There are 3 Days until Thoughts on Democracy opens at The Wolfsonian!
In addition to Thoughts on Democracy, another exhibition will open at The Wolfsonian-FIU on July 5th:
A BITTERSWEET DECADE: THE NEW DEAL IN AMERICA, 1933–43
On view beginning July 5, 2008 through January 19, 2009, A Bittersweet Decade commemorates the seventy-fifth anniversary of the New Deal, considers the impact of Franklin D. Roosevelt’s programs on American culture and explores how the government’s patronage of art, design, and architecture were integral parts of the larger project of the New Deal, which aimed to spur recovery from the Great Depression and change American society.
Thoughts on Democracy and A Bittersweet Decade kick-off The Wolfsonian's Celebrating America exhibition season. To find out more about the Celebrating America series of exhibits,
THE WOLFSONIAN-FIU ANNOUNCES ITS 2008-2009 ‘CELEBRATING AMERICA’ EXHIBITION SEASON
MIAMI BEACH, FL (April 29, 2008)―The Wolfsonian-Florida International University announces its upcoming exhibition season, “Celebrating America”. Comprised of a series of exhibitions examining the social, political, and cultural American experience from the 1930s to the present, “Celebrating America” showcases four exhibitions: A Bittersweet Decade: The New Deal in America, 1933-43; Thoughts on Democracy; American Streamlined Design: The World of Tomorrow; and The American Automobile Scene.
A Bittersweet Decade: The New Deal in America, 1933-43 (July 5, 2008-January 19, 2009)
Commemorating the 75th anniversary of the New Deal, A Bittersweet Decade: The New Deal in America, 1933-43 considers the impact of Franklin D. Roosevelt’s New Deal programs on American culture. The exhibition, on view July 5, 2008 through January 19, 2009, explores how the government’s patronage of art, design, and architecture were integral parts of the larger project of the New Deal, which aimed to spur recovery from the Great Depression and change American society. Drawing largely on the resources of The Wolfsonian–FIU, and complemented by the collections of local and national supporters, including Martin Z. Margulies, Jason Schoen, Frederic A. Sharf, and Wolfsonian founder Mitchell Wolfson, Jr., this exhibition showcases the range of art and design generated by New Deal programs. Paintings, sculpture, prints, posters, mural studies, photographs, books, models, furniture and a variety of other objects will be on view. Special attention is given to the impact of the New Deal on South Florida, through murals for local post offices, the building of county parks, the establishment of the Key West artists’ colony, and the construction of the Overseas Highway, among other projects.
The exhibition is accompanied by the book, The New Deal in South Florida: Design, Policy, and Community Building, 1933-1940. This compilation of essays, published by the University Press of Florida, explores how local organizations with federal assistance re-shaped the South Florida landscape. It is co-edited by FIU faculty members John F. Stack, Jr. and John A. Stuart and includes essays by landscape architect Ted Baker, Wolfsonian chief curator Marianne Lamonaca, and Cornell University professor Mary Woods, as well as by the two editors.
Thoughts on Democracy (July 5, 2008-December 7, 2008)
The Thoughts on Democracy is comprised of posters created by fifty-five leading contemporary artists and designers, invited by The Wolfsonian to create a new graphic design inspired by American illustrator Norman Rockwell’s “Four Freedoms” posters of 1943, copies of which were recently gifted to the museum by Leonard A. Lauder. Some of the participating artists involved in the project are Neville Brody, Seymour Chwast, Wim Crouwel, Elliott Earls, Richard Tuttle, Lawrence Weiner, Paula Scher, Francesco Vezzoli, Chip Kidd, and Italo Lupi, among others. Rockwell’s images, reproduced by the U.S. Office of War Information for mass dissemination, communicated FDR’s vision of “a world founded upon four essential human freedoms,”—Freedom of Speech, Freedom of Worship, Freedom from Want, and Freedom from Fear. The exhibition will be on view and free to the public in the museum’s lobby from July 5, 2008 through December 7, 2008. Thoughts on Democracy will highlight contemporary notions of democracy. The project will culminate with an event celebrating democracy during the prestigious 2008 Art Basel Miami Beach festival.
American Streamlined Design: The World of Tomorrow (October 23, 2008-May 17, 2009)
Running concurrently with the other two exhibitions, and on view October 23, 2008 through May 17, 2009, is American Streamlined Design: The World of Tomorrow. This exploration of the streamlined style in America is arranged thematically according to the spheres of life – the office, manual labor, home, and recreation. Although it focuses on the 1930s and ‘40s, the period during which streamlined design developed in the United States, the exhibition also presents streamlining in design today. The exhibition offers a fresh appraisal of its subject, placing the achievements of its best-known exponents – among them Norman Bel Geddes, Henry Dreyfuss, Raymond Loewy, and Walter Dorwin Teague – squarely alongside the contributions of lesser-known but significant designers such as Lurell E. Guild, Clifford Brooks Stevens, Harold Van Doren. The exhibition posits that the streamlining of the 1930s is properly understood as a unique stylistic expression.
The most comprehensive traveling exhibition on the subject to be circulated, it is comprised of more than 150 objects—many never exhibited before—including furniture, ceramics, industrial design, original drawings, and book designs. The exhibition makes a case for the vigor of streamlining in today’s design. Among the contemporary designers represented are Jasper Morrison (Thinking Man’s Chair, 1986); Ross Lovegrove (Go Chair, 1999); and Scott Patt (Air Max Contact sneakers for Nike, 2001).
