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 it happens, 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
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