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

—

—

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.

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)

—

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)

—

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

Telephone

612.375.7622

TDD15 612.375.7585

Credit/debit cards

Please have your credit card information on hand when you call.

To pay by check, please refer to the Mail section.

Facsimile

612.375.7595

Credit/debit cards

To order by facsimile, please complete the registration form, detach, and fax to the number listed below.

Our box office will process your registration form and either mail the tickets to you in advance or hold them for you at the box office.

To pay by check, please refer to the Mail section.

Mail

Insights Lecture Series

Walker Art Center

Vineland Place

Minneapolis, MN, 55403

Credit/debit cards & checks

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 Mller, 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

Inevitably, the fun and experimentation led me to what you see below: typewriter-made spin-offs of the Walker Expanded identity “strips”. They’re a little rough around the edges, but completely acceptable as the newest addition to the Walker Expanded identity system (jk!). —

Group Zero originated in Dsseldorf, Germany, but quickly became a pan-European force, with mutual exchanges and interacting influences linking an array of artists in Dsseldorf, Paris, Milan, Amsterdam, and elsewhere. This is best indicated by listing some of the artists whose words are displayed and works are illustrated in the book: besides Piene and Mack, they include Fontana, Yves Klein, Mavignier, Jean Tinguely, Arman, Pol Bury, Spoerri, Manzoni, Dorazio, Sota, Manfred Kage, and many others.

— Opening cover blurb from ZERO 1, 2, 3 (published by MIT Press in 1973)

fig.1 fig. 2 fig. 3

fig. 4fig. 5 fig. 6

This book initially caught my attention because of its stark cover (fig. 1). The severity of its simplicity and conciseness reminds me of a typographic course exercise in which hierarchy and proximity are closely considered. The inner contents of the book are less precise structurally, but more on point with the diverse selection of artists involved with ZERO 1, 2, 3 and the “dynamic filmlike sequences” their artwork creates upon the pages of the book.

While I’m no expert on group art catalogues as such, ZERO 1, 2, 3 seems to evade the monotonous structure and sequencing I see so often in other catalogues, annuals, biennials, etc. from this time period.

Some of the most mysterious anomalies of this book lie within a section featuring the work of Yves Klein in which the torn and burnt pages (fig. 4–5) are hard to miss. The strange thing about these pages is that it’s evident that the destruction was not an accident. While, to some extent, the writing on these altered pages (and adjacent pages) offer clues as to why the pages are presented as they are. For example, on the page preceding the burnt page, a sentence reads: “Fire is there too, and I must have its mark!” or “…one must be like untamed fire.” Similarly, on the page following the torn page, the opening sentence reads “…Leave my mark on the world, I have done it!” [*]

Lastly, and perhaps with some relation to the burnt page mentioned above, is a surprising set of instructions outlined on the last page of the book—“directions for use: pyromaniac instructions”—in which the reader is encouraged, through a six-step process, to burn the publication with the supplied book of matches. Unfortunately, the book of matches were only included with the original edition of the ZERO 3 publication.

fig. 7 fig. 8

fig. 9 fig. 10

NOTES:

* Further explanation of Klein’s torn and burnt pages is offered by Lawrence Alloway in an opening essay: “Zero 3 was a major publication, both visually and typographically resourceful. Klein submitted a dummy for it, and although it was not used, one detail concerning his own selection was retained. He wanted the last pages of an article of his to be burned in each copy; that way, he wrote “my text will not have any end…it will stop suddenly.” This distinction between formal completion and an existential act of just stoppping is a topic that the Abstract Expressionists discussed in New York, but Klein is alone, I think, in applying the idea to a verbal text.”

fig. 1: Book cover

fig. 2–3: Opening spreads of the ZERO 2 section

fig. 4–5: Spreads from the Yves Klein section in ZERO 3

fig. 6–7: Spreads from the Dieter Rot section in ZERO 3

fig. 8: Spread showing map of artist works

fig. 9–10: Closing spreads of ZERO 1, 2, 3

—

These intriguing posters were somewhat of a mystery until recently when we discovered (with some investigative help from a former member of the Walker studio) that each poster was designed by a Japanese designer in collaboration with Carter for use in an exhibition of Carter’s work. Titled, Matthew Carter’s Type Game: A New Identity of the Walker Art Center, this exhibition took place in 1997 at the Morisawa Typography Space in Tokyo, Japan.