American Streamlined Design: The World of Tomorrow is accompanied by a fully illustrated catalogue, published by Flammarion, Paris. The catalogue provides a scholarly account of the history of streamlining from the 1930s to the present, chronicles the social and stylistic thoughts of the periods, and provides detailed analyses of all the artifacts featured in the exhibition. Available in English and
French editions, the 280-page book features 400 illustrations with essays by David A. Hanks and Anne Hoy, adjunct associate professor, New York University. It is for sale in The Wolfsonian’s Dynamo Museum Shop.
The American Automobile Scene (April-September 2009)
The year-long celebration concludes with The American Automobile Scene, an engaging exploration of automobile design in America from the 1920s through the 1940s, to be presented from April to September 2009. The exhibition examines the role of the automobile in shaping modern American culture. On view will be skillfully and elegantly rendered artworks for concept and production cars; sculpted car models; drawings for automobile showrooms, filling stations, bridges, and roadways; and illustrations for automobile advertisements. These original artworks, together with advertising brochures, auto industry periodicals, and other printed ephemera, will provide audiences with the opportunity to explore how designers and manufacturers of automobiles influenced consumer perceptions. They will also convey the social, political, and economic context of this volatile time period characterized by the Roaring Twenties and the Great Depression through the Second World War.
Monday, June 30, 2008
The Wolfsonian's Celebrating America exhibition series kicks off July 5th, with Thoughts on Democracy and A Bittersweet Decade
There are 3 Days until Thoughts on Democracy opens at The Wolfsonian!
Friday, June 27, 2008
Thursday, June 26, 2008
There are 7 Days until Thoughts on Democracy opens at The Wolfsonian!
For a "sneak peek" of the show, check out Tim Hossler's artist's rendering to see how the lobby at The Wolfsonian will be transformed...
Wednesday, June 25, 2008
Monday, June 23, 2008
I really, really struggled with this one. I was torn between pursuing two different concepts‹first, the lack of these freedoms in other countries; second, a caution about the abuse of these freedoms in the US. I ultimately went with the latter. The point is that every day we see how these freedoms can not only be taken for granted, but that they can be twisted to harmful ends by the very people they are meant to serve. Thus Freedom from Want leads to rampant obesity; Freedom of Worship leads to using God to hate; Freedom of Speech leads to destruction of property; and Freedom from Fear leads to the proliferation and deadly use of guns.
Chipp Kidd is a graphic designer and writer based in New York City. His book jacket designs for Alfred A. Knopf, where he has worked since 1986, have helped spawn a revolution in the art of American book packaging... The Cheese Monkeys, Kidd’s first novel, was published in 2001 and was a national bestseller, a well as a New York Times Notable book of the Year. His second novel, The Learners, was published in 2008 to tremendous acclaim. A comprehensive monograph of Kidd’s work, CHIP KIDD: BOOK ONE was published in 2005 with an introduction by John Updike; the 400 page book features over 800 works. He is the recipient of the 2007 National Design Award for Communications. Of his work, Time Out New York write: “The history of book design can be split into two eras: before graphic designer Chip Kidd and after.”
Tuesday, June 17, 2008
As the Rockwell and Thoughts on Democracy posters illustrate, design can influence politics (and politics can influence design). Steven Heller, one of the co-curators of the Thoughts on Democracy exhibit, addresses this relationship in the context of the current presidential campaign in his recent NY Times article, "From Mousepads to Piggybanks".
From Mousepads to Piggy Banks (NY Times; May 4, 2008)
This primary season campaign souvenirs are cropping up like kudzu. Retail stores on each of the candidates’ official Web sites offer copious merchandise from lapel pins and mousepads to hoodies and onesies alongside the requisite buttons and bumper stickers. Given the ease with which a logo or slogan can be stamped on any product, the sheer quantity of retail campaign stuff is possibly greater than at any other time in history, albeit a lot less campy than during other elections.
What a particular campaign chooses to sell may not reveal anything momentous about a candidate who has little to say about the inventory (unless, of course, they have relatives in the novelty or dry goods businesses), but the products do say something about how strategists use consumer culture to propagate the candidates’ images (and get free advertising).
So I asked four design critics to examine the quality of the candidates’ online stores, and to go a little below the surface to extract some deeper meaning from the merchandise being sold.
John McCain comes out ahead in the retail offerings with the broadest inventory (from wall clocks to water bottles), notes Julie Lasky, editor of ID magazine. Hillary Clinton comes in a close second (including coffee mugs and plastic piggy banks) and Barack Obama a more focused third.
But the difference is not just quantity. “McCain is the only candidate to offer leisure-class items like polo shirts (including stylishly hued pink ones for men) and sailing jackets before getting down to the nitty-gritty of hoodies,” Ms. Lasky reports. “Clinton and Obama are all about working-class apparel: T-shirts, hoodies and fleece jackets.”
Karrie Jacobs, a contributing editor to Metropolis, concurs that Senator Obama’s merchandise reflects the grassroots insurgent culture of his campaign. She notes that Senator Clinton’s paraphernalia is “conspicuously ugly,” and questions the taste of whoever is in charge of her campaign’s merchandise.
“Where the real editorial opportunity lies,” adds Allan Chochinov, co-founder of Core77.com, an industrial design website and blog, “is in the accessories section, and though the easy targets are Clinton’s ironic ‘ruler’ ($3.50; volume pricing available) and McCain’s more oblique ‘ice scraper’ ($10.00), it’s Obama’s ‘hope bracelet’ that is sure to move the merchandise — 4 bucks each and available in both black and white.”
In a race where the issue of race and ethnicity has reared its predictable head, it is also interesting to see that Senators McCain and Obama especially reach out to their Irish constituencies and their female supporters. Senator Clinton sells her “Hillary for Women” paraphernalia lumped in with narrowly focused buttons for Asian-American and Pacific Islanders, African-Americans, gays, educators, nurses, Jews and veterans — but no mention of the Irish.
