1998, 4:30 pm
Walker Art Center Conference Room(19)
Three AIGA representatives
Three Walker Art Center representatives
The goal:
Choose four living designers, design critics, writers, curators and/or publishers, excluding the 60 that have spoken in previous years, to form this year's series. A list of speakers was generated based on friendships and acquaintances with other designers and critics, special interests and predilections of selection committee members, and specialized areas of design practice.
Considerations:
• ability to present well;
• expressed interest in speaking at Insights;
• work admired or seen by selection committee;
• availability in March of 1999;
• diversity of creative approaches.
List of potential speakers:
Amy Franceschini, San Francisco
Diti Katona, Concrete Design Communications, Toronto
Kyle Cooper, Imaginary Forces, Los Angeles
Elliott Peter Earls, The Apollo Program
Bruce Mau, Toronto
Lars Müller, design publisher, Baden, Switzerland
Susan Yelavich, Assistant Director, Cooper-Hewitt National Design Museum, New York
Dan Fern, Royal College of Art, London
Marlene McCarty & Donald Moffet, Bureau, New York
Andy Altmann, Why Not Associates, London
Martin Venezky, Appetite Engineers, San Francisco
Karrie Jacobs, writer, New York
Aaron Betsy, design curator, SFMoMA, San Francisco
Paulo Antonelli, design curator, MoMA, New York
A process-of-elimination vote was taken after much discussion,(20) with consideration given to gender diversity (proportion of male to female speakers), design media (motion graphic, Web, interactive, print), presentation skills and styles (audience engagement, previous speaking engagements), diversity of creative approaches, and so on. The short list included the following individuals: Elliott Peter Earls, Andy Altmann, Susan Yelavich, Kyle Cooper, Marlene McCarty and Donald Moffet.
Meeting two
Tuesday, January 5, 1999, 4:30 pm
Walker Art Center Conference Room
Three AIGA representatives
One Walker Art Center representative
Agenda:
Discussed technical requirements, committee members viewed Elliot Peter Earls' CD "Eye Slingshot Lions," viewed videos, books, and magazine articles extolling the virtues of the finalists, delegated tasks to committee members for contacting presenters, established budgets for travel and miscellaneous costs, brainstormed possible gifts for presenters ($50 limit), planned hotel accommodations and entertainment options. Kyle Cooper declines offer due to an excessive number of March commitments, but promises to speak next year. AIGA's DFTV.001 conference in March is conflicting with our speaker requests. A request is made to review alternate candidates. Marlene and Donald have a change of heart and will speak. Publicity text for speakers is presented to Committee.
Meeting three
Thursday, January 12, 1999, 4:30 pm
Walker Art Center Conference Room
Cancelled because of snowstorm.
Meeting four
Tuesday, January 14, 1999, 4:30 pm
Walker Art Center Conference Room
Three AIGA representatives
Three Walker Art Center representatives
Agenda:
Confirmation letter to speakers, delegation of tasks to committee members for scheduling travel, lodging, and audio-visual equipment for presentations, initial poster designs presented to committee members. The committee screened some short animated graphics produced by Larsen and agreed to use short video clips before each speaker.
1999
Andy Altmann / Susan Yelavich / Elliott Peter Earls / Marlene McCarty & Donald Moffett
2000
Section 05 American Institute of Graphic Arts
General information
The Minnesota Chapter of the American Institute of Graphic Arts was founded in 1977 as the Minnesota Graphic Designers Association. Today, we are one of the largest chapters in the AIGA, serving more than 800 members in Minnesota and the Upper Midwest.
The American Institute of Graphic Arts is a nonprofit membership organization founded in 1914, with headquarters in New York City. Nationally, the AIGA has more than 10,000 members.
The purpose of the AIGA is to advance excellence in graphic design as a discipline, profession, and cultural force. The AIGA provides leadership in the exchange of ideas and information, the encouragement of critical analysis and research, and the advancement of education and ethical practice.
AIGA The Standards of Professional Practice
The purpose of the statement of policy on professional practice
is to provide all American Institute of Graphics Arts members with a clear standard of professional conduct. The AIGA encourages the highest level of professional conduct in design. The policy is not binding. Rather, it reflects the view of the AIGA on the kind of
conduct that is in the best interest of the profession, clients, and the public.
For the purposes of this document the word "designer" means an individual practicing design as a freelance or salaried graphic designer, or group of designers acting in partnership or other form of association.
The Designer's Professional Responsibility
1.1 A designer shall at all times act in a way that supports the aims of the AIGA and its members, and encourages the highest standards of design and professionalism.
1.2 A designer shall not undertake, within the context of his or her profession, any activity that will compromise his or her status as professional consultant.
The Designer's Responsibility to Clients
2.1 A designer shall acquaint himself or herself with a client's business and design standards and shall act in the client's best interest within the limits of professional responsibility.
2.2 A designer shall not work simultaneously on assignments that create a conflict of interest without agreement of the clients or employees concerned, except in specific cases where it is the convention of a particular trade for a designer to work at the same time for various competitors.
