Installation view of The Right Kind of Wrong at Mother ad agency in London
Opening tomorrow night at Mother ad agency in London is an exhibition by graphic artist Anthony Burrill and product/furniture designer Michael Marriott.
The Right Kind of Wrong is on show Mother until February 6. Visits must be booked by appointment - call 020 7739 8985. Burrill and Marriott’s sculpture will also be on show at this summer’s Village Fete at the V&A.
via CR blog
Malibu par So-Me
Malibu par Delta
Malibu par James Jarvis
Malibu Pop & Street Art serie - Curated By La MJC
Série limitée à 100 exemplaires, numérotés, par artiste.
En vitrine chez colette à partir du lundi 1er Décembre.
Vernissage en présence des artistes le lundi 1er Décembre. (sur invitation uniquement)
Prix de vente public : 19 euros.
colette - 213 rue Saint-Honoré 75001 Paris
 | ||
nytimes
I came accross this post on rolu Design
i really like the couch recently featured in the ny times home + garden section. It belongs to new yorker pamela bell (she was one of the four original partners in the kate spade brand and they recently sold the company).
So the question was: what if i had a bunch of "just sold a company" kinda money...
i immediately thought how amazing it would be to commision the los angeles drawing collective sumi ink club to do a couch for me. i love the stuff they are doing.
nytimes
This month New York City is hosting its first major photo festival. Drusilla Beyfus introduces this celebration of contemporary talent and looks at the work of the featured photographer Thomas Bangsted
With its galleries, photo agencies, studios, history of magazine publishing and reputation for breeding leading photographers, New York is commonly hailed as the home of photography. Yet until this spring the city has lacked a major festival of photography to call its own. This position is set to change with the inaugural New York Photo Festival that opens this month, with the Telegraph Media Group as a Brititsh Media Sponsor.
More a showcase than a market place, it aims to present what the contemporary camera is up to when artistry and creativity come first. To this end, four photo people with outstanding reputations will curate the show. Their range of experience varies but they are united in having a strong personal take on photography. The festival is to be held in historic industrial property on the waterfront between Manhattan Bridge and Brooklyn Bridge and each of the arbiters has their own show in a dedicated building. The source of the exhibits is nothing if not global.
The Telegraph Media Group's interest feeds directly into the Telegraph Magazine. It strengthens the tie between the editorial and outstanding photography, confirms the international character of much of the photographic skill that appears on our pages, and at the same time, widens the opportunity for readers to catch up with the story and sample the pictures that might otherwise be limited to gallery-goers and buffs on the spot.
Magnum's Martin Parr is the only Brit among the curatorial team. He is globally exhibited and was the featured curator at the influential Les Rencontres d'Arles photography festival in 2004. He says that the New York festival will be 'a welcome escape from the norms of museums and established galleries. It is great to have the space to show young photographers.'
 | |
His show, called New Typologies, develops a well-known theory about photographic series. An example might be his selection of two full-length portraits of a man and a woman shown in a similar pose, each holding a revolver pointed downward. The repetition of the image with its visual affinities is thought to enlarge the viewer's understanding of the subject. Among his choices for the festival is Wassink Lundgren's sequence of Chinese city dwellers salvaging bottles lying in the street, and work from a fellow Briton and Magnum colleague, Donovan Wylie.
Kathy Ryan, one of the other curators, is the award-winning picture editor of the New York Times Magazine. She says, 'It's going to be this wonderfully contained, focused, intimate gathering.' Mulling over a theme, she realised that the pictures that most intrigued her were those in which the photographer's mindset was more attuned to painters and sculptors than to photography.
Citing Roger Ballen, a senior figure among her selection, whose black-and-white pictures are composed of real-life images, symbols, idea associations and elements of pure painting, it struck her that he was engaged with what Picasso and Braque were grappling with early in the 20th century. Comparing the camera with the fine arts, she says, 'Photography is to some extent rooted in the real world. Whatever is pictured has some kind of inherent history.'