Julie Lasky also observes that Senators Clinton and Obama both freely borrow the “Got Milk?” slogan (Obama: “Got Hope?”; Hillary: “Got Experience?”), which is less indicative of their unoriginality than of the ubiquity of the milk campaign.
Alissa Walker, a design blogger, says John McCain’s merchandise works well because it clearly projects the image of a “super-serious” candidate “in shades of black, navy blue and gold.” She points out that his nautical lapel pins and polo shirts emphasize his military experience.
But Ms. Walker was most impressed by his ownership of the four words: leadership, experience, integrity and honor, which emblazon everything from shirts to signs. “Who wouldn’t be proud to borrow a bit from his legacy and stick this leadership sign on their front lawn? Without wearing the standard McCain shirt, you can wear his values with the message of your choice. I really like this option, and the words that he picked. The only bummer here is the women for McCain stuff — truly stereotypical in a sickening shade of Pepto-Bismol pink.”
Senator Obama’s site is the only one to post a disclaimer that some items are back-ordered; whether true or not, it is a brilliant retail tactic.
“But with all the press Obama’s getting for the design of his campaign,” says Alissa Walker, “I was pretty disappointed by his products. There’s really not much that differentiates Obama’s merchandise from Hillary’s: it’s all the same color of blue.”
However, Senator Obama has a unique multimedia section, including a DVD of his speeches. “The Obama-as-cultural-icon angle is absolutely achieved by selling documentary-style videos of him; he’s crossed the line into entertainment,” says Ms. Walker.
She wonders how effective the merchandise on Clinton’s site is since it is “overwhelmingly girly. All the t-shirts look like they’re designed for women or being worn by women. The lapel pins are really matronly, from the Hillary bling pin to her signature pin by Ann Hand, a jewelry artist.” But Ms. Walker loves the “I’m your girl” button with its casual portrait and Senator Clinton’s handwriting. “They should make this image into posters because it gives her campaign a much-needed boost of that evasive personality.”
Julie Lasky observes that in all this, Senator McCain may lose the vote of bargain seekers: at $25, his T-shirts are $4.92 more expensive than similar versions on the Clinton and Obama Web sites.
Monday, June 16, 2008
Tag, comment, and share images and posters from Thoughts on Democracy with Flickr!
To contribute your own photos to the Thoughts on Democracy Flickr site, use the tag "Thoughts on Democracy."
Thursday, June 12, 2008
THOUGHTS ON DEMOCRACY EXHIBITION DEBUTS JULY 5, 2008 AT THE WOLFSONIAN–FIU
60 Contemporary Artists and Designers Offer Interpretations of Norman Rockwell’s
Iconic “Four Freedoms” Posters
MIAMI BEACH, FL (May 29, 2008) - The Wolfsonian–Florida International University announces Thoughts on Democracy, an innovative initiative that brings together 60 renowned contemporary artists and designers to present original works inspired by Norman Rockwell’s “Four Freedoms” posters. Thoughts on Democracy is part of CELEBRATING AMERICA, a series of four exhibitions on view in 2008 and 2009, that examine and celebrate the social, political, and personal American experience from the 1930s to the present.
In keeping with its theme, Thoughts on Democracy is free and open to the public in the museum’s lobby beginning July 5 through December 7, 2008. The exhibition will culminate with an event celebrating democracy during the prestigious 2008 Art Basel Miami Beach festival. In conjunction with the show, The Wolfsonian is also producing limited-edition portfolios of the new works (available in September), with all proceeds benefiting the graphic arts acquisitions and curatorial and educational programs. A poster that compiles all four of Rockwell’s “Four Freedoms” images is on view in The Wolfsonian’s permanent collection gallery.
“We invited artists and designers to participate in a ‘graphic remix’ that would reinterpret Rockwell’s posters in today’s visual language,” said Wolfsonian Art Director Tim Hossler, who conceived the project and is co-curating the show with Steven Heller, co-chair of the MFA Design Department at the School of Visual Arts. “We are thrilled with the response and are eager to see how the participants’ exploration of democracy stimulates public conversation on the subject.”
Rockwell’s “Four Freedoms” paintings were first published in the Saturday Evening Post in 1943, and were later issued by the government as posters for a U.S. war bond drive. The paintings illustrated the ideals expressed in Franklin Delano Roosevelt’s impassioned “Four Freedoms” speech to Congress in 1941, in which he envisioned a “world founded upon four essential human freedoms”—Freedom of Speech, Freedom of Worship, Freedom from Want, and Freedom from Fear.
“We are always looking for new, provocative ways to foster dialogue around our collection in relation to contemporary issues, particularly when we are able to involve contemporary artists and graphic designers,” said The Wolfsonian’s director, Cathy Leff. “Thoughts on Democracy will be a fascinating and timely reflection of how Roosevelt’s universal ideals, articulated in 1941, are interpreted and expressed in 2008.” She explained that The Wolfsonian’s impetus for the project was a recent gift of the “Four Freedoms” posters to the museum by Leonard A. Lauder.
The public will also be able to enjoy and contemplate the new works beyond the museum walls. The Wolfsonian, in partnership with the award-winning international advertising agency Crispin Porter + Bogusky, also playing a role as exhibitor, will display the posters in newspapers and on billboards. The Wolfsonian will also offer public educational programming in conjunction with the exhibit and promote dialogue about the show on the internet using web-based tools (Flickr, iGoogle gadgets), a Thoughts on Democracy blog (http://thoughtsondemocracy.blogspot.com), virtual worlds, and social networking sites (The Wolfsonian Facebook page).
