Poster: John Harvard Projection, Harvard University Committee on the Arts
Centred around a large-scale projection installation by the artist Krzysztof Wodiczko, John Harvard Projection is a spring cultural programme organised by the Harvard University Committee on the Arts (HUCA). The season features conversations and talks by choreographer/director Liz Lerman, artist Martin Beck, and Carpenter Center for the Visual Arts director James Voorhies, who will also be in discussion with Wodiczko. During the last week of April, the artist’s public projection will animate the John Harvard statue in Harvard Yard with faces, voices, words, and gestures of Harvard University students interviewed on video by the Wodiczko. Inspired by the projection site, context, and plans, Practise has designed a folded poster and a campus banner campaign for the month-long programme.
Pictured: 17 × 11 inch John Harvard Projection folded poster/programme
Album: The Republic, Sam Prekop, Thrill Jockey Records
The Republic, a project by Chicago-based artist David Hartt shown at New York’s David Nolan Gallery in spring 2014, explores Greek urban planner Constantinos Doxiadis’s proposals for the cities of Athens and Detroit. The exhibition comprised cast bronze sculpture, a machined aluminium frame, turned poplar seating, photographic prints and a 16 minute video work shot in both of the aforementioned cities. Hartt commissioned Chicago musician Sam Prekop to score the film and the resulting tracks make up the first half of a new record of modular synthesizer compositions by Prekop, also titled The Republic and released in CD and vinyl formats on Thrill Jockey Records. Practise’s sleeve design assembles both details from Hartt’s prints, and stills from the film, printed with a UV gloss coating. A limited edition of 500 LPs have been pressed on blue opaque vinyl, the side B label of which features a still of a car being rolled over (and over and over, as the record plays).
Pictured: Record sleeve back cover featuring detail from David Hartt, The Republic, 2014, and limited edition blue 12-inch vinyl
Poster: Peace on Earth, Practise
New year wishes for peace on earth, to everyone on earth.
Pictured: 18 × 24 inch Peace on Earth silkscreen print, produced in an edition of 100
Cover: Design Issues, Volume 30, Issue 4, Autumn 2014, MIT Press
Design Issues, published by MIT Press since 1984, is the first American academic journal to examine design history, theory, and criticism. As the journal’s extensive Pinterest gallery shows, every cover is designed by a different designer, each working within a two-colour printing constraint, but also with full conceptual freedom. James Goggin was commissioned for their Autumn 2014 issue, which featured essays on such contemporary concerns as ”Unknown Positions of Imagination in Design”, “Citizen Science and Open Design”, and “Modelling Business Models”.
Given an underlying theme of speculation apparent in the writing mentioned, JG formulated what might be described as a “Bubble Bauhaus”, an elaboration on the three familiar primary forms of the Bauhaus (triangle, circle, square) where “speculation”, in both theoretical and financial senses, is represented as balloon, thought cloud, and bubble. Poised on the back cover is the hand of the critic, as an ominous (or promising, depending on your point of view) presence.
Pictured: “Bubble Bauhaus” front and back cover illustrations
Poster: Michael Schmelling: Your Blues, Museum of Contemporary Photography, Chicago
During an eighteen month-long commission in his hometown of Chicago, Los Angeles-based photographer Michael Schmelling explored the musical landscape of the region, immersing himself headlong into Chicago’s music scene, focusing on the overlooked, frequenting house party shows and searching out niche and local acts that are not widely known. The resulting series of photographs at clubs and parties have been assembled in an expansive exhibition at the Museum of Contemporary Photography, titled Your Blues, that emphasises the fluid crossover between Chicago’s music genres.
As Art Director of London music magazine The Wire (2005–2008), James Goggin was a regular commissioner of Schmelling’s photography, and the collaboration was continued here with the photographer and Practise working together on the main MoCP exhibition poster and a 36-page publication with an 8,000 word essay by Chicago musician Tim Kinsella. An additional poster was designed for Yr Blues, a companion concert run in parallel with the exhibition at Chicago’s legendary Empty Bottle, featuring many of the musicians documented in Schmelling’s project, including Cairo Gang, Lucki Eck$, The Funs, and The Drum.
Pictured: Folded 18 × 24 inch poster for Michael Schmelling: Your Blues
Publication: Francis Upritchard’s Monkeys and Sloth, Whitechapel Gallery, London and Garden Press, Chicago
Every year London’s Whitechapel Gallery invites a contemporary artist to create a new work of art that engages children, and the so-called Children’s Commission has in recent years included Jake and Dinos Chapman, Alan Kane, and Simon and Tom Bloor. To accompany the 2014 commission of London-based New Zealand artist Francis Upritchard, Practise partners Shan James and James Goggin have launched their new children’s book publishing imprint, Garden Press, by editing and designing an artist’s book that gathers a number of Upritchard’s monkey sculptures (and one sloth).
The resulting co-publication with Whitechapel, printed and bound in a children’s board book format, is titled Francis Upritchard’s Monkeys and Sloth and available directly from Garden Press ($20, email to order — online shop opening soon), as well as the Whitechapel Gallery Shop.
Pictured: Francis Upritchard’s Monkeys and Sloth board book
Poster: Phantoms in the Dirt, Museum of Contemporary Photography, Chicago
Phantoms in the Dirt, an exhibition at Chicago’s Museum of Contemporary Photography (MoCP) guest-curated by Museum of Contemporary Art Chicago curator Karsten Lund, surveys a range of artists who reckon with the facts of matter, the nature of photographic imagery, and the forces (sometimes invisible) that leave their mark on our surroundings. Their work is often both matter-of-fact and mysterious, an empirical approach that gives way to atmospheric or inscrutable results. Appropriately, James Goggin’s poster design (and upcoming exhibition catalogue, to be published in early September 2014) employs a newly-digitised interpretation of British designer Edward Wright’s Flaxman typeface, known for its rotating role on the New Scotland Yard sign outside London’s Metropolitan Police headquarters (said to be the second most photographed location in London after Buckingham Palace).
Pictured: Folded 18 × 24 inch poster/mailer for Phantoms in the Dirt featuring Shannon Ebner’s Untitled Blank No. 3, 2008, courtesy of the artist and Wallspace, New York
Poster: A Loop in the Lake, AIGA Chicago
In honour of AIGA’s centennial this year, AIGA Chicago asked 100 Chicago designers to each make a visual response to the question “What does design in Chicago mean to you?”. The resulting 100 posters were displayed at the This is Chicago event on June 12th. James Goggin’s answer is pictured above and described below:
“As I pondered AIGA Chicago’s request for a poster that answered the question ‘What does design in Chicago mean to you?’, two great printed works sprung to mind: one modernist, one post-modernist. In my response, John Massey’s famous 1965 Chicago Has a Great Lake poster for the Container Corporation becomes a field where Stanley Tigerman’s infamous 1978 Titanic protest against modernist orthodoxy—a photomontage proposal to sink Mies van der Rohe’s great building in Lake Michigan—is itself thrown back into the “great lake”, continuing the action/reaction loop upon which Chicago is built. The name of my resulting collage is a verbal riff on another favourite Chicago work of mine, John Cage’s A Dip in the Lake. Hence the repentant subtitle regarding all concerned: “Apologies to John, John, Stanley, and Mies”.
