Design, art, and the gradient between, featuring the creative output of our in-house design studio.
Exhibition view On the exhibition Curated by Misa Jeffereis, the exhibition Lee Kit: Hold your breath, dance slowly marks visual artist Lee Kit’s first U.S. solo show. Kit invites you to wander into soft-lighted galleries, hold your breath in quiet anticipation, and slowly sway from nook to nook to the melody of Elvis Presley’s […]
Curated by Misa Jeffereis, the exhibition Lee Kit: Hold your breath, dance slowly marks visual artist Lee Kit’s first U.S. solo show. Kit invites you to wander into soft-lighted galleries, hold your breath in quiet anticipation, and slowly sway from nook to nook to the melody of Elvis Presley’s Can’t Help Falling in Love (1961) to experience the various emotions created by Kit’s work.
As Kit worked in the gallery space in the two weeks leading up to the exhibition opening, he arranged objects and projections, created new artworks, and found unity with the space itself. He formed an emotional installation, where visitors can feel traces of the body which previously inhabited the space. Contrary to more open gallery spaces, Lee offers us a domestic space with many walls and doorways which—together with tables, folding chairs, lamps, and other household furnishings—creates an intimate and deeply personal space.
As an artist who makes site-specific installations, we had relatively little information (knowing only the title and the exhibition floor plan) to respond to before Lee’s arrival to the Walker. I took the title: “Lee Kit: Hold your breath, dance slowly,” and composed it in a way that the viewer could begin to feel the type of space and motion seen throughout the exhibition. In response to the various material sizes on which the title would be displayed, as well as the various routes one could enter and move through the gallery space, I decided that the title should be typographically rearranged in each of its iterations. This small intervention allows the viewer to both read each word separately and to connect them into the original title in various orders. As I realized later on, during the two weeks working with Kit, this approach/method was also his way of creating installations: finding objects, rearranging them, and making associative connections between each element until they created a substantial entity.
The gallery guide contains not only the traditional three-dimensional drawing of walls, but it also contains discrete representations of elements found within the exhibition, such as lamps and a TV-rack, as a way facilitating one’s navigation of the space and to underline the domesticity of the exhibition. The gallery guide also features images that showcase Lee Kit’s interest in light as a medium. Through the use of subtle duotone colors, the images become softer and evoke associations with the artist’s video projections and natural light. In further response to this quality of lightness (in terms of both visual lightness and perceptual feeling), the exhibition’s title is typeset in white (or, at times, in dark blue) on a light blue background in order to achieve a light, floating vibe. Furthermore, this quality of lightness within the typographic compositions is further emphasized through its relationship to the gallery itself and the way in which it functions similarly to the experience of navigating through the gallery space.
Light is one of the primary elements seen in Kit’s body of work. In the exhibition at the Walker, Kit used standing lamps and projectors as a source light. Fragile and ephemeral video works often capture the sunlight and projections fade into each other, merging with visitor’s shadows. Kit plays with stretching moments that attract his attention, extending them again and again in such a way that visitors to the gallery become detached from their familiarity to the common, domestic products seen throughout the exhibition. This feeling is amplified further by the nature of the installation which seems to have no beginning, middle, or end.
After researching Kit’s work, I came to understand that the work can be poetic, fragile, emotional, subtle, dynamic, and open, but that it can also be bitter and sometimes direct. Two paintings—Fuck you. (100g) and a piece called You, where Kit placed words produced by an inkjet transfer stating “You feed yourself everyday”—create moments of directness and harsh typographic messages which clash (visually and emotionally) with the tranquil mise-en-scène of the exhibition. Responding to this duality within Kit’s work informed my choice of Stanley as a typeface. Stanley is a font inspired by Times New Roman—perhaps the most classic typeface of the 20th century. The selected typeface is characterized by wide and sharp counter forms as well as short ascenders and descenders that generate neat typeset arrangements. The very graphic shape of the triangle-like serifs benefit from a maximum of contrast. This, in combination with the fully-justified texts that compose both the invitation and gallery guide, gives the typographic texture a strong and highly constructed appearance. As such, my use of Stanley became a means of highlighting the contrast between the very graphic forms of the typographic messages and the soft, lightness of the floods of blue projections.