In keeping with the spirit of expanding Thoughts on Democracy into the greater public domain, The Wolfsonian will also partner with Turnberry for the Arts to present a concurrent exhibition of the posters in the Aventura Mall (www.aventuramall.com), 19501 Biscayne Boulevard, beginning July 5 through August 2008. “Turnberry for the Arts is delighted to have the opportunity to share the artworks in this exciting and timely exhibition with visitors at Aventura Mall. The Thoughts on Democracy project is a wonderful complement to the works by contemporary artists that are permanently on display at the mall. Two of the artists - Lawrence Weiner, whose installation is currently on view here, and Daniel Arsham, whose installation will be unveiled at the mall this fall, are also featured in The Wolfsonian's exhibition," noted Jacqueline Fletcher, Director of the Turnberry for the Arts program.
All artists and designers included in the exhibition have generously donated their time and creativity. Thoughts on Democracy is supported by a generous grant from the Funding Arts Network (FAN), in partnership with the John S. and James L. Knight Foundation. The Wolfsonian is the only recipient of FAN’s Knight New Work Award for 2008; the $50,000 grant was awarded to the museum in May 2008. “The ambitious scale of Thoughts on Democracy and its resonating message of democracy made this project irresistibly compelling,” said Rachel Blechman, president of FAN. Additional support for Thoughts on Democracy is provided by Turnberry for the Arts exhibited at the Aventura Mall.
About the artists
As illustrated by the quantity and quality of the posters that will be on display, the idea behind Thoughts on Democracy was received with an outpouring of enthusiasm by the participants. Local, national, and international visual artists, graphic designers, and one poet contributed works to the project. A brief biography of select artists from the exhibition, and a statement about their poster follows below:
Elliott Earls is a performance artist, musician, and designer, and is designer-in-residence and head of the Graduate Graphic Design Department at Cranbrook Academy of Art. Earls has lectured extensively at American universities, and has given workshops on design, culture and new media in Europe and America.
Artist’s Statement: Entitled “Liberty Weeps,” Elliott Earls’ contribution to The Wolfsonian’s Thoughts on Democracy poster project was inspired by Eugene Delacroix's "Liberty Leading the People." In this piece, Liberty is embodied in the innocence of a crying child. Is Liberty crying for the victims of September 11th? Is Liberty crying over the loss of civil liberties in the War on Terror? Is Liberty crying for our fallen soldiers in Iraq or for the prisoners at Guantanamo Bay? The open nature of the language in this poster contrasted with the specificity of the image is meant to provoke discussion.
Experimental Jetset is an Amsterdam graphic design unit founded in 1997 by Marieke Stolk, Erwin Brinkers and Danny van den Dungen. Focusing on printed matter and installation work, Experimental Jetset has worked on projects for the Amsterdam Stedelijk Museum (SMCS), Purple Institute, Centre Pompidou, Colette, Dutch Post Group (TPG), Réunion des Musées Nationaux (RMN), Le Cent Quatre (104), De Theatercompagnie, and t-shirt label 2K/Gingham.
Artist’s Statement: The slogan “Loose Lips Build Ships” is a collision of two iconic WWII posters: the “Freedom of Speech” poster as painted by Rockwell, and the “Loose Lips Sink Ships” poster, the US Office of War Information's attempt to limit the possibility of people inadvertently giving useful information to enemy spies.
On the one hand, our contribution is a tribute to the concept of freedom of speech: the idea that all constructive things start with an open exchange of ideas. On the other hand, we wanted to show our uneasiness with the concept of propaganda. Acknowledging freedom of speech by turning a propaganda slogan on its head is our attempt to create a little bit of friction, or better said, to reveal a friction that is already there.
Taku Satoh is a Tokyo-based graphic and product designer, and the director of 21_21 DESIGN SIGHT in Tokyo. He attended Tokyo National University of Fine Arts and Music for both undergraduate and graduate school and then joined the firm Dentsu, before establishing the Taku Satoh Design Office in 1984.
Inspired by the four posters of freedoms drawn by Normal Rockwell, I have added
the most important kind of freedom for the present time.
That is “Freedom to Imagine.” Nothing should prevent imagination.
Imagination creates the future. Imagination cultivates technology.
Imagination saves the environment. Imagination protects human rights.
Imagination prevents battles. Imagination creates art.
Everything begins with imagination.
Of course it is imagination for coexistence of different cultures, not a selfish imagination.
Scott Stowell is the proprietor of Open, an independent design studio that creates rewarding experiences for people that look, read, and think. Before starting Open, Stowell received a BFA in graphic design from Rhode Island School of Design and served as the art director of Colors magazine in Rome and a senior designer at M&Co. New York. A former vice president of AIGA/NY, Stowell teaches at Yale and the School of Visual Arts.
Artist’s Statement: This poster uses words – from FDR's speech and Rockwell's posters – distilled into calls to action that are still relevant and urgent today. The typography was inspired both by traditional "show print" posters and the I AM A MAN signs from Martin Luther King's 1968 march in Memphis. Two of these calls to action are usually heard from the left. They appear in blue. The other two, more often heard from the right, are in red.
Lawrence Weiner is a central figure in the history of conceptual art, whose work often takes the form of typographic texts. The first presentation of his work was in Mill Valley, California in 1960. He participates in public and private projects and exhibitions in both the new and old world maintaining that: art is the empirical fact of the relationships of objects to objects in relation to human beings and not dependent upon historical precedent for either use or legitimacy.