Pictured: James Goggin, A Loop in the Lake (Apologies to John, John, Stanley, and Mies), 2014, Collage, 24 × 36 in, AIGA Chicago
Poster: Grow Up Chicago!, City of Chicago
Shan James and James Goggin have collaborated on a poster for the City of Chicago promoting the city’s Sustainable Chicago 2015 initiative, responding to a call for designs to bring the city’s motto, “Urbs in Horto” (Latin for “City in a Garden”), to life. The poster is one of several designs now installed around Chicago on official city poster sites and bus shelters. In their poster, SJ’s flower illustrations are combined with a paper-cut skyline by JG, punctuated by the admittedly provocative, yet ultimately affirmative call: “Grow Up Chicago!”.
A decription, and rationale for the slightly contentious headline, accompanied the poster design: “Our city’s long-held motto ‘Urbs in Horto’ is a typically bold and contrary Chicago manifesto. Forget the nice yet tame idea of a garden in a city: we’re talking about a City in a Garden! As we all know, growth is a recurring theme in Chicago’s history. The radical modernist rise from the ashes of the great fire paralleled city and citizen campaigns for the creation and protection of green spaces. From Burnham, Olmsted, and Jensen on, building boom stimulated landscape bloom. With the Sustainable Chicago 2015 initiative, we imagine Chicago as a sustainable city of the future with a collective natural skyline rising from the plains in symbiosis with the architectural. Our rallying cry mirrors that of the ambitious post-1871 urban planners: Grow Up Chicago!”.
Pictured: Shan James and James Goggin’s Grow Up Chicago! poster on the corner of California and Diversey in the city’s Logan Square neighbourhood
Publication: Front Room: Artists’ Projects at the Contemporary Art Museum St. Louis 2008–2013, Contemporary Art Museum St. Louis
The newly-released publication Front Room surveys the first five years of a renowned project space at the Contemporary Art Museum St. Louis (CAM), with photographs and entries on every project during that time, over 80 in total. Presenting exhibitions and performances in a dedicated gallery as well as in various public spaces throughout the Museum, the Front Room operates on an accelerated schedule, with each installment lasting anywhere from several days to a month. This ambitious series is designed for nimble and experimental programming, pushing the boundaries of what the museum exhibition can be. Since its inception in 2008, the Front Room has featured a prescient and bold selection of established and emerging artists from all over the world, many in their first solo exhibition in an American museum.
The publication is designed by James Goggin and Shan James at Practise, together with Scott Reinhard, and features essays by Anthony Huberman (CAM Chief Curator 2007–10, now Director of CCA Wattis) and CAM Assistant Curator Kelly Shindler. Front Room is published by CAM St. Louis with distribution by Artbook | DAP.
Pictured: Front Room front and back covers
Poster: “Let’s Do Something Impossible”, Chicago Design Museum
Following a number of significant but temporary pop-up iterations, initially in Phoenix, then the past two summers in Chicago (first Humboldt Park, then in the Loop), the Chicago Design Museum is making a permanent move: a gallery and archive open to the public year-round in downtown Chicago. To enable the first exhibition to take place this summer, a Kickstarter campaign has been launched by the museum’s Executive Director, Tanner Woodford. In support of the initiative, James Goggin has contributed a poster design, along with five other international designers (Chuck Anderson, Marian Bantjes, Mike McQuade, Debbie Millman, and Michael C. Place), with the museum campaign’s theme of “Let’s Do Something Impossible” as a limited edition print reward for any backers of $50 or more. Visit the Kickstarter campaign page to support this bold initiative and make it possible.
Pictured: “Let’s Do Something Impossible” poster by James Goggin for the Chicago Design Museum summer 2014 campaign
Poster: IIT Architecture Chicago Spring 2014, Illinois Institute of Technology, College of Architecture
James Goggin designed a spring program and lecture series poster for the College of Architecture at Chicago’s Illinois Institute of Technology. The 24 × 32 inch (610 × 812 mm) poster folds as a self-mailer and is printed four colour offset with coarsely-screened fluorescent blue, pink, and yellow replacing traditional process cyan, magenta, yellow.
Pictured: Unfolded IIT Architecture Spring 2014 poster printed by Classic Color
Exhibition: All Possible Futures, SOMArts Cultural Center, San Francisco, January 14–February 13, 2014
Curated by designer Jon Sueda, All Possible Futures explores speculative work by contemporary graphic designers, from commissioned projects to failed proposals, from sketches to workshops. James Goggin’s experimental print-on-demand project with Hochschule Darmstadt, Dear Lulu (plus further iterations Dear Blurb and Dear MagCloud), and children’s educational project “Moiré Workshop” are featured, alongside work by Åbäke, Dexter Sinister, Experimental Jetset, Na Kim, Jürg Lehni, Karel Martens, Metahaven, Karl Nawrot, and Sulki and Min, among others.
Pictured: Moiré Workshop installation at SOMArts, San Francisco (Photo: Jon Sueda)
Tote Bag: Rands, Dominica and New Documents, LA Art Book Fair
To coincide with this evening’s LA Art Book Fair launch of Belvedere, a new book of photographs surveying the Mackinac Center for Public Policy (an American non-profit free market think tank in Midland, Michigan) by Chicago artist David Hartt and designed by James Goggin, a collaboration between JG and the artist has also been made in a limited edition. The Rands bag, produced by the publishers Dominica and New Documents, provides a helpful primer of 20th century libertarian capitalism on the appropriate, charged medium of a tote bag: “Ayn Rand, Rand Paul, Paul Rand, Rand Corporation” typeset in Beton Bold on IBM “Big Blue” cotton.
Pictured: Rands tote by James Goggin and David Hartt
Publication: Lari Pittman: A Decorated Chronology, Contemporary Art Museum St. Louis
A Decorated Chronology is a new publication documenting the first American museum exhibition of Los Angeles–based artist Lari Pittman in more than 15 years, shown at CAM St. Louis between May and August 2013. Comprising thirty large-scale paintings and a twenty-four-part works on paper series, the publication parallels the exhibition, featuring newer work from the mid-2000s to the present. In addition, a number of seminal earlier works, essential for understanding the trajectory of Pittman’s practice, also figure prominently. Over the past three decades, Pittman has developed a body of work that is internationally celebrated for its exuberant use of colour and painstakingly rendered detail to address such contentious subjects as sexuality, desire, and violence. His multilayered depictions of images and signs—ranging from human figures and body parts to animals, plants, furniture, text, and even credit cards—meditate on the overwhelming richness and sadness of everyday life.