Design: Yutaka Satoh

Design: Kouga Hirano

Not this Thursday, BUT next Thursday, May 1 at 7 pm, join us in the Walker Art Center Cinema for an Artist Talk between Chris Johanson and Jo Jackson. The next night (Friday, May 2), join us again for Beautiful Losers, the new documentary film (check back soon for a post including more information on this upcoming film!).

Artists Chris Johanson and Jo Jackson emerged from the late ’90s San Francisco-based skater/surf/graffiti scene, known to many as the Mission School, with portfolios of charged, figurative drawings and immersive three-dimensional environments. As a husband and wife team, the two collaborate often on projects, including an installation May 3 to June 1 at the Art of This Gallery (artofthis.net) in Minneapolis. Join the artists at the Walker for a talk about their processes, sources of inspiration and influence, and future projects. Free gallery admission from 5 to 9 pm every Thursday night. Presented by the Walker Art Center Teen Arts Council (WACTAC).

Free tickets available at the Bazinet Garden Lobby desk from 6 pm

Events take place at the Walker Art Center Cinema

← Jackson

← Johanson

← Jackson

← Johanson

The images shown are a selection of paintings by Chris Johanson and Jo Jackson from Please Listen I Have Something To Tell You About What Is and Beautiful Losers: Contemporary Art and Street Culture

The first of these books is Herbert Muschamp’s File Under Architecture (fig. 1), a book published in 1974 by MIT Press that encompasses Muschamp’s brashly worded views and critiques on architecture. The second book is Maurizio Nannucci’s self-titled artist book (catalogue d’exposition) (fig. 2) published in collaboration with the Internationaal Cultureel Centrum in Antwerp, Belgium, in 1979.

fig. 1fig. 2

File Under Architecture—with its cardboard cover, grocery-bag-like text paper, generously spaced lines, absence of imagery and its appearance of being completely typeset on a typewriter—is impressive in terms of its restraint and pragmatism (fig. 3). The combination of these nuances, in my mind, are features that make this book a precious and more noticeably tactile object. As for the typefaces that this book is set in, there are four supplemental typewriter typefaces used as sidenotes (in addition to the standard typeface used for the body text). The varying characteristics of the typefaces give the sidenotes of this book a distinct feel and an almost distracting voice. But despite the irregular cadence and the non-unified system seen throughout this set of sidenote typefaces, they beg to be read.

The artist book from Maurizio Nannucci is also quite special considering its unbound nature and the range of delicate and rare materials (prints on tissue paper, photographs, a 7-inch vinyl record, etc.) included throughout the book. In a similar way to File Under Architecture, I appreciate the raw and semi-processed spirit of certain components of this artist book. In this particular context, typewriter typefaces are used more simply. There is a typeset interview within a standard stapled document that is housed in this artist book in which one alternate typeface is implemented as a way to differentiate one commentators words from the other. What I found most striking about the typeface defining the words of “P.S. Vraag” on these pages is that it was unlike anything I had seen in the realm of typewritten documents. The cursive and stylized features of the typeface (fig. 4)—much like the cursive typeface found in File Under Architecture (fig. 5)—are a complete contrast to what we typically visualize when thinking about typewriter typefaces.

fig. 3fig. 4fig. 5

Looking at both of these books and their lo-fi aesthetics, it’s almost as though I can imagine Muschamp and Nannucci sitting at their typewriters, manually interchanging their typeface cassettes for an alternate typeface, or, even completely switching typewriters for that matter.

This notion of using alternate typewriter typefaces sparked my interest in many ways. I began to think about how I only wished that making typographic selections were that simple and hands on (a sort of no-nonsense approach to typography). One of the things that I became most curious about was the names or types of custom typewriter typefaces that had been used during the height of typewriter technology and how many typefaces were commercially available to typewriter owners.