Photos and design: Gabriela Baka
The Walker is pleased to announce that its 2016-2017 Mildred Friedman Design Fellowship is now open for applications. APPLICATIONS ARE DUE: MAY 23rd
Since 1980, the Walker’s Design department has maintained a graphic design fellowship program that provides recent graduates the opportunity to work in a professional design studio environment. Selected from a highly competitive pool of applicants, fellows come from graphic design programs throughout the United States and abroad representing a diverse range of design programs, such as Art Center College of Design, California Institute of the Arts, Cranbrook Academy of Art, Eastern Michigan University, Ecole cantonale d’art de Lausanne, Minneapolis College of Art and Design, NC State University, Rhode Island School of Design, Royal College of Art, Werkplaats Typografie, and Yale University, among many others.
WHAT WE ARE LOOKING FOR:
Ideal candidates will be firmly grounded in visual design principles and the print design process with some experience in interaction design. In addition to print-based projects such as exhibition identities, wayfinding, and collateral materials, this year’s fellow will also work on select online publishing initiatives. The fellow will join an accomplished team of professionals known for creating industry-leading work. Immersed in the Design department, which includes Editorial, Photography, and Videography, fellows gain a deeper understanding of design, work on projects with rich, interesting content, and are expected to produce work to the highest standards of design excellence.
See samples of previous fellow’s work here and in this video highlighting 75 years of Walker design. The fellows will also be key contributors to the Design department’s blog, The Gradient—so an interest in the discourse of graphic design and contemporary culture is highly desirable. Fellows are salaried, full-time employees and are involved in all aspects of the design process, including client meetings and presentations through production and development. Duration of fellowship: September 1, 2016 – August 31, 2017
HOW TO APPLY:
For consideration, submit the following materials by PDF attachments only: 1. a letter of interest; 2. a resume, including names and contact information of 3 references; 3. a PDF portfolio containing 8–10 examples of graphic design work (total file size can be no larger than 19 MB, otherwise your file will be rejected).
Email application packets to email@example.com. If you do not receive an automatic confirmation of your application, please send another note to the same email address, without any attachments. No phone calls please. For more information, visit our fellowship page. Also check out the Walker’s job listing.
One of the latest exhibitions at Walker Art Center is the first U.S. solo exhibition of the work of German artist Andrea Büttner. Curated by Artistic Director Fionn Meade, the exhibition continues the Walker’s ongoing presentation of solo shows by emerging artists who have not yet had significant museum exposure in the United States. Büttner’s […]
One of the latest exhibitions at Walker Art Center is the first U.S. solo exhibition of the work of German artist Andrea Büttner. Curated by Artistic Director Fionn Meade, the exhibition continues the Walker’s ongoing presentation of solo shows by emerging artists who have not yet had significant museum exposure in the United States.
Büttner’s practice intertwines art-historical concepts with social and political issues, often exploring unexpected connections between art and religion, deviance and ethics, or shame and visual expression.
The newly commissioned installation features a range of new works, including a living moss sculpture, large-scale woodcuts, and etchings that capture and transpose the smear and blur of fingerprints left on cell phone screens. Through deploying a wide range of pre-modernist media, Büttner restores outmoded methods in order to provoke and challenge conventions of high and low. She constructs a profound space between ornate and humble, dissociation and humility, and the urge to judge or to remain objective.
Personally, I was particularly captivated by the complex details in Büttner’s prints and woodcuts (many of which can be seen here). My initial design sketches for the visual identity explored the combination of typography and woodcut patterns and an attempt to use fragments of Büttner’s works and her carved forms/line-work. What I found interesting was the complex markings that were left-behind by the sharp edge of Büttner’s carving tools and which range from hairline markings to triangular, gouge-like markings.
An important step in designing the visual identity was finding an appropriate typeface—ideally a classical, but not boring, serif typeface. The chosen typeface, Noe Display, responds to the pronounced and crafted feeling of Büttner’s work. Designed by the type foundry Schick Toikka, the typeface is a Transitional-style, high-contrast headline typeface. Noe Display’s sharp triangular serifs and terminals give it strong and distinctive characteristics, echoing the similar shapes which occur within Büttner’s etchings and woodcuts.
To emphasize a connection to Büttner’s sharp woodcuts within the typographic treatment, I slightly altered the height and appearance of the umlaut. Rather than keeping the two dots that typically appear within the umlaut, I instead swapped-in two triangle shapes that derived from the top, triangular part of the letter “t” in Noe Display. These triangles also replaced the dot above the letter “i”.