The catalogue was designed by James Goggin and includes a critical essay by CAM Associate Curator Kelly Shindler along with a lively conversation between ICA Boston Chief Curator Helen Molesworth and the artist. A Decorated Chronology is published by CAM St. Louis with distribution by Artbook | DAP.
Pictured: Front and back covers of A Decorated Chronology
Poster: Third Ward TX, Black Cinema House, Chicago
The film series Image, Building, Object: Exploring Architecture & Design on Film, curated by Michael Graham (Director, Balloon Contemporary), Tim Parsons (Associate Professor, Designed Objects, School of the Art Institute of Chicago), and independent designer Casey Lurie in partnership with Black Cinema House, presents the final screening of the season, independent filmmaker Andrew Garrison’s Third Ward TX.
Garrison’s documentary tells the story of how Project Row Houses, a successful public art program founded by local artists in inner-city Houston’s historically African-American neighborhood, Third Ward, used the tools of design, art and architecture to transform two blocks of “shotgun” houses reminiscent of New Orleans and other Black communities across the South into exhibition space, classrooms, gardens, and residential space. But their success in reducing crime, and making their “campus” a magnet for art enthusiasts, families, and local residents, also attracted deep-pocket real estate developers.
Pictured: Riso stencil-printed tabloid 11×17 inch Third Ward TX poster by James Goggin, printed by Working Knowledge
Publication: The Way of the Shovel: On the Archaeological Imaginary in Art, Museum of Contemporary Art Chicago and University of Chicago Press
In 2009 the Belgian curator Dieter Roelstraete (then based at MuHKA in Antwerp, now Senior Curator at MCA Chicago) wrote what has since become an influential essay for e-flux journal, titled “The Way of the Shovel”. Roelstraete opened by quoting Walter Benjamin: “He who seeks to approach his own buried past must conduct himself like a man digging.” The historiographic turn outlined in Shovel was expanded upon in a further e-flux article, “After the Historiographic Turn: Current Findings” and has now continued to evolve into a fully-formed exhibition, The Way of the Shovel: Art as Archaeology, opening today at MCA Chicago. With the exhibition, Roelstraete reimagines the art world as an alternative “History Channel”, tracing the interest in history, archaeology, and archival research that defines some of the most highly regarded art of the last decade. Consisting almost entirely of work produced after the year 2000, the activities and preoccupations of such artists as Phil Collins, Moyra Davey, Tacita Dean, Stan Douglas, Joachim Koester, Deimantas Narkevičius, Anri Sala, Hito Steyerl, and Ana Torfs are explored and displayed.
An accompanying catalogue, given the original full title The Way of the Shovel: On the Archaeological Imaginary in Art, has been copublished by MCA Chicago and University of Chicago Press and designed by James Goggin and Scott Reinhard. In addition to an opening essay by Roelstraete mapping the contemporary field’s critical terrain, the publication features writing by Ian Alden Russell exploring the roots of archaeology and its manifestations in twentieth-century art, Bill Brown examining artistic practices that involve historical artifacts and archival material, Sophie Berrebi critiquing the “document” as seen in art after the 1960s, and Diedrich Diederichsen on the monumentalization of history in European art, along with statements from artists Moyra Davey, Rebecca Keller, Joachim Koester, Hito Steyerl, and Zin Taylor.
Among the ten typefaces deftly and deliberately cast in various roles throughout the book, from Edward Johnston’s 1916 London Underground classic through Oswald Cooper’s “Old Style” to German cartographic oddity Römisch, JG worked on the first digitisation of the hot metal bindery type used by the Conservation department of Chicago’s Newberry Library, “Newberry Detterer” (see page two of this “One Hundred Years of Conservation Documentation at the Newberry Library” PDF for more details). Discovered by JG, SR, and DR during a Newberry field trip to kick off the book, the library’s Rare Books Curator and John M. Wing Foundation on the History of Printing Custodian Paul Gehl described the type’s history, designed in 1934 for consistent stamping of the Newberry’s bound volume titles and call numbers by Chicago calligrapher, typographer, and (as a predecessor to Gehl) Newberry History of Printing Foundation Custodian, Ernst F. Detterer. As a side note, Detterer took lettering classes taught by the aforementioned Edward Johnston at the Pennsylvania Museum and School of Industrial Art during his education in the late 1910s.
Appropriately enough for an exhibition and publication concerning artists raiding the archives, original drawings by Detterer were unearthed from the Newberry’s collection, augmented by a new specimen of the typeface’s caps-only glyphs, numbers, and punctuation beautifully pressed for us by Newberry Conservation Technician Virginia Meredith. The newly digitised font will be gifted back to the Newberry, in recognition of and gratitude to Gehl, the Conservation staff, and the institution’s ongoing inspiration and support.
Pictured: Spine (with drawing of Mark Dion’s shovel by the artist himself, foil stamped into heavy duty library-standard acrylic-coated buckram) and cover of The Way of the Shovel, featuring Newberry Detterer type blocked across Jean-Luc Moulène’s Orant from Le Monde, Le Louvre, 2005
Panel: Archizines Live, Public Works Gallery, Chicago, 18:00, Saturday 19 October 2013
Public Works Gallery is hosting the Chicago edition of Archizines, an international touring exhibition curated by Elias Redstone and initiated in collaboration with the Architectural Association, featuring 80 architecture magazines, fanzines, and journals from over twenty countries that provide an alternative to the established architectural press. A series of events took place to accompany, and expand on, the exhibition’s theme of publishing as platform for commentary, criticism, and research into the practice of architecture. Following a September discussion moderated by Kyle May (CLOG, New York) featuring Iker Gil (MAS Context, Chicago), Sofia Leiby (Chicago Artist Writers), and Brandon Biederman (Fresh Meat, Chicago), October’s panel was moderated by James Goggin and featured Ludovico Centis (San Rocco, Milan), Dylan Fracareta (PIN-UP, New York), and Matthew Harlan (SOILED). A live sound installation by THE DRUM followed the discussion.
Pictured: Panel and crowd at Archizines Live, Public Works, Chicago (Photo: Public Works)
Poster: Remembering Maarten Van Severen, Black Cinema House, Chicago
The film series Image, Building, Object: Exploring Architecture & Design on Film, curated by Michael Graham (Director, Balloon Contemporary), Tim Parsons (Associate Professor, Designed Objects, School of the Art Institute of Chicago), and independent designer Casey Lurie in partnership with Black Cinema House, presents an afternoon of film screenings and excerpts on the late, great Belgian furniture designer Maarten Van Severen.
