Category Archives: DESIGN

ENTRE TINTA Y LUCHA — SELF HELP GRAPHICS & ART RETROSPECTIVE

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ENTRE TINTA Y LUCHA—“between ink and protest”—is an exhibition of fine art prints covering forty-five years of art and graphic design from Self Help Graphics & Art,* the East Los Angeles organization dedicated to the “production, interpretation, and distribution of prints and other art media by Chicana/o and Latina/o artists.”

Seen as a descendant of Mexico City’s Taller de Gráfica Popular (founded in 1937), Self Help was incorporated as a non-profit in Boyle Heights in 1973 by Sister Karen Boccalero and the artists Carlos Bueno, Antonio Ibañez, and Frank Hernandez.

The collective’s “disciplinary, intergenerational programs” continue to promote “artistic excellence and empower community by providing access to working space, tools, and training.”*

ENTRE TINTA Y LUCHA—

45 YEARS OF SELF HELP GRAPHICS & ART

Opening January 31, from 6 pm to 8 pm.

Exhibition runs through March 9.

Todd Madigan Gallery, CSUB 

9001 Stockdale Highway, Bakersfield.

Artists in the exhibition include William Acedo, Margaret Alarcon, Judy Baca, Sandow Birk, Sister Karen Boccalero, Chaz Bojorquez, Barbara Carrasco, Yreina Cervantez, Lawerence Colación, Sam Coronado, Alfredo de Batuc, Roberto Delgado, Victoria Delgadillo, Alex Donis, Richard Duardo, Felipe Ehrenberg, Enik One, Luis Genaro Garcia and Lilia Ramirez, Mark Steven Greenfield, Dolores Guerrero-Cruz, Gronk, Miles Hamada, Wayne Healy, Ester Hernandez, Bernard Stanley Hoyes, Jean LaMarr, Leo Limon, Alma Lopez, Jose Lozano, El Mac, Dalila Paola Mendez, Willie R. Middlebrook, Delilah Montoya, Malaquias Montoya, Eduardo Oropeza, Raymond Pettibon, Miguel Angel Reyes, Frank Romero, Sonia Romero, Favianna Rodriguez, Shizu Saldamando, Teddy Sandoval, Miyo Stevens-Gandara, Joey Terrill, Eloy Torrez, Peter Tovar, John Valadez, Patssi Valdez, Vincent Valdez, Linda Vallejo, Lawrence M. Yanez, Ernesto Yerena, and Jaime (Germs) Zacarias.

From top: Joey Terrill, Remembrance, 2008, serigraph; Jean Lamarr, Some Kind of Buckaroo, 1990, serigraph; Ester Hernandez, La Ofrenda, 1988, serigraph; Chaz Bojorquez, New World Order, 1994, serigraph; Wayne Healy, Bolero Familiar, 2002, serigraph.

THE EXPANDED GRAPHICS OF HAMILTON AND HOCKNEY

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The paintings, drawings, and photographs on view in HOCKNEY/HAMILTON—EXPANDED GRAPHICS—an exhibition in Cologne of the early work of Richard Hamilton and David Hockney—are enhanced by two 25-minute shorts by art-film innovator James Scott.

LOVE’S PRESENTATION (1966) follows Hockney as he created his Il­lus­tra­tions for Four­teen Po­ems by C.P. Ca­va­fy series, and RICHARD HAMILTON (1969) “brings the tem­ples of con­sump­tion, pop stars, and crossed-out Mar­i­lyns back in­to cir­cu­la­tion and dis­solves them in the noise of the me­dia from which Hamil­ton took them.”*

HOCKNEY/HAMILTON—EXPANDED GRAPHICS*

Through April 14.

Museum Ludwig

Hein­rich-Böll-Platz, Cologne.

From top: Richard Hamilton, My Marilyn (paste-up), 1964, oil on photographs, Museum Ludwig, Cologne; James Scott, still from Love’s Presentation (1966; Hockney drawing directly from photographs onto the plate), image courtesy of Scott; Richard Hamilton, Swingeing London 67 II, 1968, screenprint and oil on canvas, Museum Ludwig; David Hockney, Two Boys, from Il­lus­tra­tions for Four­teen Po­ems by C.P. Ca­va­fy (1966), etching and aquatint on paper, donated to Museum Ludwig by Her­bert Mey­er-Ellinger and Chris­toph Vow­inck­el © David Hockney; Richard Hamilton, Palindrome, 1974, acrylic film on collotype on paper, Museum Ludwig, Cologne, loan Freunde der Art Cologne e.V., 2012. All Hamilton: © R. Hamilton, all rights reserved/VG Bild-Kunst, Bonn.

