Before starting my research, I decided to focus and find examples of various exhibitions’, which included interactivity, as I believe it is something we need to include in our exhibition in order to attract and entice the visitors.
"Graphic Design – Now in Production"
Saturday, May 26, 2012 – Monday, September 3, 2012
Concept
“Graphic Design – Now in Production” was co-organized by Andrew Blauvelt of the Walker Art Center and Ellen Lupton of the Cooper-Hewitt National Design Museum. This exhibition is the largest exhibition of contemporary graphic design to take place in the United Sates in over 15 years.
Graphic design is the art and practice of visual communication. Colour, typography, images, symbols and interactivity are used by designers to give purpose and meaning to their art. The exhibition highlights these factors and features critical works produced since 2000 showing the developing role of graphic designers. Thus the exhibition explored the worlds of design through magazines, newspapers, books, and posters; the expansion of branding programs for corporations, subcultures and nations; the entrepreneurial spirit of designer-produced goods; the renaissance in digital typeface design; the storytelling potential of film and television titling sequences; and the transformation of raw data into compelling information narratives.
The exhibition was composed of on eight section focusing on mediums and elements of graphic design; posters, magazines, books, information design, branding, typography, storefront and finally, film and television titles.
Section 1: Poster
This section within the exhibition includes Albert Exergian’s series of posters which are based on American tv classics: Jürg Lehni and Alex Rich’s “Empty Words” project, a system for making die-cut posters; and Anthony Burrill’s typographic woodblock and silkscreen posters proclaiming messages such as “Oil & Water Do Not Mix,” printed with ink made from spilled Gulf of Mexico oil.
Section 2: Magazines
This section was curated by Jeremy Leslie, creative director of the blog magCulture, which explores issues and trends in publication design.
Among the projects on view are Jop van Bennekom’s Fantastic Man and The Gentlewoman; Karen, an independent magazine-maker with a highly personal blog-like sensibility; Hannerie Visser’s Afro magazine from South Africa, which reimagines the form of the magazine itself; and Pedro Fernandes’ design of I, a Portuguese newspaper that incorporates the visual vocabulary of magazines.
Section 3: Books
This section featured work by David Pearson, whose Pocket Penguin book titles reinvigorated the publisher’s classic backlist; the print-on demand experiments of James Goggin; Irma Boom’s innovative book designs; and McSweeney’s books and magazines, which employ typography, layout, and production to enhance the experience of reading.
Section 4: Information Design
This section includes information displays created by the New York Times Graphics Department that tell the news stories of today and Catalogtree’s interactive iPad app about the “flash crash” of the American financial markets.
Section 5: Branding
This section was curated by Armin Vit and Bryony Gomez-Palacio, operators of the blog Brand New, which tracks the ever-changing world of brand makeovers and corporate identity programs.
Highlights include Ji Lee’s “World Trade Center Logo Preservation” project, documenting the use of the twin towers to brand numerous New York City area businesses; a new project commission from design researchers Metahaven about the use of social media as a powerful form of communication and control; and experimental identities for cultural institutions, created by Stefan Sagmeister, Mevis & Van Deursen, and Maureen Mooren, among others.
Section 6: Typography
This section included Process Type’s Anchor, Peter Bilak’s History, and Lineto’s Akkurat, as well as posters and other artifacts created by Antoine + Manuel, Marian Bantjes, and Oded Ezer.
Section 7: Storefront
This section included wallpapers produced by Knoll and Maharam, the artfully designed, bespoke axes by Peter Buchanan Smith from Best Made Co., and Meike Gerritzen’s Beware of Software vest.
Section 8: Film and Television Titles
This section will feature television and film titles curated by Ian Albinson, founder and editor-in-chief of the website artofthetitle.com, created by some of the leading motion graphic designers practicing today.
The Contemporary Arts Museum Houston is the fifth stop in a national tour of the exhibition, which debuted at the Walker Art Center in fall 2011 and was most recently presented by the Grand Rapids Art Museum and the Kendall College of Art and Design of Ferris State University in Grand Rapids. The lead curators of Graphic Design-Now in Production are Andrew Blauvelt, Curator of Architecture and design at the Walker Art Center, and Ellen Lupton, Curator of Contemporary Design at Cooper-Hewitt, National Design Museum.
Location and arrangements
The exhibition was located on Governors Island in a former Army warehouse. The exhibition space was 8,000-sqaure feet and required severe alterations to adapt to the installation. However, the exhibition made creative use of the site-specific constraints and pleased audiences in creative ways, and aligning graphic design as a medium for public consumption.
Sponsors
The Walker Art Center’s presentation was supported by Judy Dayton. Additional support was provided by the Bush Foundation as part of the Walker’s Expanding the Rules of Engagement with Artists and Audiences initiative, Deborah and John Christakos, Megan and James Dayton, the Mondriaan Foundation, Amsterdam, Rebecca C. and Robert Pohlad, Harriet and Edson Spencer, and Audrey and Zygi Wilf.
Additional Features
The exhibition also published a 240-page exhibition catalog featuring important innovative essays by leading designers, which tackle various different themes regarding contemporary graphic design. The catalog could have been purchased online for a fee of $40.