LIFE • LIBERTY • & • THE PURSUIT OF HAPPINESS
About The Wolfsonian–Florida International University
The Wolfsonian is a museum, library, and research center that uses objects to illustrate the persuasive power of art and design, to explore what it means to be modern, and to tell the story of social, historical, and technological changes that have transformed our world. The collections comprise approximately 120,000 objects from the period of 1885 to 1945—the height of the Industrial Revolution to the end of the Second World War—in a variety of media including furniture; industrial-design objects; works in glass, ceramics, and metal; rare books; periodicals; ephemera; works on paper; paintings; textiles; and medals.
The Wolfsonian is located at 1001 Washington Avenue, Miami Beach, Fla. Admission is $7 adults; $5 seniors, students, and children six-12; free for Wolfsonian members, State University System of Florida staff and students with ID, children under six, and Miami Beach residents with ID. The museum is open Monday, Tuesday, Saturday and Sunday from noon-6pm; Thursday and Friday from noon-9pm; and is closed on Wednesday. Contact us at 305.531.1001 or visit us online at www.wolfsonian.org.
The Wolfsonian receives ongoing support from the State of Florida, Department of State, Division of Cultural Affairs; the Florida Arts Council; the National Endowment for the Arts; the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council; the Miami-Dade County Mayor and Board of County Commissioners; the City of Miami Beach, Cultural Affairs Program, Cultural Arts Council; the Arthur F. and Alice E. Adams Foundation; the William J. & Tina Rosenberg Foundation; Continental Airlines, the preferred airline of The Wolfsonian; Crispin Porter + Bogusky; The Miami Herald; Bacardi U.S.A., Inc; Robert Mondavi Winery; and Pistils & Petals.
Wednesday, June 11, 2008
On January 6, 1941, United States President Franklin Delano Roosevelt presented his annual State of the Union Address to Congress. Presented when the United States was on the brink of entering into World War II, Roosevelt’s speech has become known as the “Four Freedoms” speech for the President’s enunciation of the “four essential human freedoms:” freedom of speech, freedom of worship, freedom of want, and freedom from fear.
Hear FDR's speech at The Franklin Delano Roosevelt Library
Full Text of The Four Freedoms Speech
Mr. President, Mr. Speaker, Members of the Seventy-seventh Congress:
I address you, the Members of the Seventy-seventh Congress, at a moment unprecedented in the history of the Union. I use the word "unprecedented," because at no previous time has American security been as seriously threatened from without as it is today.
Since the permanent formation of our Government under the Constitution, in 1789, most of the periods of crisis in our history have related to our domestic affairs. Fortunately, only one of these--the four-year War Between the States--ever threatened our national unity. Today, thank God, one hundred and thirty million Americans, in forty-eight States, have forgotten points of the compass in our national unity.
It is true that prior to 1914 the United States often had been disturbed by events in other Continents. We had even engaged in two wars with European nations and in a number of undeclared wars in the West Indies, in the Mediterranean and in the Pacific for the maintenance of American rights and for the principles of peaceful commerce. But in no case had a serious threat been raised against our national safety or our continued independence.
What I seek to convey is the historic truth that the United States as a nation has at all times maintained clear, definite opposition, to any attempt to lock us in behind an ancient Chinese wall while the procession of civilization went past. Today, thinking of our children and of their children, we oppose enforced isolation for ourselves or for any other part of the Americas.
That determination of ours, extending over all these years, was proved, for example, during the quarter century of wars following the French Revolution.
While the Napoleonic struggles did threaten interests of the United States because of the French foothold in the West Indies and in Louisiana, and while we engaged in the War of 1812 to vindicate our right to peaceful trade, it is nevertheless clear that neither France nor Great Britain, nor any other nation, was aiming at domination of the whole world.
In like fashion from 1815 to 1914-- ninety-nine years-- no single war in Europe or in Asia constituted a real threat against our future or against the future of any other American nation.
Except in the Maximilian interlude in Mexico, no foreign power sought to establish itself in this Hemisphere; and the strength of the British fleet in the Atlantic has been a friendly strength. It is still a friendly strength.
Even when the World War broke out in 1914, it seemed to contain only small threat of danger to our own American future. But, as time went on, the American people began to visualize what the downfall of democratic nations might mean to our own democracy.
We need not overemphasize imperfections in the Peace of Versailles. We need not harp on failure of the democracies to deal with problems of world reconstruction. We should remember that the Peace of 1919 was far less unjust than the kind of "pacification" which began even before Munich, and which is being carried on under the new order of tyranny that seeks to spread over every continent today. The American people have unalterably set their faces against that tyranny.
Every realist knows that the democratic way of life is at this moment being' directly assailed in every part of the world--assailed either by arms, or by secret spreading of poisonous propaganda by those who seek to destroy unity and promote discord in nations that are still at peace.
During sixteen long months this assault has blotted out the whole pattern of democratic life in an appalling number of independent nations, great and small. The assailants are still on the march, threatening other nations, great and small.
Therefore, as your President, performing my constitutional duty to "give to the Congress information of the state of the Union," I find it, unhappily, necessary to report that the future and the safety of our country and of our democracy are overwhelmingly involved in events far beyond our borders.
Armed defense of democratic existence is now being gallantly waged in four continents. If that defense fails, all the population and all the resources of Europe, Asia, Africa and Australasia will be dominated by the conquerors. Let us remember that the total of those populations and their resources in those four continents greatly exceeds the sum total of the population and the resources of the whole of the Western Hemisphere-many times over.
In times like these it is immature--and incidentally, untrue--for anybody to brag that an unprepared America, single-handed, and with one hand tied behind its back, can hold off the whole world.
