The poster for the Jokyo Gekijo’s (Situation Theater) 9th Apology Event (Kara Juro’s John Silver—Shinjuku Longing and Crying in the Night Edition; former Sogetsu Hall, May 22–25, 1967) is inscribed with a written apology in the lower right corner of the picture plane—a private message—from the designer to the client. Yokoo Tadanori later described the work as “deviating completely from the function of a poster in that it was completed on the morning of the day of the performance.”1 The picture is surrounded by a black border, and its center is also framed by images of countless life-size hanafuda playing cards, each of which is similarly bordered in black.2 Some of the cards—such as the pair of paulownia flower cards at the top and bottom centers—also include inscriptions, apparently copied from existing logos: “‘Fuku’ trademark, all rights reserved,” “Nintendo,” and “Specially manufactured papier maché”). A white moon rising in the background emits light, and there is a dark gray silhouette of a naked woman with her head drooping under the weight of a Shimada-style coiffure. This B1-format (39 3/8” x 27 7/8”) poster conceived by Yokoo was at that time exceptionally large for an announcement of a performance by a small theater company. Regardless of when it was submitted and displayed in relation to the four-day performance, it did not, as previously noted, arrive in time for the occasion or event. Yokoo has no shortage of similar anecdotes.
Examining the discursive space that is woven from countless historical descriptions of the artist by scholars and curators, we find an outpouring of unstinting praise. After recounting anecdotes about his genius, the majority of the descriptions turn to praising and commending him. Many of Yokoo’s contemporaries weave in personal stories about him, and after praising and commending him, they recount anew the ways in which others have commended him. This discursive space of theories about Yokoo is analogous to the nested aspect of the pictures in his posters. (via A Sedimentation of the Archival Mind, 2 | post)
Each year in the Creative Review Annual we choose a Design Studio of the Year. Our winner this time is an in-house studio which has consistently delivered powerful, original work that has revived a sector of the media industry
There’s some brilliant design work in this year’s Annual, as you might expect. Spin has several outstanding projects in our pages, while it’s great to see Brazil, Canada, Australia, the US and mainland Europe represented.
But we have chosen to recognise an in-house design team which has had an enormous impact on its industry.
It strikes me as unusual to select an in-house creative design team for an award like this, but they cite good examples for why they made their choice.
The Making of a Collection, Part 1: Ohne Titel Finds Inspiration for Fall 2013 in Chelsea Galleries
Another Chelsea-based video, this one featuring the process that designers Flora Gill and Alexa Adams go through while preparing the new Ohne Titel collection.
(i don’t know much about fashion, but this series is interesting and their offices are in the Starrett-LeHigh Building around the corner from my apartment, so i think it’s interesting.)
(Photo: Business Wire)
It’s a small Web after all. As the six-degrees of separation notion says that any two people are only six introductions away from one another, researchers claim that any two Web pages are no more than 19 clicks apart.
Haha, they’ve never tried to use the CableVision website.
The first time I ever stood in a bookstore and turned over a book to see who designed the cover, I was holding a paperback edition of Haruki Murakami’s The Wind-Up Bird Chronicle. Who was responsible for this amazing design? John Gall. That sounds right, I remember thinking. He…
The iconic bottle was designed by Kenji Ekuan and his team at GK Design.
It took three years for Ekuan and his team to arrive at the dispenser’s transparent teardrop shape. More than 100 prototypes were tested in the making of its innovative, dripless spout (based on a teapot’s, but…
I know some people are throwing stones, but I really like the new Nets logo for when they move over to Brooklyn. It’s classic and clean, and it’s sort of the Camden Yards of logos.
ETA: Looking at it again, I guess I can see where the ‘NETS’ font kind of blows. It needs more weight, more gravity (which sounds funny for a basketball team logo, i know). But overall I like it.
Artist Olafur Eliasson, who placed the waterfalls in the East River in NYC in 2008, has designed a visual sculpture, a circular walkway that was placed on the rooftop of the Aros Museum in Aarhus, Denmark. The work is called Your Rainbow Panorama