His life cut short by cancer at the age of 48, Van Severen left behind an extraordinary collection of furniture and several important architectural projects. The designer devoted himself to the rigorous exploration of basic furniture typologies and in the process developed a formal language of uncompromising simplicity and beauty. Screenings include Terenja Van Dijk’s 2005 short film Works, Maarten van Severen and a Pain Perdu-produced film, The .03 Chair, on the gestation of Van Severen’s most famous chair over a decade from the designer’s workshop to mass-production by Vitra.
Pictured: Riso stencil-printed tabloid 11×17 inch Remembering Maarten Van Severen poster by James Goggin, printed by Working Knowledge
Album: Momus, Bambi (American Patchwork)
The latest album by the peripatetic (currently Osaka-based) Scottish musician, writer, and artist Momus, titled Bambi, has just been released on the artist’s American Patchwork imprint and distributed by Darla, with a cover designed by James Goggin and an illustration by the Barcelona-based illustrator Miju Lee.
The cover artwork features a new typeface designed by JG, titled “São Paulo Shimbun”, based on the masthead typography of a São Paulo Nikkei-Brazilian community newspaper of the same name. Momus discovered a copy of the paper at the Center for Overseas Migration and Cultural Interaction in Kobe, and, like JG, admired the odd rough handmade geometry of the masthead, remarking in a 2011 blog post: “I want someone to make a typeface based on that masthead so I can use it for a future album cover.” So JG did.
A new full upper- and lowercase plus numerical character set was designed (as described in a recent post on Momus’s blog), extrapolating glyphs from the few characters present in the words “São Paulo Shimbun”. Album tracklisting, catalogue number, and barcode were relegated to the Digipak’s interior and spine, allowing for the back cover to boldly state “Momus Bambi” without any of the credits, copyright, and distribution info that usually mess up album back covers. The front simply features Miju Lee’s illustration unadorned by any title typography, the character silenced (or indeed its gaze rendered more forceful) by a deliberate crop of the mouth.
Pictured: Momus Bambi Digipak front and back covers, and interior credits, tray, and CD artwork
Poster: Citizen Architect, Black Cinema House, Chicago
As part of the ongoing film series Image, Building, Object: Exploring Architecture & Design on Film, curated by Michael Graham (Director, Balloon Contemporary), Tim Parsons (Associate Professor, Designed Objects, School of the Art Institute of Chicago), and independent designer Casey Lurie in partnership with Black Cinema House, there will be a screening of Sam Wainwright Douglas’s 2010 documentary film Citizen Architect: Samuel Mockbee and the Spirit of Rural Studio on Saturday, September 28 at 6pm, followed by a discussion with Rural Studio alumnus Daniel Splaingard.
Hale County, Alabama is home to some of the most impoverished communities in the United States of America. It is also home to Auburn University’s Rural Studio, one of the most prolific and inspirational design-build outreach programs ever established. Citizen Architect is a documentary film chronicling the late Samuel Mockbee, artist, architect, educator and founder of the Rural Studio. Mockbee’s words and the students’ experiences are supplemented with perspectives from other architects and designers who share praise and criticism of the Rural Studio, including Peter Eisenman, Michael Rotondi, Cameron Sinclair, Steve Badanes, and Hank Louis. Their dialogue infuses the film with a larger discussion of architecture’s role in issues of poverty, class, race, education, social change and citizenship.
Pictured: Riso stencil-printed tabloid 11×17 inch Citizen Architect poster by James Goggin, printed by Working Knowledge
Poster: Herman’s House, Black Cinema House, Chicago
As part of the ongoing film series Image, Building, Object: Exploring Architecture & Design on Film, curated by Michael Graham (Director, Balloon Contemporary), Tim Parsons (Associate Professor, Designed Objects, School of the Art Institute of Chicago), and independent designer Casey Lurie in partnership with Black Cinema House, artist Sara Ross (Coordinator, Prison and Neighborhood Arts Project) will present a screening of writer/director Angad Bhalla’s 2013 documentary film Herman’s House on Saturday, August 3 at 6pm.
In 1972, New Orleans native Herman Joshua Wallace (b. 1941) was serving a 25-year sentence for bank robbery when he was accused of murdering an Angola Prison guard and thrown into solitary confinement. Many believed him wrongfully convicted. Appeals were made but Herman remained in jail and—to increasingly widespread outrage—in solitary. In 2003 artist Jackie Sumell asked Herman a question: “what kind of house does a man who has lived in a 6 × 9 box for over 30 years dream of?” The answer turned into a remarkable project called The House That Herman Built, which has been exhibited in over a dozen countries. Writer/director Angad Bhalla’s documentary explores the injustice of solitary confinement and the transformative power of art, following the unlikely friendship between a New York artist and one of America’s most famous inmates as they collaborate on an acclaimed art project interrogating US justice and punishment.
Pictured: Riso stencil-printed tabloid 11×17 inch Herman’s House poster by James Goggin, printed by Working Knowledge
Poster, presentation: Somewhere to Haunt: Patrick Keiller’s British Psychogeographic Cinema, Black Cinema House, Chicago, 18:00, Saturday 20 July 2013
Somewhere to Haunt is part of the ongoing film series Image, Building, Object: Exploring Architecture & Design on Film, curated by Michael Graham (Director, Balloon Contemporary), Tim Parsons (Associate Professor, Designed Objects, School of the Art Institute of Chicago), and independent designer Casey Lurie in partnership with Black Cinema House.
Saturday’s event will be presented by James Goggin, featuring excerpts of British filmmaker and architect Patrick Keiller’s literary documentaries London (1994) and Robinson in Space (1997), a brief introductory exploration of such related references as the films of Adam Curtis; the urgency and legitimacy of bad typography; the difference between “land” and “place”; and the zoology of corporate identities as seen “in the wild”, along with a screening of Keiller’s last chapter in the Robinson trilogy, Robinson in Ruins (2010).
Pictured: Riso stencil-printed tabloid 11×17 inch Somewhere to Haunt poster by JG, printed by Working Knowledge
AIGA 50 Books/50 Covers 2012
The 2012 publications This Will Have Been: Art, Love & Politics in the 1980s (designed by James Goggin and Scott Reinhard, published by the Museum of Contemporary Art Chicago and Yale University Press), and Rashid Johnson: Message to Our Folks (designed by James Goggin and Alfredo Ruiz, published by MCA Chicago and Artbook D.A.P.), have both been named winners in the ‘50 Books’ category of the American Institute of Graphic Arts and Design Observer’s annual 50 Books/50 Covers Competition.