No realistic American can expect from a dictator's peace international generosity, or return of true independence, or world disarmament, or freedom of expression, or freedom of religion -or even good business.
Such a peace would bring no security for us or for our neighbors. "Those, who would give up essential liberty to purchase a little temporary safety, deserve neither liberty nor safety."
As a nation, we may take pride in the fact that we are softhearted; but we cannot afford to be soft-headed.
We must always be wary of those who with sounding brass and a tinkling cymbal preach the "ism" of appeasement.
We must especially beware of that small group of selfish men who would clip the wings of the American eagle in order to feather their own nests.
I have recently pointed out how quickly the tempo of modern warfare could bring into our very midst the physical attack which we must eventually expect if the dictator nations win this war.
There is much loose talk of our immunity from immediate and direct invasion from across the seas. Obviously, as long as the British Navy retains its power, no such danger exists. Even if there were no British Navy, it is not probable that any enemy would be stupid enough to attack us by landing troops in the United States from across thousands of miles of ocean, until it had acquired strategic bases from which to operate.
But we learn much from the lessons of the past years in Europe-particularly the lesson of Norway, whose essential seaports were captured by treachery and surprise built up over a series of years.
The first phase of the invasion of this Hemisphere would not be the landing of regular troops. The necessary strategic points would be occupied by secret agents and their dupes- and great numbers of them are already here, and in Latin America.
As long as the aggressor nations maintain the offensive, they-not we--will choose the time and the place and the method of their attack.
That is why the future of all the American Republics is today in serious danger.
That is why this Annual Message to the Congress is unique in our history.
That is why every member of the Executive Branch of the Government and every member of the Congress faces great responsibility and great accountability.
The need of the moment is that our actions and our policy should be devoted primarily-almost exclusively--to meeting this foreign peril. For all our domestic problems are now a part of the great emergency.
Just as our national policy in internal affairs has been based upon a decent respect for the rights and the dignity of all our fellow men within our gates, so our national policy in foreign affairs has been based on a decent respect for the rights and dignity of all nations, large and small. And the justice of morality must and will win in the end.
Our national policy is this:
First, by an impressive expression of the public will and without regard to partisanship, we are committed to all-inclusive national defense.
Second, by an impressive expression of the public will and without regard to partisanship, we are committed to full support of all those resolute peoples, everywhere, who are resisting aggression and are thereby keeping war away from our Hemisphere. By this support, we express our determination that the democratic cause shall prevail; and we strengthen the defense and the security of our own nation.
Third, by an impressive expression of the public will and without regard to partisanship, we are committed to the proposition that principles of morality and considerations for our own security will never permit us to acquiesce in a peace dictated by aggressors and sponsored by appeasers. We know that enduring peace cannot be bought at the cost of other people's freedom.
In the recent national election there was no substantial difference between the two great parties in respect to that national policy. No issue was fought out on this line before the American electorate. Today it is abundantly evident that American citizens everywhere are demanding and supporting speedy and complete action in recognition of obvious danger.
Therefore, the immediate need is a swift and driving increase in our armament production.
Leaders of industry and labor have responded to our summons. Goals of speed have been set. In some cases these goals are being reached ahead of time; in some cases we are on schedule; in other cases there are slight but not serious delays; and in some cases--and I am sorry to say very important cases--we are all concerned by the slowness of the accomplishment of our plans.
The Army and Navy, however, have made substantial progress during the past year. Actual experience is improving and speeding up our methods of production with every passing day. And today's best is not good enough for tomorrow.
I am not satisfied with the progress thus far made. The men in charge of the program represent the best in training, in ability, and in patriotism. They are not satisfied with the progress thus far made. None of us will be satisfied until the job is done.
No matter whether the original goal was set too high or too low, our objective is quicker and better results. To give you two illustrations:
We are behind schedule in turning out finished airplanes; we are working day and night to solve the innumerable problems and to catch up.
We are ahead of schedule in building warships but we are working to get even further ahead of that schedule.
To change a whole nation from a basis of peacetime production of implements of peace to a basis of wartime production of implements of war is no small task. And the greatest difficulty comes at the beginning of the program, when new tools, new plant facilities, new assembly lines, and new ship ways must first be constructed before the actual materiel begins to flow steadily and speedily from them.
The Congress, of course, must rightly keep itself informed at all times of the progress of the program. However, there is certain information, as the Congress itself will readily recognize, which, in the interests of our own security and those of the nations that we are supporting, must of needs be kept in confidence.
New circumstances are constantly begetting new needs for our safety. I shall ask this Congress for greatly increased new appropriations and authorizations to carry on what we have begun.
I also ask this Congress for authority and for funds sufficient to manufacture additional munitions and war supplies of many kinds, to be turned over to those nations which are now in actual war with aggressor nations.
Our most useful and immediate role is to act as an arsenal for them as well as for ourselves. They do not need man power, but they do need billions of dollars worth of the weapons of defense.
The time is near when they will not be able to pay for them all in ready cash. We cannot, and we will not, tell them that they must surrender, merely because of present inability to pay for the weapons which we know they must have.
I do not recommend that we make them a loan of dollars with which to pay for these weapons--a loan to be repaid in dollars.
I recommend that we make it possible for those nations to continue to obtain war materials in the United States, fitting their orders into our own program. Nearly all their materiel would, if the time ever came, be useful for our own defense.
Taking counsel of expert military and naval authorities, considering what is best for our own security, we are free to decide how much should be kept here and how much should be sent abroad to our friends who by their determined and heroic resistance are giving us time in which to make ready our own defense.
For what we send abroad, we shall be repaid within a reasonable time following the close of hostilities, in similar materials, or, at our option, in other goods of many kinds, which they can produce and which we need.