Intrigued by the small details in Büttner’s work, I then decided to respond by creating my own level of typographic detail through a series of customized punctuation marks that would subsequently be embedded within the texts associated with the exhibition. As a base for the punctuation, I used the same Noe Display-derived triangle shape to then create a comma, colon, period, and apostrophe. The resulting punctuation marks, which appear throughout the typeset materials connected to the exhibition, make a small intervention on the space, yet are elements that may go easily unnoticed upon first glance. This subtle intervention was made in order to focus more attention on the detailed and contemplative nature of Andrea Büttner’s work.
The developed visual identity was applied to various exhibition materials—from the invitation for the exhibition opening, to the gallery guide, to exhibition labels, title walls, and related texts.
Design and photos: Gabriela Baka
Presented in conjunction with the exhibition Hippie Modernism, the ongoing series Counter Currents invites a range of individuals and collectives—from artist-archivist Josh MacPhee and artist Dread Scott to Are.na and Experimental Jetset—to share how countercultural artists and designers of the 1960s and ’70s have influenced their work and thinking today. Here Thomas Lommée of the […]
Presented in conjunction with the exhibition Hippie Modernism, the ongoing series Counter Currents invites a range of individuals and collectives—from artist-archivist Josh MacPhee and artist Dread Scott to Are.na and Experimental Jetset—to share how countercultural artists and designers of the 1960s and ’70s have influenced their work and thinking today. Here Thomas Lommée of the Brussels-based design studio Infrastructures weighs in on modular systems of the 1960s.
Being rooted in a context that offered easy access to both hallucinogens as well as pioneering new technologies, the works of the more “action-oriented” hippies produced perceptions, insights, and methodologies that have been guiding me in my daily practice as a designer ever since I’ve discovered them during my studies at the IwB (Institute without Boundaries) in Toronto, now almost a decade ago.
Buckminster Fuller’s lectures made me understand that things should be conceived within larger systems in order to support both the natural and technological cycles that produced them in the first place. Steward Brand’s observations pointed at the fact that constant iteration isn’t about correcting mistakes but rather about responding to an ever-evolving context. Victor Papanek’s books told me to measure success by impact rather than appearance, while Ken Isaacs’ manuals assured me not only to focus on the object but to also carefully consider the design of its surrounding services if I was to kickstart a co-creative design culture.
All these observations introduced me to a way of looking that somehow felt right. A perception that a certain point in time almost seemed to be forgotten but that is now being widely rediscovered by a whole new generation of people. Young, engaged, and (more than often self-) skilled citizens are building upon these very same principles while applying a completely new set of tools.
Today hippies write code rather than pamphlets, activists share 3D files rather than photocopied manuals, and protestors contribute to peer-produced texts rather than silkscreened manifestos. Though the content of what they are producing syncs up neatly with what was being produced 40 years ago.
Even though this contemporary movement is still largely operating within the margins of society, it has become globally interconnected and therefore holds the promise of pushing this thinking from the margins of society towards its very core. It is representing a movement that, in my view, is becoming increasingly important because it offers us a glimpse on a more human-oriented and value-driven networked environment, while at the same time reminding us about the initial ambitions of those who imagined the World Wide Web in the first place.
The OS (OpenStructures) project explores the possibility of a modular construction model where everyone designs for everyone on the basis of one shared geometrical grid. It initiates a kind of collaborative Meccano to which everybody can contribute parts, components, and structures. The ultimate goal is to initiate a universal, collaborative puzzle that allows the broadest range of people—from craftsmen to multinationals—to design, build, and exchange the broadest range of modular components, resulting in a more flexible and scalable built environment.
Thomas Lommée is the founder of Intrastructures, a pragmatic, utopian design studio, that applies product-, service- and system design as a tool for change. He is also the initiator of the OpenStructures project, a hands-on design experiment that explores the possibility of a modular construction model where everyone designs for everyone on the basis of one shared geometrical grid. Next to his activities as designer / design researcher Lommée has been teaching at the Social Design research program at Design Academy Eindhoven’s Master course and is the co-founder and mentor of the ENSCImatique at the ENSCI in Paris. He lives and works in Brussels.
