Posts
10.27.2009
10.20.2009
10.14.2009
Frank O'Hara . To The Harbormaster
(O'Hara ,right, talking to Allen Ginsberg, middle, and Vincent Warren, left)
I wanted to be sure to reach you;
though my ship was on the way it got caught
in some moorings. I am always tying up
and then deciding to depart. In storms and
at sunset, with the metallic coils of the tide
around my fathomless arms, I am unable
to understand the forms of my vanity
or I am hard alee with my Polish rudder
in my hand and the sun sinking. To
you I offer my hull and the tattered cordage
of my will. The terrible channels where
the wind drives me against the brown lips
of the reeds are not all behind me. Yet
I trust the sanity of my vessel; and
if it sinks, it may well be in answer
to the reasoning of the eternal voices,
the waves which have kept me from reaching you.
Milton Glaser . Video on Drawing & Essay Entitled : Ambiguity and Truth
MILTON GLASER DRAWS & LECTURES from C. Coy on Vimeo.
Ambiguity & Truth
Brand Identity Conference, AIGA, NYC
June 21, 2004
“Make it clear.” This fundamental assumption of communication would seem to be an attainable goal. Objectify the audience, understand their desires—appeal to their interests, eliminate the extraneous and presto “effective communication.”
Well, maybe not.
Some months ago I came upon a book by Leo Steinberg called the Incessant Last Supper, based on what may be the greatest single work of western painting, Leonardo DaVinci’s Last Supper. I’ve always loved the painting and have been looking at it for over a half-century beginning with a penny print I bought in kindergarten. In 1951, not many years after World War II, I visited it for the first time. It was in terrible shape, covered with mold and dirt and darkened by centuries of wear and bad restoration – Nevertheless the genius that Leonardo had invested in the work showed through and could not be denied. I had occasion to visit Milan frequently because I was doing a lot of work for Olivetti, at that time one of the most progressive of all European industrial concerns. In the eighties they initiated a complete restoration of the painting. Sadly, Olivetti is no longer an extraordinary example of how a corporation could be a good citizen as well as a profitable business, in fact it no longer exists. On one of my visits to Italy, they arranged for me to visit the painting in the process of being restored.
An attractive middle aged matron in a brown business suit was concentrating her attention on the face of Christ, high above the floor on a scaffold that had been constructed next to the painting. I say painting instead of fresco because, as many of you know, the Last Supper was an experiment in using untested pigments and binders that Leonardo was interested in. This is one of the reasons the work has fared so badly since it was first created. Dr. Pinin Brambilla Barcillon, who had the incredible responsibility of restoring the work single handedly, motioned me up the scaffold alongside her, inches away from the head of Christ, the centerpiece of the painting towards which all forms converged – I cannot describe my emotions as I realized the privilege of seeing Leonardo’s work from a vantage point that few will ever have.
The head was a pointillist composition of tiny dots and fragments of color that desolved into an abstraction as you got closer. Dr. Brambilla sat behind an optical instrument that illuminated one square inch of the painting’s surface at a time (a day’s work) as she looked through a magnifying lens – Her primary tools were a scalpel, a cotton swab, soap and water. Layer by layer she was cleaning away the dirt, waxes, varnish and over-painting of centuries. I tried to imagine what might be going through her mind, considering that if she took one extra swipe with her swab, the world’s most precious patch of paint could be irreversibly gone. As it was, only half the original pigment of Christ’s face existed once the various retouchings had been carefully removed. After revealing the real Leonardo fragment Dr. Brambilla would float in a thin neutral film of watercolor around it to unify the image.
As I looked at it, I realized that re-creating the image in the mind, out of the bits and pieces that remain, makes the work even more evocative than it might have been originally, a point I want to get to a bit later. I’ve returned to re-visit the sublime masterpiece at ground level many time since then and I urge all of you to do the same since the painting and the space it defines are unreproducible. The first thing you’ll observe is that your preconceptions about Leonardo’s style are challenged—it is not dark and defined by dramatic chiaroscuro: on the contrary it is more like an impressionist painting full of fragmented cerulean blue, white and pink. Despite all of this I never understood why the work was so compelling until I read Leo Steinberg’s remarkable book.