Let us say to the democracies: "We Americans are vitally concerned in your defense of freedom. We are putting forth our energies, our resources and our organizing powers to give you the strength to regain and maintain a free world. We shall send you, in ever-increasing numbers, ships, planes, tanks, guns. This is our purpose and our pledge."
In fulfillment of this purpose we will not be intimidated by the threats of dictators that they will regard as a breach of international law or as an act of war our aid to the democracies which dare to resist their aggression. Such aid is not an act of war, even if a dictator should unilaterally proclaim it so to be.
When the dictators, if the dictators, are ready to make war upon us, they will not wait for an act of war on our part. They did not wait for Norway or Belgium or the Netherlands to commit an act of war.
Their only interest is in a new one-way international law, which lacks mutuality in its observance, and, therefore, becomes an instrument of oppression.
The happiness of future generations of Americans may well depend upon how effective and how immediate we can make our aid felt. No one can tell the exact character of the emergency situations that we may be called upon to meet. The Nation's hands must not be tied when the Nation's life is in danger.
We must all prepare to make the sacrifices that the emergency-almost as serious as war itself--demands. Whatever stands in the way of speed and efficiency in defense preparations must give way to the national need.
A free nation has the right to expect full cooperation from all groups. A free nation has the right to look to the leaders of business, of labor, and of agriculture to take the lead in stimulating effort, not among other groups but within their own groups.
The best way of dealing with the few slackers or trouble makers in our midst is, first, to shame them by patriotic example, and, if that fails, to use the sovereignty of Government to save Government.
As men do not live by bread alone, they do not fight by armaments alone. Those who man our defenses, and those behind them who build our defenses, must have the stamina and the courage which come from unshakable belief in the manner of life which they are defending. The mighty action that we are calling for cannot be based on a disregard of all things worth fighting for.
The Nation takes great satisfaction and much strength from the things which have been done to make its people conscious of their individual stake in the preservation of democratic life in America. Those things have toughened the fibre of our people, have renewed their faith and strengthened their devotion to the institutions we make ready to protect.
Certainly this is no time for any of us to stop thinking about the social and economic problems which are the root cause of the social revolution which is today a supreme factor in the world.
For there is nothing mysterious about the foundations of a healthy and strong democracy. The basic things expected by our people of their political and economic systems are simple. They are:
Equality of opportunity for youth and for others.
Jobs for those who can work.
Security for those who need it.
The ending of special privilege for the few.
The preservation of civil liberties for all.
The enjoyment of the fruits of scientific progress in a wider and constantly rising standard of living.
These are the simple, basic things that must never be lost sight of in the turmoil and unbelievable complexity of our modern world. The inner and abiding strength of our economic and political systems is dependent upon the degree to which they fulfill these expectations.
Many subjects connected with our social economy call for immediate improvement.
We should bring more citizens under the coverage of old-age pensions and unemployment insurance.
We should widen the opportunities for adequate medical care.
We should plan a better system by which persons deserving or needing gainful employment may obtain it.
I have called for personal sacrifice. I am assured of the willingness of almost all Americans to respond to that call.
A part of the sacrifice means the payment of more money in taxes. In my Budget Message I shall recommend that a greater portion of this great defense program be paid for from taxation than we are paying today. No person should try, or be allowed, to get rich out of this program; and the principle of tax payments in accordance with ability to pay should be constantly before our eyes to guide our legislation.
If the Congress maintains these principles, the voters, putting patriotism ahead of pocketbooks, will give you their applause.
In the future days, which we seek to make secure, we look forward to a world founded upon four essential human freedoms.
The first is freedom of speech and expression--everywhere in the world.
The second is freedom of every person to worship God in his own way--everywhere in the world.
The third is freedom from want--which, translated into world terms, means economic understandings which will secure to every nation a healthy peacetime life for its inhabitants-everywhere in the world.
The fourth is freedom from fear--which, translated into world terms, means a world-wide reduction of armaments to such a point and in such a thorough fashion that no nation will be in a position to commit an act of physical aggression against any neighbor--anywhere in the world.
That is no vision of a distant millennium. It is a definite basis for a kind of world attainable in our own time and generation. That kind of world is the very antithesis of the so-called new order of tyranny which the dictators seek to create with the crash of a bomb.
To that new order we oppose the greater conception--the moral order. A good society is able to face schemes of world domination and foreign revolutions alike without fear.
Since the beginning of our American history, we have been engaged in change -- in a perpetual peaceful revolution -- a revolution which goes on steadily, quietly adjusting itself to changing conditions--without the concentration camp or the quick-lime in the ditch. The world order which we seek is the cooperation of free countries, working together in a friendly, civilized society.
This nation has placed its destiny in the hands and heads and hearts of its millions of free men and women; and its faith in freedom under the guidance of God. Freedom means the supremacy of human rights everywhere. Our support goes to those who struggle to gain those rights or keep them. Our strength is our unity of purpose. To that high concept there can be no end save victory.
Inspired by FDR’s 1941 “Four Freedoms” speech, American illustrator Norman Rockwell created his iconic “Four Freedoms” paintings in 1943. Like much of Rockwell’s work, these paintings were popularized by The Saturday Evening Post, which published the paintings with corresponding essays that same year (Freedom of Speech published February 20; Freedom of Worship published February 27; Freedom of Want published March 6; Freedom of Fear published March 13;). Following the success of the posters in print, the United States Department of Treasury reproduced Rockwell’s paintings as part of a campaign to raise war bonds; through a gift from Leonard A. Lauder, these posters are now on display at The Wolfsonian-FIU.