Another artist in Ryan's show, titled Chisel, is Horacio Salinas, who 'collected shredded rubber tyres across the States and turned them into beautiful abstract forms for photography.' It suggested to Ryan that he was working in the way a sculptor would. 'Photography adds another layer of meaning. Knowing that that piece of rubber tyre was on a road at a certain moment in the past, I love that.'
 | |
Simon Norfolk, who shot the rocket base at Cape Canaveral and is one of the Telegraph Magazine's regular contributors, is also on her list. 'In the two-minute exposure a streak of light flashes across a magnificent roll of blue sky. You can appreciate these pictures as an abstraction, much as you love seeing a blue shade into red in a Rothko painting.'
The remaining two curators are Lesley A Martin, the head of the book publishing programme at the Aperture Foundation (a not-for-profit organisation that advances the cause of photography through its magazines, books and an educational programme), who has been studying the way photographers use disseminated images to create new work, and Tim Barber, a photographer and the former photo editor for Vice magazine who runs the online gallerytinyvices.com.
The hope that the lesser-known would not be overlooked has substance in the pictures reproduced here. They are from a small portfolio by a 31-year-old Dane, Thomas Bangsted. A Yale University School of Art graduate, who last year was awarded a Tierney Fellowship (which support emerging artists studying in the field of photography, principally in the States), Bangsted's work will feature in the Fellowship's satellite exhibition on show at Brooklyn's Tobacco Warehouse.
Bangsted does landscapes and seascapes and although at a glance his pictures appear straightforward, he says, 'They are not about documenting a certain place or situation, but are more like pic torial puzzles.' He likes a subtle element of humour in his composition. 'Some of the images are constructed and some are found, it's not clear to the viewer and I'm not interested in making it clear.'
 | |
The cool, silvery light in which many of his pictures are bathed is a result of his northern background. Wherever he works, this quality of light seems a constant. 'I want to make work that feels familiar to me. I like light that is flat, without shadows. It helps me paint a more neutral picture. In some of my photographs there is a certain oppressive, slightly depressive quality.'
At the moment his eye is on maritime themes in Florida. 'In some ways the ships are substitutes for people in the pictures,' he says. 'They have a very distinct character. I find it hard to incorp orate people without the picture becoming something else.' He is also attracted to animals as subjects, but not in the sense of being a naturalist photographer. 'I like the pictures to have a George Orwell quality, where the people have gone and only the animals remain.' He uses an 8x10 or 4x5 camera and shoots subjects on a one-by-one basis as they occur to him.
The two co-founders of the festival are Frank Evers, the managing director of VII Photo Agency and a former entrepreneur in the video game world, and David Power, the founder and publisher of PowerHouse Books, which publishes progressive and classic art, photography, advertising and pop culture books. His company is located in Dumbo (Down Under the Manhattan Bridge Overpass), the off-beat Brooklyn neighbourhood which has become home to the festival.
But why did it take so long for New York to instigate its own photography festival? Ryan suggests it might be related to the intense pressure on New York real estate; but Power has a more romantic interpretation. 'New Yorkers have long relished the opportunities to reconnect with what is going on abroad at picturesque locales for photography in Madrid, Arles and Perpignan. But when we [PowerHouse] moved to a wonderful venue right in the middle of New York City that few know very well, we couldn't help but start our own tradition here in the heart of the world.'
The New York Photo Festival runs from May 14-18 (nyphotofestival.com).
via Telegraph
Croatian creative agency Bruketa & Zinić have designed an annual report for food company Podravka that has to be baked in an oven before it can be read.
Called Well Done, the report features blank pages printed with thermo-reactive ink that, after being wrapped in foil and cooked for 25 minutes, reveal text and images.
Here are details from Bruketa & Zinić:
–
Well Done, the annual report for food company you have to bake before use
Empty pages become filled with content after being baked at 100°C for 25 minutes.
“Well done” created by Bruketa & Zinić is the new annual report for Podravka, the biggest food company in South-East Europe. It consists of two parts:
To be able to cook like Podravka you need to be a precise cook. That is why the small Podravka booklet is printed in invisible, thermo-reactive ink. To be able to reveal Podravka’s secrets you need to cover the small booklet in aluminium foil and bake it at 100 degrees Celsius for 25 minutes.
If you are not precise, the booklet will burn, just as any overcooked meal. If you have successfully baked your sample of the annual report, the empty pages will become filled with text, and the illustrations with empty plates filled with food.
