Wednesday, March 4, 10:00am–1:00pm
Gregor Huber is a co-founder of Huber/Sterzinger (formerly Glashaus), a collaborative design practice based in Zurich, Switzerland.
Past projects include Yto Barrada, The Dye Garden, Edition Digital Culture Nr. 6 – Virtual Reality, and A Pyrotechnic Display of Creativity (recipient of the Swiss Design Awards 2009).
On A Pyrotechnic Display of Creativity, Aurelia Müller noted:
“Gregor Huber is responsible for the content, concept and design of the Rote Fabrik newspaper and has been awarded a Swiss Federal Design Grant in recognition of his graphic design for the years 2007 – 2009. The newspaper, which appears ten times a year, provides information on the programme of events at the Rote Fabrik in Zurich, a former factory turned alternative arts centre. It also addresses a wide range of topical issues. Although it focuses more on the role of this historically left-wing institution as an ongoing project rather than on any ideological dogma, according to the graphic artist, the newspaper can and does take a political stance.”
“The themes traditionally associated with the alternative arts scene are deliberately replaced by current topics. In one issue, for instance, the newspaper explores ‘Wissen und Bedenken’ [Knowledge and Misgivings]. In another, it looks at the Wikipedia Generation and the rise of half-knowledge. Under the heading ‘Focused on you and your needs’, the question of survival in a corporate world is discussed, while an issue devoted to ‘Selbstveröffentlichung’ [Self-publication] is all about privacy and the quest for identity in a mass-media society. What is particularly remarkable about this newspaper is the way it merges content and form: in this issue, a Facebook-style layout is used to convey all the information gathered online and collated to form the fictitious personal profile of a so-called Mr Rolf Müller.”
“The key to the graphic design of the Rote Fabrik newspaper is that it responds specifically to the current theme of each issue and is freely adapted to suit the topic rather than having to follow a prescribed format. This tailor-made approach means that the design of each issue is unique, brimming with ideas and invariably full of all sorts of surprising and unexpected graphic solutions.”
“Gregor Huber notes how important it is for him to be on the lookout for new, experimental ways of getting the message across. He has certainly proved that amply in his design for the newspaper. The positively pyrotechnic display of creative ideas in his use of different styles, together with his meticulously executed and highly varied solutions make him a deserving winner of this award.”
Wednesday, February 26, 10:00am–1:00pm
Federico Pérez Villoro is an artist and researcher living between Mexico City and New York. Through texts, performances, and digital artifacts, Federico explores the materiality of language and the impact of technology in socio-political behavior. His work has been exhibited internationally and published by Printed Matter, C Magazine, Gato Negro Ediciones, and the Walker Art Center’s The Gradient. Federico has taught undergraduate and graduate courses at the Rhode Island School of Design and California College of the Arts. He has lectured and acted as a visiting critic at schools such as CalArts, The New School, UNAM, and Hongik University. In addition, Federico has advanced a number of experimental educational initiatives. He recently founded Materia Abierta, a summer program on theory, art, and technology in Mexico City. Previously, Federico developed Second Thoughts, a series of lectures, workshops, and discussions on contemporary design at Fundación Alumnos and Museo Tamayo. Alongside Roxana Fabius, he is the co-founder of (human) learning, an itinerant study group that has been hosted in spaces such as P! in New York City, Art Center/South Florida in Miami, Florida, and ZONAMACO in Mexico City. In 2013, he received an MFA from the Rhode Island School of Design.
Wednesday, February 19, 10:00am–1:00pm
An independent graphic designer in New York City, David Reinfurt introduced the study of graphic design at Princeton University in 2010. In late September 2019, Inventory Press and D.A.P. published a book based on his teaching, A New Program for Graphic Design, a do-it-yourself textbook that synthesizes the pragmatic with the experimental and builds on mid- to late-twentieth-century pedagogical models to convey advanced principles of contemporary design, rooted in three courses (Typography, Gestalt, and Interface).
As a co-founder of O-R-G, Dexter Sinister, and The Serving Library, Reinfurt has developed several models that have reimagined graphic design and publishing in the twenty-first century. He was 2016–17 Mark Hampton Rome Prize Fellow in Design at the American Academy in Rome and is the co-author of Muriel Cooper (MIT Press, 2017).
Wednesday, February 12, 10:00am–1:00pm
New York-based designer Yotam Hadar has over a decade of experience collaborating with studios, agencies, and clients in leading concept-driven projects in typography, print, branding, environmental and interactive media for clients in culture, retail, media, education, government, and tech. Past experience includes Nike NY, 2×4, Pentagram, Project Projects, Sagmeister & Walsh, Hugo & Marie, Mother Design, among others. A design educator since 2009, Yotam taught design and typography at Yale School of Art, Pratt Institute, Parsons School of Design and Rutgers University.
Wednesday, February 5, 10:00am–1:00pm
New York-based graphic designer Kristian Henson is part of the publishing imprint, Hardworking Goodlooking (with Dante Carlos, Czar Kristoff, Clara Balaguer). They recently spoke to the Walker about how cultural work can be used as a critical tool through various platforms, especially publishing, which they explore through a transnational collaboration: Henson works in New York; Carlos, in Portland; Kristoff and Balaguer in the Philippines.
Wednesday, January 29, 10:00am–1:00pm
Neema Githere is a curator and guerrilla educator/performance artist based in the #digitaldiaspora. She is part of the collective Data Healing which seeks to illuminate + activate the intersections between nature, spirituality, and technology. Her new site Presentism2020 is a manifestation of her ongoing theories, projects and relationships: afropresentism, #healingimagery, radical love, #divestfrominstagram, and data healing.
“It may feel as if the internet is up in the clouds, but in actual fact it’s at the bottom of the ocean, in the form of 880,000 kilometers of fiber-optic cables. These cables make up the essential infrastructure for sending all our emails, websites, photos, films and of course emoticons. Beneath the waves, our wireless life is very bound up with physical wires—it’s the virtual made physical. Among the submerged cities, drowned sailors and hidden histories, the ocean is home to a complex communications network. Here, the technologies controlled by the West expand along the old colonial routes, so in a way the cables are the hardware of a new, electronic imperialism. Deep Down Tidal is a video essay in typical net.art style, weaving together cosmological, spiritual, political and technological narratives about water and its role in communication, then and now. It’s about how this cable network can facilitate the retention and expansion of power. It also reminds us that water doesn’t forget.”
This session will be a reflection-based workshop around the concept of data healing. Terms of interest: data trauma, data healing, cyber doula. As students read the assigned text, I encourage them to reflect upon & attempt to self-define the above terms, which will frame our conversation in class.
Wednesday (May 1) – 10:30am,
Civic Square Building – Room 218C
Continue reading Design Lecture Series: Paul Sahre
Wednesday (April 24th) – 10:30am,
Civic Square Building – Room 218C
Continue reading Design Lecture Series: Bo-Won Keum
Wednesday (April 10th) – 10:30am,
Civic Square Building – Room 218C Continue reading Design Lecture Series: Surya Mattu