Pictured: Interior section title spread from This Will Have Been: Art, Love & Politics in the 1980s
Poster: Radical Speculation: Design as Film, Black Cinema House, Chicago, 20:00, Saturday 29 June 2013
Radical Speculation: Design as Film is part of the ongoing film series Image, Building, Object: Exploring Architecture & Design on Film, curated by Michael Graham (Director, Balloon Contemporary), Tim Parsons (Associate Professor, Designed Objects, School of the Art Institute of Chicago), and independent designer Casey Lurie in partnership with Black Cinema House. Saturday’s event will feature screenings of films by designers Dunne & Raby, Ilona Gaynor, Onkar Kular, and Noam Toran.
The series aims to demystify the process of how objects, furniture, and buildings come into existence and simultaneously reveal how designers and architects have used film as a medium for expression and experimentation. Future events include screenings of Herman’s House, documenting the relationship between an artist and a prisoner serving a life sentence in solitary confinement; and a set of films about the Belgian furniture designer Maarten van Severen. Each event is introduced by an artist, architect, or designer, and on occasion the filmmakers themselves.
Black Cinema House is a cultural centre on Chicago’s South Side dedicated to screening and discussing Black films, along with teaching local youth about film and hosting a range of film series and events. The centre is one of several established or in progress projects initiated by the Rebuild Foundation, a non-profit cultural urban redevelopment organisation established by Chicago artist Theaster Gates. A recent article by Mark Godfrey for Frieze magazine covering Gates’s artistic practice and urban planning projects, including Black Cinema House, is worth reading.
A small run of stencil-printed posters designed by James Goggin and printed by Christopher Roeleveld at Working Knowledge will be produced for each event, the first of which is shown above. JG will also participate in the series, presenting a selection of films by British filmmaker and writer Patrick Keiller for the July 20 event Somewhere to Haunt.
Pictured: Riso stencil-printed tabloid 11×17 inch Radical Speculation poster by JG, printed by Working Knowledge
Chicago-based Canadian artist David Hartt’s Stray Light project, comprising colour photographs, sculptures, and a video installation, is a study of the 1971 Johnson Publishing Company headquarters in Chicago (home of Ebony and Jet magazines among others, along with Fashion Fair Cosmetics), designed by the African American architect John Moutoussamy, who studied under Mies van der Rohe at the Illinois Institute of Technology College of Architecture. The building was the first in Chicago’s Loop to be designed and owned by African Americans, a modernist masterpiece that in 1980 the Washington Post called “practically a monument—sometimes an ostentatious one—to black success.”
Stray Light was first shown at the Museum of Contemporary Art Chicago as part of their MCA Screen exhibition series and after its current run at the Studio Museum Harlem will continue to the Henry Art Gallery in Seattle and the Carnegie Museum of Art in Pittsburgh. The project has ended up serving as an unexpected final documentation of the Johnson Publishing Company headquarters: not long after the artist completed his project, JPC announced it was selling its building to Columbia College Chicago and moving a few blocks north along Michigan Avenue. Columbia promises to preserve and restore the building, the first seven floors of which will be used as a library, in addition to housing Columbia’s Center for Black Music Research. Lee Bey, architecture blogger at Chicago NPR station WBEZ, explored the building earlier this year in its post-JPC, pre-Columbia College state.
To document Hartt’s project, a new publication, also titled Stray Light, has been designed by James Goggin and produced with Columbia College Chicago Press and the Museum of Contemporary Photography, Chicago. The 116pp catalogue includes a wide selection of stills from Hartt’s video (which, in its original installation setting, features a soundtrack by Chicago composer and flutist Nicole Mitchell), an interview with the artist and Darby English (Associate Professor of Art History at the University of Chicago), and reproductions of 14 photographs from the project. Stray Light is distributed by University of Chicago Press and available from the Museum of Contemporary Photography.
Pictured: Detail of Stray Light’s cover, with white foil stamped title typography and original blueprint drawings of the JPC headquarters by architectural firm Dubin, Dubin, Black & Moutoussamy silkscreened onto Brillianta cloth
On the occasion of an exhibition of a major new multi-part sculpture by Scottish artist Karla Black at ICA Philadelphia, James Goggin was invited by ICA Program Curator Alex Klein and Assistant Curator Kate Kraczon to deliver a new edition of his ongoing, continually evolving lecture project ‘Pop Culture Colour Theory’ which—in parallel with Black’s transcendental transformations of such everyday materials as chalk, bath bombs, powder, plaster, and cellophane—explores humankind’s attempts at codifying and commodifying the ethereal and infinite intangibility of colour.
The lecture will be followed by an improvisational performance by Philadelphia harpist Mary Lattimore and engineer/producer/musician Jeff Zeigler (also of Philadelphia dream-pop/ambient/shoegaze band Arc in Round).
Publication: David Hartt, for everyone a garden, Corbett vs. Dempsey, Chicago (Exhibition on view 5 April–11 May 2013)
for everyone a garden, Chicago-based Canadian artist David Hartt’s first exhibition at Chicago gallery Corbett vs. Dempsey, features three large glass sculptures, a diptych based on two of his drawings, a painted wall and a single photograph, collectively expanding on Hartt’s research into the relationship between the built environment and ideology. The title references a 1974 publication by Israeli/Canadian architect Moshe Safdie (best known for his Habitat 67 metabolist housing complex in Montréal).
Accompanying the exhibition is a 60pp publication, also titled for everyone a garden, designed by James Goggin, featuring photography by Hartt, documentation of the exhibition’s glass sculptures in production, and an essay by John Corbett. The publication’s design, in a UV-coated perfect-bound magazine format, is the result of a collaborative exchange of references and ideas between the designer and the artist, taking in Swiss office furniture company USM, 1970s Québec counterculture journal Mainmise, Montréal architect/artist François Dallegret, French architect Jean-Louis Chanéac, and 1960/70s public transport system design, among other sources of inspiration.
Pictured: Detail view of David Hartt’s Mutirão III, 2013, composed of a USM table, nine hand-blown glass sculptures, a “New Man” neon sign, and an open copy of the magazine publication included as an intrinsic part of the installation. (Courtesy of the artist and Corbett vs. Dempsey, Chicago. Photograph by Tom Van Eynde)
The MIT List Visual Arts Center (Cambridge, MA) and MCA Chicago present Amalia Pica, the artist’s first major solo museum exhibition in the United States, curated by João Ribas (MIT List) and Julie Rodrigues Widholm (MCA Chicago). The exhibition provides an in-depth look at the last ten years of this London-based, Argentinian artist’s work and is accompanied by a new catalogue, Amalia Pica, designed by James Goggin and Scott Reinhard.