Presented in conjunction with the exhibition Hippie Modernism, the ongoing Counter Currents series invites a range of individuals and collectives—from artist-archivist Josh MacPhee and artist Dread Scott to Are.na and Experimental Jetset—to share how countercultural artists and designers of the 1960s and ’70s have influenced their work and thinking today. Here Dimitri Nieuwenhuizen (LUST) discusses Marshall […]
Presented in conjunction with the exhibition Hippie Modernism, the ongoing Counter Currents series invites a range of individuals and collectives—from artist-archivist Josh MacPhee and artist Dread Scott to Are.na and Experimental Jetset—to share how countercultural artists and designers of the 1960s and ’70s have influenced their work and thinking today. Here Dimitri Nieuwenhuizen (LUST) discusses Marshall McLuhan
“All media are extensions of some human faculty—psychic or physical.” —Marshall McLuhan, The Medium is The Massage
In front of the Eiffel Tower the main attraction of the 1900 world’s fair in Paris was the Palais de l’Electricité. Lit with thousands of electrical lights, it presented electricity to a large consumer market and a new era took off. In the century to come, a form of energy nobody quite expected made mankind’s ideas of the ultimate extension of the human faculty lift off in record time. At the same time, the world went through several radical cycles in society, from bright moments of insight to dark periods to a multitude of fights for freedom. As one of the few students who used coding as a tool I was aware of Marshall McLuhan’s notion of the Mass Age when I graduated in 1997 from the Design Academy in The Netherlands.
Considering McLuhan’s notion that “the wheel is an extension of the foot, the book is an extension of the eye, clothing an extension of the skin, electric circuitry an extension of the central nervous system,” I made a small exhibition attempting to create awareness of the impact of these extensions to the mind at the moment the computer would become part of the extension. I needed five installations to cover all physical senses, seven to come as close as I could to the psychic, and all of them interactive, using Macromedia Director, to involve the visitor as much as possible. I was interested in the effect of cybernetics on our thinking, the way it would change how we see ourselves—just as, for instance, the camera did, in particular with the Earthrise photo taken by astronaut William Anders in 1968 and featured on the cover of Whole Earth Catalog a year later.
In the nearly 20 years since my graduation, technological developments have taken off even more. Looking back from now one could imagine that since the Palais de l’Electricité we’re about halfway to actually knowing where this evolution will truly lead us to. Along with the scientific progress, how will information and stories fluidly move from one medium to the next? What will we filter out along the way? Will we only share and like what can be bought, or also what is not for sale? What do we choose to see, or who is the one that makes that choice? And will borders between the digital and physical completely vanish when VR and AR are becoming consumer products in 2016? An Internet of Humans in between reality and delusion? Or would the extension eventually become the replacement of what is was supposed to extend?
As Cedric Price asked himself: “Technology is the answer, but what was the question?” Maybe it’s about time to formulate the question. We should use the hyperconnected knowledge as a find-engine to create a new human process of self-generated thoughts about the future. Let us use technology as a tool to take us from doubt to a curiosity driven by an idealistic observation. We have reached the point where a long series of smaller changes in cybernetics became significant enough to cause a larger, more important change. We are the tipping-point generation.
Data as an extension of the superorganism of all mankind’s thought.
Dimitri Nieuwenhuizen is a visual philosopher in art, design and technology. He studied at the Technical University of Delft and the Design Academy Eindhoven. Within his autonomous and applied work he researches from the perspective of several disciplines the affect and effect of digital culture with the aim of humanizing the unhuman and exploring the missing links between the digital and the physical. Besides giving talks at numerous places around the world, he teaches at several art academies including Sandberg Institute Amsterdam, curates and initiates exhibitions, symposia, thinktanks, and hackathons, and is one of the supervisors of the Sandberg@Mediafonds masterclass. He is co-director of the multidisciplinary design studio LUST and the research-based art and technology laboratory LUSTlab. Here new pathways for art and design are explored on the cutting edge where new media, information technologies, performance, architecture, urban systems, graphic and industrial design overlap.
To commemorate the year that was, we invited an array of artists, writers, designers, and curators—from graphic designer Michael Oswell to filmmaker Tala Hadid, artist Adam Pendleton to the Black Futures project—to share a list of the most noteworthy ideas, events, and objects they encountered in 2015. See the entire series 2015: The Year According […]
To commemorate the year that was, we invited an array of artists, writers, designers, and curators—from graphic designer Michael Oswell to filmmaker Tala Hadid, artist Adam Pendleton to the Black Futures project—to share a list of the most noteworthy ideas, events, and objects they encountered in 2015. See the entire series 2015: The Year According to .
