All Printing Is Political: Fredy Perlman and the Detroit Printing Co-op
The founding manifesto of the Detroit Printing Co-op (1969–1985) offered printing facilities and equipment as “social property” to “provide access to all those individuals in the community who desire to express themselves (on a non-profit basis), with charges made only to maintain the print shop.” Revisiting the co-op’s work today, Andrew Blauvelt notes how printing is, and always has been, political.
Art News from Elsewhere
Among nominees for the 59th Grammy Awards is artist Eric Timothy Carlson, who’s up for Best Recording Package for designing the artwork for Bon Iver’s 22, a Million—a release that received a nod of its own, for best Alternative album.
Art News from Elsewhere
Amid outrage over its statement that AIA members “stand ready” to work with the Trump administration, Robert Ivy, CEO of the architects’ group, has issued an apology. The statement—dubbed “tone deaf” by Ivy—sparked the #NotMyAIA hashtag and at least one resignation.
Karel Martens, Joy, and Five Years of P!: An Interview with Prem Krishnamurthy
After five years, P!—a gallery on NYC’s Broome Street—is closing its doors, but not for good: it’ll become a “dispersed institution” that’ll fulfill its mission at various locations, according to founder Prem Krishnamurthy of Project Projects. Here he discusses the space’s exhibition history, the blurry lines between designer and curator, and P!’s concluding show by Dutch designer Karel Martens.
Designing Bon Iver’s 22, a Million: An Interview with Eric Timothy Carlson
Eric Timothy Carlson’s design for Bon Iver’s 22, a Million is less a graphic identity for an album than a documentation of a network of players, places, times, and tools. In conversation with the Walker’s design director, he discusses the intense work sessions with Justin Vernon and others, the numbers that permeate the track list, the midwest music scene’s love of cryptic symbolism, and the Packers.
Avant Museology Symposium: Structure as Identity
Avant Museology is a two-day symposium co-presented by the Walker Art Center, e-flux, and the University of Minnesota Press. Using the newly published book, Avant-Garde Museology as a point-of-entry, the conference will explore artistic practices, sociopolitical contexts, and historical complexities associated with the contemporary museum. We wanted to create an identity that would serve […] Avant…
Modern Nostalgic Fantasies
The following text was originally published in Modern Nostalgic Fantasies, a collection of texts about politics, virtuality, and science-fiction and their relation to a graphic design practice. All texts were written by Raf Rennie during the completion of a two-year MFA in graphic design at Yale University. Rennie is a designer and writer from Toronto, now based in New York. He currently serves as…
Type Designers Q&A: Milieu Grotesque
Milieu Grotesque, established in 2010 by Timo Gaessner and Alexander Colby, is a Zurich-based independent publisher and distributor of typefaces and related products. Milieu Grotesque’s collection of typefaces combine the rigor and precision of a seasoned type foundry with a particular edge that keep their typefaces looking timely and contemporary. One is struck by a feeling of familiarity […] Milieu…
Never Not Learning (Summer-specific)
Still of Mark Harmon, Courtney Thorne-Smith, Fabiana Udenio, Dean Cameron, Kelly Jo Minter, Gary Riley, and Shawnee Smith in Summer School (1987). –––––– Never Not Learning (Summer-specific) is a series of 4 blog posts (to be published here, on The Gradient) reflecting on the (not-so) recent wave of self-initiated graphic design workshops which have been […] Never Not Learning (Summer-specific) is a series of 4 blog posts…