The publication is the fourth in the MCA Monographs series co-published with Artbook|DAP. Edited by MCA Director of Publications Kate Steinmann with MCA Editorial Assistant Molly Zimmerman-Feeley and Consulting Editor Lisa Meyerowitz, the catalogue features an interview between the artist and the curators, along with essays by Ana Teixeira Pinto and Tirdad Zolghadr. It is now available from the MCA Chicago Store and will be released by Artbook|DAP for general distribution on 30 April 2013.
Pictured: Detail of the catalogue’s transparent yellow dustjacket and back cover, showing Pica’s Eavesdropper, 2011
Publication: Goshka Macuga, Exhibit, A, Museum of Contemporary Art Chicago, 15 December 2012–7 April 2013
On the occasion of the first survey exhibition of work by Polish-born, London-based artist Goshka Macuga, MCA Chicago has released a new catalogue, Goshka Macuga: Exhibit, A, designed by James Goggin and Alfredo Ruiz as part of the MCA Monographs series co-published with Artbook|DAP. The catalogue, edited by MCA Senior Curator Dieter Roelstraete with essays by Roelstraete, Adam Szymczyk, Grant Watson, and Goshka Macuga, is now available from the MCA Chicago Store and will be released by Artbook|DAP for general distribution on 31 January 2013.
Pictured: Detail from Dieter Roelstraete’s essay ‘Untangling: Making Sense of Goshka Macuga’
AIGA 50 Books/50 Covers
Museum of Contemporary Art Chicago’s publication The Language of Less: Then and Now, designed by James Goggin and Alfredo Ruiz, has been nominated and selected for the American Institute of Graphic Arts’s annual 50 Books/50 Covers Competition in the ‘50 Books’ category.
Pictured: Detail of The Language of Less’s die-cut and debossed cover
Society of Typographic Arts: Chicago Design Archive
The Museum of Contemporary Art Chicago publications Rashid Johnson: Message to our Folks, designed by James Goggin and Alfredo Ruiz, and This Will Have Been: Art, Love & Politics in the 1980s, designed by James Goggin and Scott Reinhard, have been selected for inclusion in the Chicago Design Archive by a jury convened by the Society of Typographic Arts.
James Goggin will explore the evolving definition of and possibilities for identity in graphic design, from an ongoing questioning of cultural identity since his peripatetic childhood, to a current interest in institutional identity with his work in progress at the Museum of Contemporary Art Chicago. An argument for identity as a critical and speculative platform will be made with illustrated case studies in contemporary art and architecture from his design practice in the UK and the Netherlands, alongside current design and publishing at MCA Chicago and a recent exhibition project in France involving an identity which questions the very need for identities.
Pictured: James Goggin, Passport Photo Colour Test, Rainbo Club, Chicago, November 30, 2011
Workshop: Reading Inglewood, MFA Graphic Design, Otis College of Art and Design, Los Angeles, 11–15 June 2012
On the invitation of Department Chair Kali Nikitas, James Goggin was a Visiting Artist during the annual MFA Graphic Design ‘Design Week’ at Otis, running a workshop alongside fellow visiting artist Hugo Puttaert (Belgium) exploring and analysing the neighbouring city of Inglewood with students from Otis, University of Art and Design Karlsruhe, and Werkplaats Typografie, as well as Otis faculty Yasmin Khan, Davey Whitcraft, and Hazel Mandujano. (The workshop assignment PDF can be accessed here)
The week concluded with a presentation of projects documenting and participating with Inglewood and its residents, and a one-day symposium with lectures by JG and HP along with Ludovic Balland, Peter Biľak, Jan en Randoald, Florian Pfeffer, Hansje van Halem, and Boy Vereecken. The workshop assignment is available as a PDF download.
Pictured: Workshop final presentation, including Moderate Area sign produced with a local signwriter in Inglewood by Mathew Whittington
Exhibition: Confusion, International Graphic Design and Poster Festival, Chaumont, France, 26 May–10 June, 2012
The third, and largest, project by James Goggin taking place at this year’s Chaumont festival is an audio-visual installation in the exhibition White Noise: Quand le graphisme fait du bruit, which explores the relationship between music and graphic design with work by designers Experimental Jetset, Moniker, Shoboshobo, and Laurent Fétis, as well as an incredible rare survey of work by seminal British designer Barney Bubbles selected by British journalist and author Paul Gorman.
For the exhibition, JG was commissioned to design the identity and (with curators Étienne Hervy and Sophie Demay) formulate the approach for a conceptual record label titled Confusion. The new label is to operate as a platform not only for music, but for design, art, and such ephemeral phenomena as exhibitions, events, even just ideas. In this vein, the installation itself is actually the sixth official Confusion release, catalogued CNF006, comprising an iPod and speakers playing the Confusion identity manual (a 20-track mp3 album written and produced by JG titled Confusion Manual [CNF002]), several oversized 12-inch record covers including a short essay in the form of physical sleeve notes for the manual, titled Confusion Manual Sleeve Notes [CNF003], and a custom-printed felt turntable slipmat, ‘playing’ on infinite loop for the duration of the exhibition [CNF005].
While it was decided that the Confusion label identity did not necessarily need a logo, let alone a consistent identity in itself (as JG’s Confusion Manual asks, “What kind of self-respecting music label would have an identity manual telling graphic designers what they can and cannot do?”), the cataloguing of each release is marked by a logo-like catalogue stamp which happens to be the very first release from the label, cataloguing itself as CNF001 (visible in the picture above). A new release for 2013, the Confusion website [CNF008], is currently under construction.
Pictured: View of the Confusion installation in Les Subsistances, an old military warehouse in Chaumont
Exhibition: Moving Picture Show, International Graphic Design and Poster Festival, Chaumont, France, 26 May–10 June, 2012
For this year’s Chaumont Festival, Swiss designer / developer / artist Jürg Lehni was invited to take over town’s the opulent 17th century Jesuit Chapel and fill it with laser equipment usually used by the film industry for etching subtitles out of film emulsion, along with a 35mm projector, and a screen spanning the chapel’s apse. JL spent the duration of the festival experimenting with the equipment, reappropriating the precision etching laser by altering its range and replacing the software interface with one that allowed typographic, animated, and drawn experiments to be etched onto existing film stock or black, non-developed film. Participating in the resulting Moving Picture Show exhibition with Jürg were designers Maximage, Karl Nawrot, Jonathan Puckey, and David Reinfurt. Running a student workshop by day (conveniently located in the chapel school next door), James Goggin worked over several nights with JL to make a series of moiré test films exploring the overlap of one optical process (moiré) with another (analogue film projection).