2.3 A designer shall treat all work in progress prior to the completion of a project and all knowledge of a client's intentions, production methods, and business organization as confidential and shall not divulge such information in any manner whatsoever without the consent of the client. It is the designer's responsibility to ensure that all staff member act accordingly.
The Designer's Responsibility to Other Designers
3.1 Designers in pursuit of business opportunities should support fair and open competition based upon professional merit.
3.2 A designer shall not knowingly accept any professional assignment on which another designer has been or is working without notifying the other designer or until he or she is satisfied that any previous appointments have been properly terminated and that all materials relevant to the continuation of the project are the clear property of the client.
3.3 A designer must not attempt, directly or indirectly, to supplant another designer through unfair means; nor must he or she compete with another designer by means of unethical inducements.
3.4 A designer must be fair in criticism and shall not denigrate the work or reputation of a fellow designer.
3.5 A designer shall not accept instructions from a client that involve infringement of another person's property rights without permission, or consciously act in any manner involving any such infringement.
3.6 A designer working in a country other than his or her own shall observe the relevant Code of Conduct of the national society concerned.
Fees
4.1 A designer shall not undertake any work for a client without adequate compensation, except with respect to work for charitable or nonprofit organizations.
4.2 A designer shall not undertake any speculative projects, either alone or in competition with other designers, for which compensation will only be received if a design is accepted or used. This applies not only to entire projects but also to preliminary schematic proposals.
4.3 A designer shall work only for a fee, a royalty, salary, or other agreed-upon form of compensation. A designer shall not retain any kickbacks, hidden discounts, commissions, allowances, or payments in kind from contractors or suppliers.
4.4 A reasonable handling and administration charge may be added, with the knowledge and understanding of the client, as a percentage to all reimbursable items, billable to a client, that pass through the designer's account.
4.5 A designer who is financially concerned with any supplies who may benefit from any recommendations made by the designer in the course of a project shall secure the approval of the client or employer of this fact in advance.
4.6 A designer who is asked to advise on the selection of designers or the consultants shall not base such advice on the receipt of payment from the designer or consultants recommended.
Publicity
5.1 Any self-promotion, advertising, or publicity must not contain deliberate misstatements of competence, experience, or professional capabilities. It must be fair both to clients and other designers.
5.2 A designer may allow a client to use his or her name for the promotion of work designed or services provided but only in a manner that is appropriate to the status of the profession.
Authorship
6.1 A designer shall not claim sole credit for a design on which other designers have collaborated.
6.2 When not the sole author of a design, it is incumbent upon a designer to clearly identify his or her specific responsibilities or involvement with the design. Examples of such work may not be used for publicity, display, or portfolio samples without clear identification of precise areas of authorship.
Membership information
If you would like to become a member, call: AIGA 800.548.1634 or, you can apply directly via the AIGA national Web site at http://www.aiga.org/xmember.htm#application
AIGA membership benefits
As an AIGA member, you'll be part of a national organization, influencing the development of graphic design as a profession and how it’s represented in the media, business, and society. On a local level, you’ll be able to take part in determining the direction and significance of design in your community. What’s your position on the environmental impact of design? Who do you want to see speaking at the next area design conference? How can you contribute to the AIGA's public service and educational programs? Members in the AIGA have at least one common bond--a strong commitment to excellence in graphic design. We want to know what you're thinking, what you're dreaming, where you're heading and why. Your thoughts are the foundation of the AIGA. Get involved. Give us a piece of your mind.
What do you get for your investment?
Publications
Graphic Design USA is the AIGA's annual review of graphic design in the U.S. This perennial 300-page, all-color reference is free to professional members, and available at less than half price to other members. The AIGA Journal of Graphic Design is distributed free to all members three times a year, and contains authoritative, whimsical, often controversial articles on the profession along with current AIGA news. Members also receive an annual copy of the national AIGA Membership Directory. Discounts are available on other occasional AIGA publications as well.
National conferences
The AIGA currently produces two national conferences held in alternating years. The National Design Conference brings designers together for a sense of community and inspiration. The National Design Business Conference concentrates on the practices, processes, and strategies of designing for business. In 1998, an annual conference designed specifically for students was established. Members receive discounted registration to all conferences.
Exhibitions
Competitions are documented in exhibitions appearing in the AIGA's Fifth Avenue gallery, and also travel to select AIGA chapters around the country.
A Center for Design
The AIGA's headquarters, located in the center of the design and technology communities of New York, host a variety of programs and exhibits in an effort to lead the media, business, and general public to a better understanding of the value of graphic design. All events are previewed by members and entry fees are discounted.
Competitions
AIGA-sponsored competitions celebrate excellence within the profession, and through their respective annuals and exhibitions, tell a story about the current state of graphic design. In 1998, there were two juried competitions: 50 Books/50 Covers and Communication Graphics. Members benefit from discounted entry fees and advance notice.
Discounts
The AIGA has arranged member discounts on common products and services required for practice. These include up to a third off on express delivery services (Airborne Express and FedEx), long-distance phone service (AT&T, MCI, and Sprint), an Internet service provider, all major design publications, and catalogues of design reference books.