After a bit digging around, I found a fantastic resource at the Walker library—a journal about design and typography titled Typographica. I was fortunate enough to find issue #6 from 1962 in which an entire section of the journal was dedicated to typewriter typefaces (fig. 6). The article was introduced by a simple explanation of how typewriter typefaces were manufactured and how they functioned. In addition to this intro, the supplemental pages of this article were used to display the large number of typefaces available within the typewriter market in 1962. As you will see in the image below (fig. 7), I have selected a few of my favorites from the collection put together by Typographica.

fig. 6 — Opening page for article about typewriter typefaces, Typographica magazine, 1962

fig. 7

In the end, after discovering these two books and the article from Typographica magazine, I was happy to learn a little more about the wide variety of typewriter typefaces made available during that time. And although the idea of typesetting on a typewriter in this technological age could be considered a nostalgic trap, I admittedly find the idea to be a very charming and fundamental one. I also find myself wondering: will we ever look back at our tools—G5 Apple computers, Adobe InDesign, etc.—and think of them in the same way we do the typewriter?

Week four of the Insights Design Lecture Series features Ed Fella of Valencia, California. Concluding this year’s series, the lecture will take place on Tuesday, March 25, at 7 pm in the Walker cinema. Tickets are available here.

Ed Fella returned to school to complete his undergraduate and graduate degrees in graphic design, after three decades as a successful designer practicing in the Detroit area where he grew up. He received his MFA from the Cranbrook Academy of Art in 1987 and then headed west to teach at the California Institute of the Arts. His innovative hand-rendered and manipulated typographic compositions, masterful collages, and prolific sketchbooks prefigured the resurgence of the art form and inspired countless other designers to find their hand again in the age of computer-assisted design and desktop publishing. Fella’s work has been shown worldwide and is the subject of several books, including Edward Fella: Letters on America (2000). In 1997 he received the Chrysler Award for Design Innovation and in 2007 the AIGA Medal, its highest honor.

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As a precursor to Tuesday’s lecture we asked Ed to reveal a little about himself and his influences:

1. What have you been obsessing about?

It was getting my exhibition up at the RedCat gallery… something we have been working on for several months.

2. What’s your most prized possession?

My 70-year-old body and my 50 year’s worth of work. Both need archiving…

3. What are you reading?

“Graphs, Maps, Trees” by Franco Moretti, an actual book and “Heyday” by Kurt Andersen, an unabridged audio book…I always read both kinds in tandem, one for sitting and one for walking, drawing, or driving…

4. What’s one of your guilty pleasures?

Making “art”!

5. What do you consider the most overrated virtue?

Making art is good for the soul, the psyche, and the society…

6. What is one of the most unexpected influences on your design?

The discovery (or consciousness) of the “vernacular” and that I was in it!

7. What were you doing before you responded to this questionnaire?

Getting that damn exhibition up…

8. What question do you wish we’d asked you?

“Do you like filling out these types of questionnaires?” and I won’t give you the answer…

— Scans from IDEA Magazine #318 (2006) which featured Fella’s work

Color by Overprinting by Donald E. Cooke

“A complete guidebook in the art and printing techniques employing transparent inks in multiple combinations. Illustrated with 495 three- and four-color groupings of eleven basic inks, plus 44 pages of pictorial application of the medium.”

—Published in Philadelphia in 1955.

From right to left:

Roger Hilton, Gwyther Irwin, Bernard Meadows, Joe Tilson, Stedelijk Museum Amsterdam, 1965

Op Losse Schroeven: situaties en cryptostructuren, Stedelijk Museum Amsterdam, 1969

Frank Stella, Stedelijk Museum Amsterdam, 1970

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Let’s start Monday morning off with a Friday Find (found Friday, Jan. 4): 3 catalogues from the Stedelijk Museum (Amsterdam) designed by Wim Crouwel and Total Design.

Take a minute to appreciate Crouwel’s graphic restraint, his enslavement to the grid and his dedication to Univers.

Take another minute to read these excerpts describing how prevalent Crouwel’s design was in the Netherlands:

“It was actually quite difficult to avoid Wim Crouwel’s work. In the 1960s the Netherlands was inundated with posters, catalogues, stamps designed by him—even the telephone book.”

—Karel Martens

“Wim Crouwel’s work has been a part of our lives since the day we were born. We grew up in a graphic landscape created by Crouwel and his contemporaries. The books we used at school, the telephone book, stamps: a lot of the printed matter in the Netherlands was designed by studios such as Total Design. (As a matter of fact, the city where both Erwin and Danny were born, Rotterdam, had a logo designed by Crouwel). As a consequence, we feel as if the graphic language of Crouwel is our mother tongue, our natural language. It’s a part of our roots.”

—Experimental Jetset

NOTE: Both of the above excerpts are from IDEA magazine #323, a recently published feature issue about Crouwel and his work.