The annual report is printed on paper Conqueror Laid Brilliant White 120 g/m2, Munken Polar 130 g/m2 and Soporset 90 g/m2 and written with typography Thema by Nikola Djurek and Lexicon by Bram De Does.
The creative team of the project consists of Creative Directors Davor Bruketa & Nikola Zinić; Art directors Davor Bruketa, Nikola Zinić, Imelda Ramovi, Mirel Hadžijusufović; Copywriters Davor Bruketa, Nikola Zinić, Lana Cavar, Teo Tarabarić, Project manager Mirna Grzelj; Prepress: Danko Đurašin and editor Drenislav Zekić.
This is the seventh annual report for Podravka designed by Bruketa & Zinić OM. Those seven books won numerous awards worldwide such as London International Awards (Gold), Art Directors Club New York (Silver), Red Dot (Best of the Best), Cresta (Winner of Category), I.D. Annual Design Review (Best of Category), Type Directors Club (Typographic Excellence), Graphis (Gold) , Creativity (Gold) , Good Design (Graphics Award), HOW International Design Awards (Best of Show), Moscow International Advertising Festival (Gold), International Forum Communication Design (Design Award) and ARC Awards (Gold).
Bruketa & Zinić OM is a 60-people independent agency based in Zagreb, Croatia. It was established 10 years ago. The agency has been awarded for their projects by many prestigious contests and their work has been presented in many publications, books and exhibitions worldwide.
via Deezen
More information is slowly leaking out about the Design Museum’s Designs of the Year show - we now have the complete Graphics shortlist
As mentioned previously, Creative Review has two projects in the show, our Monograph on Daniel Mason’s print archive
And the sticker that Peter Saville created for our February 07 issue
Joining them in the exhibition will be:
Varoom Magazine (Non-Format for the Association of Illustrators)
Greta Family Typeface (Peter Bilak for Typotheque)
Penguin Classics Deluxe Editions (various designers, Candide by Chris Ware shown)
Signage for the Unrest exhibition (Jonathan Ellery at The Wapping Project)
Nassim Latin & Arabic script typeface (Titus Nemeth)
Manuela Pfrunder’s Swiss Banknote design (A curious choice as it was actually just a competition entry, and only a second prize at that. When the winners of its contest to design new banknotes were announced last February, the Swiss National Bank was at pains to point out that it wasn’t obliged to use any of them on real notes - not even the winner )
Your House (Olafur Eliasson)
The Butt Book (Jop Van Bennekom)
Kate Moss brand logo for Topshop (Peter Saville and typography by Paul Barnes)
The Grand Tour for The National Gallery (The Partners)
Helvetica: A Documentary Film (Gary Hustwit)
Museum fur Gestaltung – Zurich exhibition poster series (various, poster for This Side Up - Konstantin Grcic: Siebdruck, by Bonbon shown)
Designersblock: Illustrate (Design/art direction: Hawaii)
Identity for Performa 07, New York (APFEL<>
Over the summer the Design Museum contacted a broad range of practitioners and critics in the the fields of architecture, furniture, graphics, product, transport, fashion and interactive design (including me) to nominate “exemplary projects within contemporary design”. As far as I remember, the letter, which came from the DM director, Deyan Sudjic, placed no limit on the geographic location of nominations, we were just asked for outstanding work from 2007. These nominations then formed the basis for a shortlist of work that will be exhibited at the Museum from 13 February to 27 April, during which time an award ceremony will also take place, announcing winners in various categories as well as an overall winner (no details yet as to what those categories are or how winners will be chosen). The exhibition will occupy the entire second floor of the museum showcasing over 100 projects across the disciplines.
As previously mentioned, other work confirmed for the show includes Cartlidge Levene’s new wayfaring system for Selfridges (shown below and to be featured in the February issue of CR), Jeremy Leslie’s magCulture magazine design blog and Sao Paulo’s Clean City laws (covered in CR June 07) under which outdoor advertising was banned from the city.
It’s a strong shortlist and a quirky one. The latter is no doubt due to the selection process and the lack of an entry fee. It’ll be interesting to compare the Design Museum’s selection with the winners of D&AD, the work selected for the CR Annual and all the other design awards coming up. As for predictions of the winner, in terms of impact and ambition, Helvetica is going to be hard to beat…
via Creative Review