Insurance
The AIGA offers health, life, and disability insurance options to members who might otherwise have difficulty finding local alternatives.
Professional practices
The AIGA is an excellent resource for information regarding professional practice questions, with assistance available from local chapter networks as well as the national office.
Initiatives
As a national organization and through its network of more than 40 chapters, the AIGA has launched a program of eight initiatives to advance the profession. As an integral part of these initiatives, the AIGA is committed to ensuring that the graphic design profession is open and accessible to all people, regardless of gender, age, race, color, religion, national origin, or sexual orientation. Through these initiatives, the AIGA will promote equitable representation and equal opportunity for everyone as full participants in the
organization and the profession.
Business
Promote dialogue and strong ties between graphic designers and the business community, including corporations, educational institutions, business leaders, and those governing commerce.
Design History
Become a primary information resource for the history of graphic design and establish a national permanent archive of AIGA work.
Education
Sponsor activities and programs that encourage educational activities and assist programs that encourage educational institutions to improve and update the quality of design education in the U.S.
Environmental
Foster understanding of the environmental consequences of responsible graphic design and promote education and actions that protect the planet from further ecological damage.
Internationalism
Advance the exchange of ideas and information to increase awareness within the profession of diverse international perspectives about design, culture, and economics.
New technology
Promote understanding of how new technologies are affecting
the profession, and increase the participation of designers in the development of new forms of communication and media.
Professional Practice
Promote professional practice among graphic designers and provide a forum for discussing values and practices that can positively influence the profession.
Public Service
Encourage the graphic design profession's involvement in public service.
Section 06 Walker Art Center
Mission Statement
Walker Art Center is a catalyst for the creative expression of artists and the active engagement of audiences.
Focusing on the visual, performing, and media arts of our time, the Walker takes a multidisciplinary approach to the creative presentation, interpretation, collection, and preservation of art.
Walker programs examine the questions that shape us as individuals, communities, and cultures.
Fact
The Walker Art Center is recognized as one of the world's leading centers for contemporary art, offering artistic and educational programs in the visual, performing, and media arts.
The Walker Art Center is one of the 10 most-visited museums in the country.
Walker exhibitions have received enthusiastic reviews in Newsweek, The New York Times, The Wall Street Journal, The Minneapolis Star Tribune, and the Saint Paul Pioneer Press. Art in America, Artforum, and ARTnews also featured Walker exhibitions in recent cover stories.
Walker-organized touring exhibitions were viewed by approximately 550,000 people in nine cities around the world during the fiscal year ending June 30, 1997.
History
Established in 1879, the Walker Art Center was the first public art gallery in the Upper Midwest. It originated as the personal art collection of lumber magnate Thomas Barlow Walker, and featured 19th-century American and European paintings, Greek pottery, and 18th-century Chinese jades. The museum's focus on contemporary art began in the 1940s, when a gift from Mrs. Gilbert Walker made possible the acquisition of works by important artists of the day, including sculptures by Pablo Picasso, Henry Moore, and Alberto Giacometti. The contemporary art program accelerated during the 1950s and significant works by Stuart Davis, Joseph Stella, Georgia O'Keeffe, and others were acquired. During the 1960s, the Walker organized increasingly ambitious exhibitions that circulated to museums in the United States and abroad. The permanent collection expanded while performing arts, film, and education programs grew proportionately and gained their own national prominence throughout the next two decades.
The Walker Art Center's current building opened in 1971 and was expanded in 1984, providing space and facilities for its multidisciplinary contemporary arts programs. In 1988, the Walker partnered with the Minneapolis Park and Recreation Board to create the popular Minneapolis Sculpture Garden. Expanded in 1992, the Garden now comprises 11 acres, making it the largest urban sculpture garden in the country. More than a public park, it affords the Walker a spectacular outdoor setting for the display of modern sculpture and serves as a unique site for performing arts events and an extraordinary resource for education programs. The Garden, which is open daily and free to the public, brings new audiences to the museum and plays a large role in all program areas.
Today, the Walker is increasingly international and multidisciplinary. Programs have been expanded to reach new audiences, and partnerships with arts, social service, and educational organizations have been formed to link the Walker more fully with the community.
Gallery Admission
$4 adults; $3 young adults 12-18, students with ID, seniors. Group rates also available; call for details. Free to Walker members, children under 12. Free with a ticket to a same-day Walker event. Free to all every Thursday and the first Saturday of each month. (Free First Saturdays are made possible by Coldwell Banker Burnet).
Gallery Hours
Open Tuesday, Wednesday, Friday, Saturday, 10am-5pm; Thursday, 10am-8pm; Sunday, 11am-5pm; Closed Monday.
Minneapolis Sculpture Garden
Admission free. Open daily, 6 am-midnight. The Cowles Conservatory is open Tuesday - Saturday, 10am-8pm; Sunday, 10am-5pm; and evenings until half an hour following Walker and Guthrie Theater events. The Conservatory is closed Monday.