After receiving her MFA in 2008 from the Werkplaats Typografie (Arnhem, NL), Na Kim launched her own Seoul-based studio. Most recently, Kim has been an artist-in-residence at Doosan Gallery in New York since July 2015 (and concluding in December 2015).
SET in New York
Since this past July, I’ve been staying in New York for a six-month artist residency program at Doosan Gallery. During this stay, I created a solo exhibition in addition to publishing an artist book—both of which are titled SET.
SET, the solo exhibition of Na Kim—one of the DOOSAN Artist Awards 2013 recipients—was on exhibit from October 8th–November 5th, 2015 at Doosan Gallery in New York. With a background in graphic design, Na Kim creates expansive work that freely traverses the boundary between fine art and design. By doing away with pre-existing rules and symbolic meanings, Kim studies the essential elements in form, rearranging it based on its geometric standards. In SET, Kim’s work from the past 10 years will be exhibited in one space, and a namesake catalogue will be shown as part of the exhibition. Regardless of production year, medium, commission, etc, the catalogue comprises of design and other works that are reordered according to the visual elements found in each work. The production and editing of this catalogue is a collaborative effort with graphic designer Joris Kritis. As it is the first time Kim has handed over the designer role to another person, she intends to redefine the notion of the artist and the designer’s role. Along those lines, the wall and floor space of the exhibition will be divided in a similar proportion as the catalogue’s design, then the works in the catalogue will be made into wall drawing, serving as the set for a performance that will coincide with the visual aspects of Kim’s work. In this way, Kim’s work brings out the intrinsic distinctions between fine art and design, tearing down the boundaries of process and form. And by expanding into the realm of installation and performance, the artist shows the possibilities of a cohesive and unified body of work. It is these reconstituted and restructured heterogeneous elements that point towards and reveal new meaning and potential.
Je suis Kiri
The whole world was shocked by the shooting at the offices of Charlie Hebdo in Paris. Paris endured additional terror attacks in the latter part of this year, but the Charlie Hebdo attack was the starting point of the debates on many aspects against terrorism in Europe. I became aware of Hara-Kiri—a former body of Charlie Hebdo which had been more progressive and daring than now—as a result of this tragedy. RIP the brave, Stupid and Vicious. Look at those covers!
The French journal Hara-Kiri was a satirical journal published once per month. The journal contains many insults, plenty of black humor, abominations, vile pictures, and really harsh writing. The main featured themes were adult content, violence, body horror, as well as political provocations. See more amazing covers.
This new invention has undoubtedly become a must-have amongst tourists and social networking types. Now, the selfie stick has become a nuisance and potential liability. Read more about why galleries and museums and banning selfie sticks.
MMM Corners mmm
A few years ago I saw a concept image for the MMM Corners museum and immediately thought that I have never seen such an aggressive and stupid work of architecture before. And now, unfortunately, it’s real.
Karl Nawrot & Mind Walk
One of my favorite graphic designers, Karl Nawrot won the first prize at the Chaumont International Poster and Graphic Design Festival in 2015. His LIG Art Hall poster series was a great example of how a graphic designer can create an autonomous approach for translating and giving form to the content of contemporary culture. Recently, Karl is having an solo exhibition at Bel Ordinaire, Pau.
Fairs, Art and Books
“Why has there been such a boom in art book fairs?”—Supporting Yannick’s point, there were 2 events in Seoul in the past year. One is Goods, the (sort of) alternative art fair and the other is Unlimited Edition, the art book fair already in its 7th year. This kind of culture, comparably, has a short history, but both of these art/book fairs were a great success in attracting visitors. Additionally, young artists and designers are finding their own way to exhibit and sell their art works or products. Read more about Goods.
After 30 years
I have to admit that I was a fan of Michael J. Fox. Not only did the Back to the Future trilogy celebrate the 30th anniversary of its beginning this year, but the moment in the future that Marty McFly travels to—October 21, 2015—was also celebrated. I miss these adorable guys—Dr. Brown and Marty, from my childhood.
Identity for ASJC
I designed a new visual identity for Art Sonje Center in Seoul, which they began applying to their website and materials this year.
Want to transform yourself?
It’s easy and fun. My Idol is an amazing new app for making avatar. A great way to kill time, but in certain moments quite scary.
The best exhibition in 2015.