Pictured: Moiré Test by James Goggin and Jürg Lehni (Vimeo)
Workshop: Showmont: Post-Poster Chaumont, International Graphic Design and Poster Festival, Chaumont, France, 28 May–31 May, 2012
James Goggin is involved in a range of activities at the Chaumont Graphic Design and Poster Festival this year including the contribution of an essay (‘A Means to an End of Print’) to the festival catalogue, a collaboration with designer / developer / artist Jürg Lehni, an audio-visual installation in the exhibition White Noise, and first of all, a workshop. For the four days leading up to the festival opening, a programme of student workshops is being run in a variety of locations around the city, by a selection of international designers including Cataloged, Colophon, Pinar & Viola, and SA|M|AEL. JG, together with London-based French graphic designer (and ex-MCA Chicago intern) Carole Courtillé, invited their students to question the role of a two week poster festival in a small French town by exploring the town and asking locals and visiting designers alike: what happens in Chaumont for the other 50 weeks of the year?
Pictured: Workshop in progress at Chaumont’s Collège Camille Saint Saëns
Lecture and workshop: Art Made Visible, MFA Graphic Design, Rhode Island School of Design, Providence, Rhode Island, 4–6 May 2012
As part of RISD’s 2012 Spring Visiting Designers programme (featuring designers Jürg Lehni, Sulki and Min, and Leonardo Sonnoli) James Goggin will give an (optimistic) lecture about the potential for interpretative, speculative, and critical practice in a design, publishing, and new media department at a contemporary art museum. Following the lecture, JG will run a related workshop that takes the current exhibition Spencer Finch: Painting Air at the RISD Museum of Art as its starting point. In this exhibition, Brooklyn-based artist Spencer Finch was given access to the RISD Museum collection, from which he curated a selection of more than 60 pieces—ancient objects to 20th century art—in thematic groupings. The students are asked to take a similar approach, in dialogue with the museum, to make connections between a subjective selection of works in the museum and produce a final project in an appropriate medium that interprets the connected works in a meaningful and engaging way for the museum and its visitors.
Pictured: RISD 2012 Spring Visiting Designers poster designed by RISD student Eunmo Kang, as seen on the MFA Graphic Design noticeboard
Workshop: Risograph Print Test, 2D Design graduate department, Cranbrook Academy of Art, Bloomfield Hills, Michigan, 2–4 April, 2012
James Goggin and MCA Chicago Senior Designer Scott Reinhard were invited by Cranbrook graduate Haynes Riley and designer-in-residence Elliott Earls to work with students in the 2D Design graduate department and share the MCA design department’s experience with the museum’s in-house Riso MZ 1090U stencil printer and kickstart printing and publishing with Cranbrook’s newly-acquired Riso MZ 790U stencil printer. A combination test print book and manual was produced in the course of three days (and nights) for both current and future students to use and reference.
Pictured: Late-night test book collation production line with Elliot Earls and students on the workshop’s final evening
Exhibition: Rethinking Typologies: Architecture and Design from the Permanent Collection, Art Institute of Chicago, 3 March–29 July, 2012
The entire File Notes series, over 80 exhibition booklets designed for Camden Arts Centre by James Goggin and Sara De Bondt since 2004, has been acquired for the Art Institute of Chicago’s permanent collection. A selection of the File Notes are currently on view in the exhibition Rethinking Typologies, curated by Zoë Ryan (John H. Bryan Chair and Curator of Architecture and Design), Alison Fisher (Harold and Margot Schiff Assistant Curator of Architecture), and Mia Khimm (Rhoades Curatorial Intern), featuring work from the collection by designers and architects including Stan Allen, Jeanne Gang, Aaron Koblin, Christien Meindertsma, and Casey Reas.
Pictured: File Notes on display in the Modern Wing at the Art Institute of Chicago with Path B by Casey Reas for Maharam in the background
Workshop: Moiré Workshop, Baker Demonstration School, Evanston, Illinois, 9 March, 2012
Last Friday morning, James Goggin and Shan James visited class 1B at Baker Demonstration School in Evanston for JG to present an abridged version of his Pop Culture Colour Theory lecture followed by a Moiré Workshop. The first grade students produced moiré interference patterns by moving acetate sheets printed with line, circle, and dot patterns over lightboxes, and experimented with chromatic mixing by overlaying coloured transparencies. After finishing off the morning by making colour and pattern badges with SJ, it was snack time.
Pictured: Video of classroom moiré and colour lightbox experiments (Vimeo)
Publication: This Will Have Been: Art, Love & Politics in the 1980s, Museum of Contemporary Art Chicago, 11 February–3 June 2012
On the occasion of curator Helen Molesworth’s survey of art from the period 1979–1992 (from Punk to Clinton), MCA Chicago has produced a comprehensive catalogue, This Will Have Been: Art, Love & Politics in the 1980s, designed by James Goggin and Scott Reinhard, co-published with Yale University Press. The catalogue, featuring critical texts by Molesworth, Johanna Burton, William Horrigan, Elisabeth Lebovici, Kobena Mercer, Sarah Schulman, and Frazer Ward, is now available from the MCA Chicago Store and from Yale.
Pictured: This Will Have Been’s screen printed cloth cover, with black painted fore edges and Esprit-inspired colour section thumb indexes
Lecture: Small Things, James Goggin and Tim Parsons (Associate Professor, Designed Objects, School of the Art Institute of Chicago), School of Architecture, UIC (University of Illinois at Chicago), 14:00, Wednesday 16 November, 2011
As part of the UIC School of Architecture's Wednesday Episodes lecture series, Tim Parsons and James Goggin present a collaborative double-screen lecture spanning their mutual and disparate interests, including musings and digressions on the Moulton bicycle, architectural theorist Reyner Banham, American architypes, Adhocism, the readymade, art & architecture, Brutalism, group portraits, Italian design, the supposed dichotomy of art and design, and teaching.
Pictured: UIC Architecture and Art building, Walter Netsch (Skidmore, Owings & Merrill), 1967
Exhibition: Graphic Design: Now in Production, Walker Art Center, Minneapolis, 22 October 2011–22 January 2012
Walker Art Center’s ambitious survey of contemporary graphic design, curated by Andrew Blauvelt (Walker Art Center) and Ellen Lupton (Cooper-Hewitt, National Design Museum) among others, features work produced since 2000 by such designers as Dexter Sinister, Experimental Jetset, Graphic Thought Facility, Metahaven, Mevis & van Deursen, Project Projects, and Åbäke. James Goggin’s Dear Lulu print-on-demand calibration student workshop project for Hochschule Darmstadt is on display in its various editions including the newly published Dear MagCloud. The exhibition will continue to New York (Cooper-Hewitt, National Design Museum, Governors Island May 26–September 3, 2012) and Los Angeles (Hammer Museum, September 30, 2012–January 6, 2013) with further venues to be announced.