Walker Art Center Shops
The Walker Art Center Shops feature an outstanding selection of books and periodicals on the visual, media, and performing arts; artist-designed jewelry; quality posters and cards highlighting Walker exhibitions and events; and children's books and toys that challenge and educate.
Gallery 8 Restaurant
Enjoy informal lunchtime dining overlooking the Minneapolis Sculpture Garden and the downtown skyline. Menu changes daily. Wine and beer available. Outdoor terrace seating, weather permitting. Rentals and catering for private parties available.
Call 612.375.7553. Open Tuesday-Sunday, 11:30am-3pm. Open at 11am on Guthrie Theater matinee days. Closed Monday.
Mailing Address
Walker Art Center, Vineland Place, Minneapolis, MN 55403
Information/Tickets
612.375.7622
TDD: 612.375.7585
Recorded Information
612.375.7577
TDD: 612.375.7546
Group Sales
612.375.7553
email: cherie.kramer@walkerart.org
Membership
612.375.7655
email: robyn.bipes@walkerart.org
Public Relations
612.375.7650
email: lora.aadalen@walkerart.org
Special Needs
612.375.7609
TDD: 612.375.7564
Job Hotline
612.375.7588
Membership information
For information on Walker memberships call the Walker Membership Office:
612.375.7655
TDD: 612.375.7585
To become a member by telephone,
use your VISA, MasterCard, American Express, or Discover card to charge your membership. Call 612.375.7655.
Individual or Full-time Student
Benefits for one
• Free gallery admission
• Up to 50% off on event tickets (two per event)
• Walker Art Center Shops discount
• Discounts at select area arts and
cultural organizations
• Discounts on arts and culture
magazine subscriptions
• Members' travel program
• Invitations to special events
• Walker calendar subscription
Student
All of the above benefits for one; must show proof of full-time student status
Senior (age 62+) or Nonresident (outside seven-county metro area)
All of the above benefits for two adults
Dual/Household
All of the above benefits for two adults and children 18 and under at the same address
Friend
Dual/Household-level benefits, plus:
• Reciprocal museum membership privileges with more than 60 museums nationwide
Associate
Friend-level benefits, plus:
• Up to 50% discount on event tickets (four per event)
• Invitations to Contributing Member receptions and luncheons
• Reciprocal benefits with more than 87 museums throughout North America
• Free admission to Walker's Contemporary Arts Forum
Sponsor
Associate-level benefits, plus:
• Recognition in the Annual Report
Patron
Sponsor-level benefits, plus:
• four free tickets to After Hours
• listing on the Lobby Donor Panel
Founder
Patron-level benefits, plus:
• An invitation for cocktails and a special tour of an exhibition with the Director
Director's Circle
Founder-level benefits, plus:
• Invitations to special Director's Circle receptions and dinners
• Invitations to exclusive Director's Circle trips with Walker curators
• 10% discount at Gallery 8 Restaurant
• Recognition in the Director's Circle brochure
• Additional benefits at higher levels
Section 07 regional information
Travel information
Automobile(21)
The Walker Art Center is located on Vineland Place, where Lyndale and Hennepin avenues merge.
If heading west on I-94, take Exit 231B and go north on Lyndale/Hennepin.
If heading east on I-394, take Exit 8A and go south on Lyndale/Hennepin.
Parking(22)
Parking is available in the Minneapolis Park Board's Parade pay lot adjacent to the Cowles Conservatory. The cost is $4 for cars, $10.50 for buses.
Parking for the mobility-impaired is in front of the Walker-Guthrie complex on Vineland Place or can be arranged by request.
Street parking(23) (hourly and metered) is available. Evening parking is also available south of the Walker in the Allianz Insurance Company pay lot.
Airport
From Minneapolis/Saint Paul (MSP) International Airport, the estimated journey time by taxi is 30 minutes, estimated cost $25.
Taxi
Airport Taxi: 1.800.464.0555
Minneapolis Taxi Service: 612.349.9999
Yellow Cab Co.: 612.824.4444
Public Transportation
MTC bus lines 1, 4, 6, 12, & 28 serve the Walker Art Center.
BusLine
24-hour Schedule Information:
612.341.4BUS (4287)
Bus fares can be paid in cash or with a prepaid ticket. The fare varies depending on the time you are traveling and if you ride express service. Rush-hour fares are charged weekdays from 6-9 am and from 3:30-6:30 pm. Refer to a pocket schedule for fares or call 612.373.3333 for fare information.
Rideshare
Minnesota Rideshare is a free carpool and vanpool matching service. For information, call 612.749.RIDE (0433). Registered carpools and vanpools park free or at reduced rates in downtown Minneapolis and Saint Paul.
Maps
Transit system maps show all bus routes in the Twin Cities area. Detailed maps of specific routes are printed in free pocket schedules and contain service times, major bus stops, and fare information. To receive these materials, call 612.373.3333 or visit a transit store.