Watch Video Here: https://www.youtube.com/watch?v=KMtycCy9Ekk
Concept
“Graphic Design – Now in Production” was co-organized by Andrew Blauvelt of the Walker Art Center and Ellen Lupton of the Cooper-Hewitt National Design Museum. This exhibition is the largest exhibition of contemporary graphic design to take place in the United Sates in over 15 years.
Graphic design is the art and practice of visual communication. Colour, typography, images, symbols and interactivity are used by designers to give purpose and meaning to their art. The exhibition highlights these factors and features critical works produced since 2000 showing the developing role of graphic designers. Thus the exhibition explored the worlds of design through magazines, newspapers, books, and posters; the expansion of branding programs for corporations, subcultures and nations; the entrepreneurial spirit of designer-produced goods; the renaissance in digital typeface design; the storytelling potential of film and television titling sequences; and the transformation of raw data into compelling information narratives.
The exhibition was composed of on eight section focusing on mediums and elements of graphic design; posters, magazines, books, information design, branding, typography, storefront and finally, film and television titles.
Section 1: Poster
This section within the exhibition includes Albert Exergian’s series of posters which are based on American tv classics: Jürg Lehni and Alex Rich’s “Empty Words” project, a system for making die-cut posters; and Anthony Burrill’s typographic woodblock and silkscreen posters proclaiming messages such as “Oil & Water Do Not Mix,” printed with ink made from spilled Gulf of Mexico oil.
Section 2: Magazines
This section was curated by Jeremy Leslie, creative director of the blog magCulture, which explores issues and trends in publication design.
Among the projects on view are Jop van Bennekom’s Fantastic Man and The Gentlewoman; Karen, an independent magazine-maker with a highly personal blog-like sensibility; Hannerie Visser’s Afro magazine from South Africa, which reimagines the form of the magazine itself; and Pedro Fernandes’ design of I, a Portuguese newspaper that incorporates the visual vocabulary of magazines.
Section 3: Books
This section featured work by David Pearson, whose Pocket Penguin book titles reinvigorated the publisher’s classic backlist; the print-on demand experiments of James Goggin; Irma Boom’s innovative book designs; and McSweeney’s books and magazines, which employ typography, layout, and production to enhance the experience of reading.
Section 4: Information Design
This section includes information displays created by the New York Times Graphics Department that tell the news stories of today and Catalogtree’s interactive iPad app about the “flash crash” of the American financial markets.
Section 5: Branding
This section was curated by Armin Vit and Bryony Gomez-Palacio, operators of the blog Brand New, which tracks the ever-changing world of brand makeovers and corporate identity programs.
Highlights include Ji Lee’s “World Trade Center Logo Preservation” project, documenting the use of the twin towers to brand numerous New York City area businesses; a new project commission from design researchers Metahaven about the use of social media as a powerful form of communication and control; and experimental identities for cultural institutions, created by Stefan Sagmeister, Mevis & Van Deursen, and Maureen Mooren, among others.
Section 6: Typography
This section included Process Type’s Anchor, Peter Bilak’s History, and Lineto’s Akkurat, as well as posters and other artifacts created by Antoine + Manuel, Marian Bantjes, and Oded Ezer.
Section 7: Storefront
This section included wallpapers produced by Knoll and Maharam, the artfully designed, bespoke axes by Peter Buchanan Smith from Best Made Co., and Meike Gerritzen’s Beware of Software vest.
Section 8: Film and Television Titles
This section will feature television and film titles curated by Ian Albinson, founder and editor-in-chief of the website artofthetitle.com, created by some of the leading motion graphic designers practicing today.
The Contemporary Arts Museum Houston is the fifth stop in a national tour of the exhibition, which debuted at the Walker Art Center in fall 2011 and was most recently presented by the Grand Rapids Art Museum and the Kendall College of Art and Design of Ferris State University in Grand Rapids. The lead curators of Graphic Design-Now in Production are Andrew Blauvelt, Curator of Architecture and design at the Walker Art Center, and Ellen Lupton, Curator of Contemporary Design at Cooper-Hewitt, National Design Museum.
Location and arrangements
The exhibition was located on Governors Island in a former Army warehouse. The exhibition space was 8,000-sqaure feet and required severe alterations to adapt to the installation. However, the exhibition made creative use of the site-specific constraints and pleased audiences in creative ways, and aligning graphic design as a medium for public consumption.
Sponsors
The Walker Art Center’s presentation was supported by Judy Dayton. Additional support was provided by the Bush Foundation as part of the Walker’s Expanding the Rules of Engagement with Artists and Audiences initiative, Deborah and John Christakos, Megan and James Dayton, the Mondriaan Foundation, Amsterdam, Rebecca C. and Robert Pohlad, Harriet and Edson Spencer, and Audrey and Zygi Wilf.
Additional Features
The exhibition also published a 240-page exhibition catalog featuring important innovative essays by leading designers, which tackle various different themes regarding contemporary graphic design. The catalog could have been purchased online for a fee of $40.
Watch Video Here: https://www.youtube.com/watch?v=KMtycCy9Ekk