The exhibition catalogue includes writing by Peter Biľak, Andrew Blauvelt, Rob Giampietro, Ellen Lupton, Daniel van der Velden, and Lorraine Wild among others. JG’s 2009 essay ‘Practice from Everyday Life’, originally written for the 2008 Most Beautiful Swiss Books catalogue, is reprinted in a revised edition.
Pictured: Detail from the Graphic Design: Now in Production exhibition catalogue dust jacket, designed by Andrew Blauvelt and Emmet Byrne, Walker Art Center, 2011
Lecture: Pop Culture Colour Theory, Golden Age, Chicago, 18:00, Saturday 20 August 2011
James Goggin’s ‘Pop Culture Colour Theory’ lecture is an ongoing, continually evolving project which explores humankind’s attempts at codifying and commodifying colour. From video test patterns to International Klein Blue, the Pantone Matching System to the Homeland Security Advisory System, colour is endlessly refracted by our subjective perception into adaptable economic and semiotic structures.
Pictured: James Goggin, Color Ting, 2011, five-colour Risograph print, 11 × 17 in (279.4 × 431.8 mm), edition of 100 (Available from Golden Age)
Newspaper launch: Section 1, Split Fountain, Auckland, New Zealand, 17:30–19:30, Thursday 25 August, 2011
Split Fountain will launch a newspaper based on the theme ‘Freedom of Speech’ with contributions by Henry Babbage, Emmet Byrne, James Goggin, Fiona Jack, Narrow Gauge, onne terre, Mylinh Trieu Nguyen, We Should Practice and Blaine Western. Printed in an edition of 10,000, standard NZ tabloid size (262 × 380 mm), 12 pages.
Pictured: James Goggin, News International, 2011, web-offset newsprint
Exhibition: We Are Here: Art & Design Out of Context, Museum of Contemporary Art Chicago, 5–31 July, 2011
Each week in July, a different group of Chicago-based artists and designers will occupy a small gallery at MCA Chicago, using it as a factory, publishing house, studio, and print workshop. In doing so, the activities of product design collective Object Design League, artist-run project space Golden Age, designers ⁄ educators Tim Parsons and Jessica Charlesworth, and screen printers Sonnenzimmer will illustrate how the practical becomes performative when placed out of context. Exhibition curated by James Goggin and MCA Chicago Designer Alfredo Ruiz.
Pictured: Golden Age Reference Work, July 12–17, 2011
Lecture: Field Theory, AIGA Chicago, 19:00, Thursday 19 May 2011
Through an exploration of design projects in London, a Dutch workshop in Turkey, brutalist libraries, ‘As Found’ and recent work at the Museum of Contemporary Art Chicago, James Goggin will discuss a design approach based on the research and analysis of each project’s individual dynamic field: the interdependent contents, contexts and histories which lead to distinct, and often contradictory, results.
Pictured: Spread from Robin Hood Gardens Re-Visions (20th Century Society, 2011) showing Alison and Peter Smithson’s 1972 Robin Hood Gardens council housing complex in Poplar, London (Design: James Goggin & Jeremy Jansen)
Lecture: Pop Culture Colour Theory, Split Fountain, Auckland, New Zealand, 19:00, Wednesday 4 May 2011
James Goggin’s ‘Pop Culture Colour Theory’ lecture is an ongoing, continually evolving project which explores humankind’s attempts at codifying and commodifying colour. From video test patterns to International Klein Blue, the Pantone Matching System to the Homeland Security Advisory System, colour is endlessly refracted by our subjective perception into adaptable economic and semiotic structures.
Pictured: SMPTE colour bars (Engineering Guideline EG 1-1990), Al Goldberg, CBS Laboratories, 1970s
James Goggin, Design Director at Museum of Contemporary Art Chicago, lectures at Walker Art Center, Minneapolis. Part of Insights 2011, Walker's annual lecture series partnering with AIGA Minnesota, currently celebrating its 25th anniversary. 19:00, Tuesday 15 March 2011.
Come and participate in the Moiré Workshop! Family Day: “Color Me In Space”, Museum of Contemporary Art Chicago, 11:00–15:00, Saturday 8 January 2011
Pictured: Line, circle and halftone patterned acetate overlaid to produce moiré interference on a lightbox
James Goggin is moving from Werkplaats Typografie and the Netherlands to join the Museum of Contemporary Art Chicago as Design Director. The role will involve the initiation of a new visual identity system for the museum and the implementation of a comprehensive museum design and publishing programme.
Pictured: Arnhem–Chicago Interstate postcard printed on a Ricoh stencil duplicator at Knust in Nijmegen, The Netherlands
Exhibition Design: Tutti a Tavola!, Galleria d’Arte Moderna, Villa Reale di Milano, Milan, Italy, 14 April–9 May 2010
Working in collaboration with David Kohn Architects’s and Change Performing Arts’s exhibition design, a modular signage system has been developed for the opening event of the 2010 Milan Furniture Fair, Tutti a Tavola!, a contemporary exhibition on the importance of the kitchen in Italian family life, set in the C18th neoclassical Villa Reale. A typeface drawn from a C19th universal stencil (with Belgian designer Dries Wiewauters) was modified for variable use with LED Flex Neon for external signage and stencil-cut acrylic set on Light Tape for interiors, materials deliberately chosen for their anachronism with the venue and its permanent collection which remained on view during the temporary exhibition.
Pictured: Flex neon signage on oversized ‘table’ structure by DKA visible through the Galleria d’Arte Moderna’s via Palestro entrance
On the invitation of Norwegian design organisation Grafill and graphic design studio Yokoland, James Goggin will give a lecture at DoGA (Norwegian Centre for Design and Architecture), Oslo on the state of contemporary print-on-demand. To mark the occasion, Dear Kolofon, an updated version the print-on-demand calibration test book Dear Lulu, printed with Norwegian POD publishers Kolofon has been published.
Infinity Duplicated and Scaled, Werkplaats Typografie, Arnhem, The Netherlands
As a contribution to the Werkplaats Typografie magazine, a pantograph (a mechanical linkage enabling a drawing to be duplicated at scale) built by WT participant Dries Wiewauters, and a reproduction 1876 Plaque Découpée Universelle stencil (an ingenious design from which one can draw every number and letter of the alphabet) were used by James Goggin to draw, and simultaneously duplicate and scale by 300%, an infinity symbol.
Pictured: DW’s pantograph, the Plaque Découpée Universelle, and JG’s infinity duplicated in the Speelplaats space at WT