Weather
Climatological Normals
These are the 30-year average values computed from the data recorded during the period 1961-1990. Normals are updated decennially, for the most recent 30-year period. If an instrument's exposure was changed, mathematical adjustments are made to make the data representative of the current location. The values are statistically determined and cannot be re-created solely from the original record. This information was taken from the Web site: http://www.ncdc.noaa.gov/ol/climate/climatedata.html#CLIMATOLOGY
Normal Daily Maximum Temperature
Degrees Fahrenheit
Month of March Normals 1961-1990 Minneapolis/Saint Paul, MN 39.2° F
Normal Daily Minimum Temperature Degrees Fahrenheit
Month of March Normals 1961-1990 Minneapolis/Saint Paul, MN 22.7° F
Normal Daily Mean Temperature
Degrees Fahrenheit
Month of March Normals 1961-1990 Minneapolis/Saint Paul, MN 31.0° F
Snowfall(24) average total in inches
Month of March through 1991 Minneapolis/Saint Paul, MN 10.5 inches
Safe Winter Driving(25)
Many deaths during winter storms are due to transportation accidents. Snow and ice on roadways and extremely cold temperatures provide drivers with tricky road situations in winter. If you must drive let someone know when you expect to arrive and what route you plan to take. If your car gets stuck along the way, they can send out help along your predetermined route. Keep your gas tank full for emergency use and to prevent the fuel line from freezing. Have your Family Disaster Supplies Kit in the car trunk, along with blankets and a small shovel. Additionally, a small bag of sand or non-clumping cat litter can be used for extra traction if you get stuck. Use the non-clumping cat litter, since the clumping kind turns into slick clay when wet. Tire chains are helpful. However, since the use of chains is not permitted in all states, you should check the local regulations before using them. Your local auto club,the state police, or the state department of transportation should have that information.
When driving in icy conditions, slow down. If you don't have anti-lock brakes, pump, don't slam on your brakes. Brake only when your car is in a straight position before a curve. Release the brake before you steer into a curve. Accelerate only after you decrease the steering angle to exit the curve.
If you get stuck while driving, stay with your car. Do not try to walk to safety. Tie a brightly colored cloth to the antenna and raise it high for rescuers to see. Start the car and use the heater sparingly, for about 10 minutes every hour. Keep the exhaust pipe clear so fumes won't back up into the car. Leave the overhead light on when the engine is running so that you can be seen. As you sit, keep moving your arms and legs to keep blood circulating and to stay warm. Keep one window slightly open to let air in. Open the window away from the blowing wind.
Accommodations
Doubletree(26)
Doubletree Guest Suites
1101 Lasalle Avenue
Telephone: 612.332.6800
Regency Plaza Hotel
41 North 10th Street
Telephone: 612.339.9311
Restaurants
Joe’s Garage
Cuisine: American Casual
1610 Harmon Place
Telephone: 612.904.1163
Synopsis: Eclectic burgers, pastas, and salads are the highlight, including a spicy Asian pork burger, yellowfin tuna burger, wild mushroom fettuccine, and buffalo chicken salad. Don’t miss the great skin-on french fries or homemade mashed potatoes served nine different ways.
Nye's Polonaise Room
Cuisine: Polish
112 Hennepin Avenue
Telephone: 612.379.2021
Synopsis: Pierogi and the Polonaise Plate featuring pickled beets, potato salad, Polish sausage, spareribs, cabbage roll, pierogi and sauerkraut, as well as steaks, chicken, and seafood. In the evening, a multigenerational crowd enjoys the polka band and piano bar.
Sawatdee
Cuisine: Thai
607 Washington Avenue
Telephone: 612.338.6451
Synopsis: Casual elegance, gracious service, and a menu featuring fresh spring rolls, spicy curries, and savory starters. Lunch buffet
Monday-Friday 11am-2pm. Reservations recommended for parties of six or more.
Sidney's
Cuisine: Bistro
2120 Hennepin Avenue
Telephone: 612.870.7000
Synopsis: Hand-tossed gourmet pizza prepared in wood-burning ovens. Also pasta, salads, and rotisserie chicken. Dessert favorites include apple pie pizza. Wine and micro-brew lists. Smoke-free dining rooms.
The King & I
Cuisine: Thai
1034 Nicollet Mall
Telephone: 612.332.6928
Synopsis: The menu features Bangkok spring rolls, curry, and Thai stir-frys. Menu includes vegetarian selections, combination dinners for 4 or more people, and hot and spicy dishes. Imported and domestic beers and wines.
The Loring Café
Cuisine: Contemporary
1624 Harmon Place
Telephone: 612.332.1617
Synopsis: An interesting menu, including pastas, entrées, and daily specials served in a funky atmosphere.
Bryant-Lake Bowl
Cuisine: American
810 West Lake Street
Telephone: 612.825.3737
Synopsis: Breakfasts, burgers, beers, bowling.
The New French Café
Cuisine: French
128 North 4th Street
Telephone: 612.338..3790
Synopsis: The ambiance of a Paris café, including the attitude.
Black Forest Inn
Cuisine: German
1 East 26th Street
Telephone: 612.872.0812
Synopsis: Strictly for a spetzel and sauerkraut lover.
Origami
Cuisine: Japanese
30 North 1st Street
Telephone: 612.333.8430
Synopsis: Fresh and tasty sushi in an intimate setting.