BAUHAUS POLITICS

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Join Arjun Appadurai, Regina Bittner, Beatriz Colomina, Theresia Enzensberger, Jesko Fezer, Thomas Flierl, Benjamin Förster-Baldenius, Ayşe Güleç, Dorothee Halbrock, Ulrike Hamann, Christian Hiller, Joy Kristin Kalu, Özcan Karadeniz, Bianca Klose, Klaus Lederer, Gisela Mackenroth, Jacobus North, Anh-Linh Ngo, Marion von Osten, Philipp Oswalt, Stefan Rettich, Bernd Scherer, Schroeter und Berger, Justus H. Ulbricht, and Mark Wigley for an afternoon and evening seminar which asks the question:

What can institutions that are today confronted with attacks from the Right learn from the history of Bauhaus?

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Saturday, January 19, from 2 pm to 9:30 pm.
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Haus der Kulturen der Welt
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John-Foster-Dulles-Allee 10, Berlin.
From top: Gropius studio, Kandinsky-Klee house, 1925–1926, Dessau; Walter Gropius, Bauhaus Building, 1925–1926, Dessau.

GRAPHIC MEANS

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Up until just over thirty years ago—when the desktop computer debuted—design production process was done primarily by hand and with the aid of analog machines. The design and print industries used a variety of ways to get type and image onto film, plates, and finally to the printed page.

The documentary GRAPHIC MEANS is a journey through this transformative era of pre-digital design production to the advent of the desktop computer. It explores the methods, tools, and evolving social roles that gave rise to the graphic design industry as we know it today.*

“As an educator, I was trying to figure out a way to bring this history into the classroom. We focus primarily on design thinking and technique with the brief time we have. When history is discussed, it’s much more from the theory standpoint—movements, typographic progression, specific designer profiles, etc.

“Of course, all students learn about Gutenberg and his letterpress because it was the beginning of mass produced printed materials for the western world (props to China for actually being the first to use this technique), but students generally don’t learn about what came after that. There was linecasting (Linotype and Monotype), and photosetting (Linotron, Photon), and then digital systems that predate computers (Compugraphic composition systems). There’s a lot that happened in between the letterpress and the Macintosh.” — Briar Levit

In conjunction with the LACMA exhibition WEST OF MODERNISM—CALIFORNIA GRAPHIC DESIGN, 1975–1995, the museum will present a screening of GRAPHIC MEANS, followed by a conversation with the director Briar Levit.

GRAPHIC MEANS—

A HISTORY OF GRAPHIC DESIGN PRODUCTION*

Tuesday, January 15, at 7:30 pm.

LACMA, Bing Theater

5905 Wilshire Boulevard, Los Angeles.

All images courtesy Briar Levit, Graphic Means.

BOOKED — HONG KONG ART BOOK FAIR

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New Documents (Los Angeles), onestar / Three Star (Paris), Printed Matter (New York), David Zwirner Books (New York), Art Metropole (Toronto), Sternberg Press (Berlin), and Roma Publications (Amsterdam) will join dozens of Asian publishers and artists at the inaugural BOOKED—TAI KWUN CONTEMPORARY’S ART BOOK FAIR in Hong Kong.

Talks, workshops, launches, and performances will take place throughout the event’s duration, and the fair will close with a set by DJ Freckles.

BOOKED—TAI KWUN CONTEMPORARY’S ART BOOK FAIR

Friday through Sunday, January 11, 12, and 13.

JC Contemporary, Tai Kwun

10 Hollywood Road, Central, Hong Kong.

From top:

Kara Walker, MCMXCIX [sketches from 1999] (Amsterdam: Roma Publications, 2017).

Jumana Manna, A Small Big Thing (Berlin: Sternberg Press, 2018)

Maria Fusco, Give Up Art (Los Angeles: New Documents, 2017).

Phile: The International Journal of Desire and Curiosity 2 (2018), Art Metropole.

Wolfgang Tillmans, DZHK Book 2018 (New York: David Zwirner Books, 2018).

Stefan Brüggemann, Timeless (Paris: Onestar, 2015).