At this point some of you must be asking “Am I at the right keynote? What does this have to do with marketing or communication?” Bear with me.
The painting is a demonstration of how the brain works and a revelation of how belief conditions our senses of reality. It is not an attempt to illustrate one moment in time. That apparently was too simple for Leonardo. If you approach the work with the idea that it illustrates the words ‘one of you shall betray me’ all the figures in the painting assume poses that clearly respond to those words with shock honor and revulsion. One of the principles of Renaissance communication was that the position of a figure revealed character and emotion.
On the other hand if you shift the message you hold in your mind to the institution of the Eucharist, “Take this and eat: this is my body,” the meaning of the apostles’ gestures change before your eyes in response to this first call to communion. Think of it, two completely separate ideas in two different moments in time being simultaneously conveyed.
click text for rest
http://www.miltonglaser.com/
10.07.2009
ATTENTION PHILADELPHIAN DESIGNERS
Glaser: To Inform and Delight + Visual Acoustics: The Modernism of
Julius Shulman (double header tonight at drexel 6:00-9:15)
more info at drexel
Q+A after Milton Glaser: To Inform and Delight
repost of Julius Shulman: Visual Acoustics Trailer
10.06.2009
10.01.2009
Frank O. Gehry Since 1997 . exhibition
| currently showing at the triennale design museum milan "introduced by critical essay by germano celant, the book retraces all the projects created since 1997 by the architect who won the 1989 pritzker architecture prize. most of the material has not been published before, and includes drawings by hand, office designs, 3-d works, models, and photographs of the finished works: from the walt disney concert hall in los angeles (1989-2003) to the corcoran gallery in washington dc (1999-2005), and the experience music project in seattle (1995-2000), through to the beekman street housing complex in new york (2003-2009)."
|
the jay pritzker pavillion, chicago
bandshell final model
scale 1:200
image © designboom
the jay pritzker pavillion, chicago
bandshell final model
image © designboom
the jay pritzker pavillion, chicago
bandshell final model
image © designboom
the jay pritzker pavillion, chicago
bandshell final model
image © designboom
the jay pritzker pavillion, chicago
bandshell final model
image © designboom
atlantis sentosa, sentosa island, singapore
final competition model
scale 1:250
image © designboom
atlantis sentosa, sentosa island, singapore
image © designboom
atlantis sentosa, sentosa island, singapore
image © designboom
atlantis sentosa, sentosa island, singapore
image © designboom
atlantis sentosa, sentosa island, singapore
image © designboom
atlantis sentosa, sentosa island, singapore
image © designboom
atlantis sentosa, sentosa island, singapore
image © designboom
atlantis sentosa, sentosa island, singapore
final competition model
image © designboom
guggenheim abu dhabi museum
abu dhabi
scale 1:200
Graphic Design Theory? by Helen Armstrong
-Armstrong's article on design is exactly what the title says. She emphasizes that graphic design can be as theoretically complex as say... architecture. Here's an excerpt:
Texts about graphic design fall under different categories of “theory.” Some analyze the process of making. Think Bauhaus experiments, methodologies that fall under the umbrella of International Typographic Style, and contemporary explorations labeled “design research.” Some texts examine the ideas behind the visual work. Authors “read” designs or design texts and put them into a wider historical/cultural context. And some apply outside theoretical discourses to the field of graphic design—deconstruction, semiotics, gender studies. Many seminal texts, of course, blur such categorizations.
9.29.2009
Dean Rogers . Death Drive
-the exhibition is at Wapping Project, London (Oct 4 - Nov 1)
"an exhibition of photographs by Dean Rogers that shows the places where nine of our cultural heroes were killed in car crashes... Rogers took the images on the anniversary of the deaths, at the exact moment they occurred, and in the precise position the car was before impact. Whereas some of the final photographs are rendered atmospheric by darkness, many reveal the rather banal landscape witnessed by the subjects in the final seconds before their deaths."
Jackson Pollock, August 11, 1956
James Dean, September 30, 1955
Marc Bolan, September 16, 1977
Helmut Newton, January 23, 2004
Albert Camus, January 4, 1960
Princess Diana, August 31, 1997
Ari Marcopoulos :: A Survey of 30 Years at Berkeley Art Museum