Rainbow Chinese Restaurant
Cuisine: Chinese
2750 Nicollet Avenue
Telephone: 612.870.7084
Synopsis: Authentic chinese fare.
Clubs
First Avenue & 7th Street Entry
701 1st Avenue North
Telephone: 612.332.1775
Synopsis: A most progressive nightclub experience.
Gay Nineties Theater, Café, and Bar
408 Hennepin Avenue
Telephone: 612.333.7755
Synopsis: For a change of pace, here's a bar/club with a little something for every orientation.
Stardust Bowling Lanes
2520 26th Avenue South
Telephone: 612.721.6211
Synopsis: Voted best bowling by City Pages & Twin City Reader. Cocktail lounge, game room, 30 lanes, food, darts.
Bars
Red Dragon Restaurant
Cuisine: Chinese
2116 Lyndale Avenue
Telephone: 612.874.8877
Synopsis: Good people watching, fruity drinks that get you drunk, and a great jukebox.
Bev's Winebar
250 3rd Avenue North
Telephone: 612.337.0102
Synopsis: Intimate, never crowded.
Auditorium information
All lectures will be presented in the Walker Auditorium located on the ground floor of the Walker Art Center. (see figure 08)
Assistive Listening Devices are available at the lobby desk. Frequency: 72.9 MHZ
The times indicate the latest times at which people can be accepted for entrance to the Auditorium, allowing the necessary time to complete all formalities. Lectures cannot be held up for people arriving late, and no responsibility can be accepted in such cases.
• Smoking is prohibited in all areas of the Walker Art Center.
• Cellular phones must be switched off when entering the Auditorium.
• Feet should not be put on seats.
When entering the Auditorium, please be courteous to others. We request that you fill the seats in the center of each aisle to allow the aisles to fill.
For logistical reasons, only one piece of hand baggage, which must not be larger than 20 x 15 x 10 inches, will normally be allowed in the Auditorium. The following additional items are also allowed:
• One small size handbag/purse
• One coat or one cape or one blanket
• One umbrella or one walking stick
• One pair of crutches
• One infant's carrying basket
Speakers' audio-visual technical needs
Andy Altmann
• Microphone with stand
• Slide projector with remote control on stage
• Video projector, PAL format
Susan Yelavich
• Microphone with stand
• Slide projector with remote control on stage
Elliott Peter Earls
• Wireless microphone
• Slide projector with automatic timer
• Macintosh computer projector
• Macintosh G3 computer
Marlene McCarty & Donald Moffett
• Microphone with stand
• Slide projector with a remote control on stage
• Video projector
Section 08 reference
Footnotes
Column reference is indicated with letters, word reference is indicated by number. In each instance the cross-reference is readily recognized by lightface small capitals or numbers. A cross-reference directs the reader to look for further information.
1. March 2, Full moon, 61 days elapsed in 1999 / 305 days remaining in 1999 / 220 working days remaining in 1999, excluding Saturdays and Sundays, holidays not excluded.
2. Andy Altman of Why Not Associates: "Suddenly we were getting all this work but we didn't even have a name. I'm going to get this story right.... Back at college there was a guy called John, who'd been a taxi driver for seventeen years. A brilliant bloke. He was really into Idea graphics, the '60s stuff, and was writing a thesis on Bob Gill circa Flecture Forbes and Gill. Meanwhile we were doing all these odd things. We didn't quite know what we were doing, and he'd be asking, what on earth is that? Why have you done that? blah, blah, blah. And apparently one of us said, 'well why not?' and in his thesis he wrote about the 'Bob Gill attitude,' and then he labeled his contemporaries as having the 'Why not attitude,' mentioning Howard, Dave, Phil and me. People started to pick up on the name and called us the 'why not boys.' Our accountant said, 'you've got to give yourself a name.' We suggested 'Why Not International' because our first client was American, but he reckoned that would put us in a difficult tax bracket, so he said, 'why not call yourselves why not associates?' It was nice because 'why not' is so irreverent and associate makes it almost respectable. I hate it now. But it expressed an attitude we had which John picked up on."
3. Why Not Associates
A review of the work of Why Not Associates
© 1998 Booth-Clibborn Editions
12 Percy Street, London, W1P 9FB
ISBN 1 86154 002 7
info@internos.co.uk
www.booth-clibborn-editions.co.uk
Distributed in USA by Gingko Press US
4. March 9, 68 days elapsed in 1999 / 298 days remaining in 1999 / 214 working days remaining in 1999, excluding Saturdays and Sundays, holidays not excluded.
5. Cooper-Hewitt, National Design Museum
2 East 91st Street
New York, NY 10128
212.849.8400 weekdays, 9am-5:30 pm
212.849-.8386 TDD, weekdays, 10am-5pm
Closed Monday; open Tuesday, 10am-9 pm;
Wednesday through Saturday, 10am-5pm; and Sunday,12noon-5pm
The museum is fully accessible to those in wheelchairs.
On-site food services are not available.
A museum shop is open during normal hours of operation.
6. Smithsonian Institution
SI Building, Room 153, MRC 010, Washington, D.C. 20560 Telephone: 202.357.2700
info@info.si.edu
7. Design for Life: Our Daily Lives, the Spaces We Shape, and the Ways We Communicate, As Seen Through the Collections of the Cooper Hewitt
Susan Yelavich, Stephen Doyle,
Cooper-Hewitt Museum, Dianne Pilgrim, Director
Paperback - 192 pages (September 1997)
ISBN: 0847820300
Dimensions (in inches): 0.57 x 11.64 x 8.90
8. The Edge of the Millennium: An International Critique of Architecture, Urban Planning, Product and Communication Design (currently out of print)
9. March 16, 75 days elapsed in 1999 / 291 days remaining in 1999 / 209 working days remaining in 1999, excluding Saturdays and Sundays, holidays not excluded.
10. Throwing Apples at the Sun
Multimedia CD-Rom including 11 fonts
Macintosh format CD-Rom only
Available from Emigré
http://www.emigre.com
Telephone: 916.451.4344 or
800.944.9021 within U.S.
11. Eye Sling Shot Lions
Track listing: 1. Ten Pound Hammer 2. Words That Mean Nothin' 3. Rain, Pitchforks & Pain 4. Butane Shiva 5. The Canticle of the African Violet 6. Clawhammer Daffodil 7. Sling Shot Lions
8. Deep Breath 9. Gothic American Bearcubs 10. Dog Pack Will & John Stuart Mill 11. Braidtube 12. Clove Fang in Meat So Red 13. Mr. Potato Head
More information can be found on the following Web site:
http://www.theapollpprogram.com
12. March 30, 89 days elapsed in 1999 / 277 days remaining in 1999 / 199 working days remaining in 1999, excluding Saturdays and Sundays, holidays not excluded.
13. The Ice Storm (1997)
Starring: Kevin Kline, Sigourney Weaver Director: Ang Lee
14. I Shot Andy Warhol (1996)
Starring: Lili Taylor Director: Mary Harron
15. Telecommunications Device for the Deaf
16. Special Needs: Hearing Augmentation Devices are available for events in the Auditorium and Lecture Room. Headsets can be borrowed from the lobby desk free of charge. Signed interpretation is available for any Walker event. Please call the box office to request a signer at least two weeks in advance. For wheelchair seating or other accommodations, please call the box office at least two weeks in advance.
17. 18. Champion Lecturer: A guest lecture sponsored by Champion International Corporation.
19. Conference Room is located on the 8th floor of the Walker Art Center.
20. Summary of discussion: No one in attendance had heard Amy or Lars speak before. A couple of committee members had heard Elliott, Susan, and Martin speak recently, all with positive results. Kyle would be very busy, but might be cajoled into speaking. Bruce is very busy, and was a no-show in New Orleans. Elliott Earls would be conducting a workshop at MCAD and we could piggyback on his visit. Would people be interested in hearing a design curator or critic? Would there be too many portfolio slide shows? Would some people discuss their working methods and process? Was there sufficient "name recognition," and isn't this a relative concept anyway? Are there too many new media types and not enough traditional print designers? Do we care about this? Do we have a theme for the series? Many of the speakers cross disciplinary boundaries. Do we need a theme?
21. Automobile travel accounts for 93.4% of all daily person-trips in the metro area.
22. Downtown Minneapolis: approximate number of parking spaces: 62,000.
23. Street parking: call the snow emergency number to avoid risk of being towed.
Snow Emergency 24 Hour Line Minneapolis: 612.348.SNOW
Impound Lot Minneapolis: 612.673.5777
24. Ice pellets and sleet included. Beginning in April 1998 hail is also included under snowfall.
25. 8,088 traffic accidents 1998-1999
26. Doubletree Guest Suites is where our Insights speakers will be staying while in Minneapolis.
27. Say YES to fun & function & NO to seductive imagery & color!
Glossary
The definitions in this section have been taken from a selection of dictionaries, including Oxford Encyclopedic English Dictionary and Merriam Webster's Collegiate Dictionary. Words have been edited and in no way claim to be the definitive definition.
For definitions of words not listed, please refer to a dictionary.
Art: 1 a human creative skill or its application. b work exhibiting this. 2 the various branches of creative activity concerned with the production of imaginative designs, sounds, or ideas, e.g. painting, music, and writing, considered collectively. Any one of these branches. 3 creative activity, esp. painting and drawing, resulting in visual representation. 4 human skill or workmanship as opposed to the work of nature. 5 those branches of learning (esp. languages, literature, and history) associated with creative skill as opposed to scientific, technical, or vocational skills.
Artist: 1 a painter. 2 a person who practices any of the arts. 3 an artiste. 4 a person who works with the dedication and attributes associated with an artist.
Auditorium: the part of a public building where an audience sits: a room, hall, or building used for public gatherings.
Design: 1 a preliminary plan or sketch for the making or production of a building, machine, garment, etc. The art of producing these. 2 a scheme of lines or shapes forming a pattern or decoration. 3 a plan, purpose, or intention. 4 the general arrangement or layout of a product, a work of art, printed material, etc. The action or act of planning and creating such an arrangement, etc. 5 intent, plan, or purpose.
Designer: 1 a person who makes artistic designs or plans for construction, e.g., for clothing, machines, theater sets; a draughtsman. 2 bearing the name or label of a famous designer; prestigious.
Graphic arts: the fine and applied arts of representation, decoration, and writing or printing on flat surfaces together with the techniques and crafts associated with them.
Lecture: a discourse given before an audience or class esp. for instruction.
March: the 3rd month of the Gregorian calendar
Minneapolis: 1 city, of Ottawa Co., NE cen. Kansas, on Soomon River 20 m. N of Salina; pop. (1980c) 2075; in agriculture and livestock-raising section. 2 City, of Hennepin co., SE cen. Minnesota, on Mississippi River at the Falls of Saint Anthony (q.v.); largest city in the state; pop. (1980c) 370,951; twin city with Saint Paul (q.v.); railroad center and grain market; produces agriculture machinery, precision instruments, metal and paper products, linseed oil, electrical equipment; food processing, printing and publishing, flour milling.
Minneapolis Geography
Latitude: 44o 58′ 39″ North
Longitude: 93o 15′ 56″ West
Area: 58.7 sq. mi. or 37,568 acres
Land: 35,244 acres
Water: 2,324 acres
Lakes: 18
Elevation: 824 feet above sea level
Minneapolis: city area 59 sq. mi./143 sq. km. Population of metropolitan Minneapolis & Saint Paul: 2,464,124.
Minnesota: a north central state of U.S.A., bounded on N by Canadian provinces of Manitoba and Ontario, on E by Lake Superior and Wisconsin, on S by Iowa, and on W by South Dakota and North Dakota; 12th state in area, 84,068 sq. mi. (land area 79,278 sq. mi.), in addition to this area Minnesota has also 2212 sq. mi. of water of the Great Lakes; 21st state in population, (1980c) 4,075,970; Saint Paul; 32nd state admitted to Union (1858).
Nonprofit: not involving or making a profit.
Pantone: Publications and the products of more than 1,000 of Pantone's licensees provide a worldwide color language for the selection, presentation, specification, communication, matching, reproduction, and control of color.
Pantone, Inc., 590 Commerce Boulevard, Carstadt, New Jersey
Telephone: 201.935.5500
Time Zone: Central Standard Time; six hours behind Greenwich Mean Time. Daylight Savings Time is in effect from the first Sunday in April through the fourth Saturday in October.
Section 09 credits
Event
Insights 1999 was organized by Bill Moran, Kate Pabst, and Wendy Ruyle of AIGA/Minnesota and Andrew Blauvelt and Conny Purtill at the Walker Art Center.
Poster
Walker Art Center Design/Editorial
Andrew Blauvelt
Daniel Eatock(27)
Santa Maria Johnson
Aaron King
Moanikeala McLean
Erin Mulcahy
David Naj
Michelle Piranio
Conny Purtill
Printing generously provided by:
Print Craft, Inc., Mpls.
651.633.8122
315 5th Avenue North West
Saint Paul, Minnesota 55112
Mission Statement
To provide security and opportunity for our employees, to enhance our customers' business for their success, and to make a fair profit.
Printing press: 28 x 40 inch
Heidelberg 102 Speed Master, two-color offset perfector.
Paper: 50 lb. Husky offset
Sheet size: 25 x 38 inches
Trimmed size: 23 x 34.75 inches
Folded size: 5.75 x 8.678 inches
Folding: Stahl folding machine
Edition 2,500 copies
This poster has been produced to inform designers about the AIGA lecture series. We hope that you will find it useful and keep it for future reference. Every care has been taken to ensure that the information contained in this document is correct. No responsibility can be accepted for any errors. All rights to text and illustrations belong to American Institute of Graphic Arts/MN and Walker Art Center. This work may not be copied, reproduced, or translated in whole or in part without written permission, except for the registration form, which may be photocopied. Use with any form of information storage and retrieval, electronic adaption, computer software, or by similar or dissimilar methods now known or developed in the future is also strictly forbidden without permission of the publisher.
This poster is not for sale.
©1999 Walker Art Center
This poster belongs to:
Pantone®
Black 6 U
Pantone®
Warm Grey 1 U

Recently, after receiving the latest issue of Z/X, designer and Walker alumni Layla Tweedie-Cullen was kind enough to answer a few of my questions regarding the publication:

What is Z/X? What is its history and mission?
Z/X is a visual arts publication established in 2004 at Manukau School of Visual Arts, a South Auckland art school in New Zealand, with the aim to serve as a vehicle for a wider engagement with art practice and writing. MSVA came into existence in the early 90s, and for a time held a collection of photocopied articles and critical texts used for teaching purposes. The ‘covert’ nature of this repository led to it being called the ‘ZX files’ (the art school was located in Z block of the institution). The adoption of Z/X as a title for the journal established a subtle relationship to the school, but also to one of the editors favorites, Roland Barthes’ S/Z.

What is your role in Z/X? How were you introduced to the project, and what are your motivation