Tuesday, June 10, 2008
Agey Tomesh Design Bureau was founded in Moscow by Arseny Mescheryakov in 1990 and later evolved into an art group. In autumn 2000, Agey Tomesh opened Gallery 259 where showed its own projects, experimenting with digital and reproduction technologies while also developing a concept of collective and pseudonymous authorship. Continuing to work with digital and reproductive technologies, in 2002 Agey Tomesh began publishing WAM (World Art Museum) magazine, positioning it as an exhibition and museum space on paper. Eric Bulatov is one of the cult artists of Soviet underground of the 1960-70s. Trying to reflect social reality, Bulatov combined the methods of realism with a special significance of words and texts, which is characteristic of the conceptual school. He currently lives in Paris. Mikhail Nikitin is a graphic artist in Moscow who has been a member of Agey Tomesh.
Ruth Ansel, an art director and designer, has collaborated over four decades with international artists and photographers including Richard Avedon, Diane Arbus, Helmut Newton, Andy Warhol, Bruce Weber, Annie Leibovitz, and David Hockney. She started out as co-art director of Harper’s Bazaar with Bea Feitler in the 1960s...She went on to art direct the New York Times Magazine, House and Garden, Vanity Fair, and Vogue. In the early 1990s she founded Ruth Ansel Design in New York. Notable projects include the film titles for My Dinner with Andre, visual identity graphics for photography dealer James Danziger of Danziger Gallery, and serving as consulting creative director for Mirabella magazine. The studio’s international advertising and design clients have included Karl Lagerfeld, Gianni Versace, and Club Monaco. Book projects include A Demand Performance, about Mark Morris and Mikhail Barishnikov, photographed by Annie Leibovitz; The Sixties by Richard Avedon; Women by Annie Leibovitz; a monograph of the work of Peter Beard; and the first major book about the life and work of jewelry designer Elsa Peretti, which is in progress. Among the awards she’s received are the Herb Lubalin Award for Continuing Excellence in the field of Publication Design from The Society of Publication Designers, gold and silver medals from the Art Directors Club of New York, and numerous awards from the AIGA.
Daniel Arsham is an artist who works and lives in Miami and New York. His solo exhibitions include: Something Light, Ron Mandos Gallery, Amsterdam; Playground, Galerie Emmanuel Perrotin, Paris; Playground, Gertrude Street, Melbourne; Dancing on the Cutting Edge Part II, MOCA at Goldman Warehouse, Miami; and Building Schmuilding, Galerie Emmanuel Perrotin, Miami. Among his group exhibitions are: Miami in Transition, Miami Art Museum; Greater New York, P.S.1, Long Island City, New York; Art Positions, Art Basel Miami Beach; Miami Nice, Galerie Emmanuel Perrotin, Paris; Ten Times the Space Between Night and Day, Guild and Greyshkul, New York; and I am the Resurrection, Locust Projects, Miami.
In my poster, I wanted to highlight the four freedoms promoted in Norman Rockwell’s four posters and stress the responsibility everyone has as a citizen to protect those rights by voting. The sans serif all-typography style is in homage to the propaganda posters of the Constructivist period of the early twentieth century.
Jacques Auger is a graphic designer who received his BFA from the Massachusetts College of Art in Boston and attended a year of graduate studies at the School of Design in Basel, Switzerland. Jacques Auger Design Associates (JADA) was located in Miami from 1982 until 2007...when it relocated to Santa Monica. Prior to establishing JADA, Auger worked for various advertising agencies, design studios, and companies in New York, Boston, and Miami. Auger was a founding board member of the Miami chapter of the American Institute of Graphic Arts and received its first AIGA Fellow Award in 2000. JADA is proud to have been the first design firm for The Wolfsonian, and was responsible for the award-winning design and production of the Journal of Decorative and Propaganda Arts for its first twenty-three issues, from 1986 to 1998.
Justin Beal received a BA in Architecture from Yale and an MFA from the University of Southern California. He also attended the Whitney Independent Studio Program and the Skowhegan School of Sculpture and Painting. He recently had his first solo exhibition at ACME in Los Angeles. Past group exhibitions include Records Played Backwards, The Modern Institute, Glasgow; Past-Forward, Zabludowicz Collection, London; Nina in Position, Artists Space, New York; Took My Hands Off Your Eyes Too Soon, Tanya Bonakdar, New York; Sculpture & Pose, Casey Kaplan, New York; Radiodays, De Appel Centre for Contemporary Art, Amsterdam; and Crude Oil Paintings, White Columns, New York. His work was included in the 2008 California Biennial. Beal lives and works in Los Angeles.
Mark Beard, born in 1956 in Salt Lake city, now lives in New York, His works are in museum collections, including the Boston Museum of Fine Arts and the Atheneum; the Whitney, Metropolitan Museum of Art and the Museum of Modern Art, New York; Princeton, Harvard, and Yale universities; Graphische Sammlung, Munich, and others worldwide, as well as more than one hundred private collections.
Félix Beltrán was born in Havana and is currently a Mexican citizen. He graduated from the School of Visual Arts, New York and the American Art School, New York and also studied at the Art Students League, New York and the Círculo de Bellas Artes, Madrid. He is an internationally known graphic designer whose works have been included in 461 collective exhibitions, 67 individual exhibitions and in the collections of 60 national and international museums. He has written four books and many articles for national and international publications. He has received 132 awards in national and international competitions and been on juries numerous competitions. He is a professor at the Universidad Autónoma Metropolitana, in Mexico City and curator of the Galería Artis and the Archivo de Diseño Gráfico Internacional at the Universidad Autónoma Metropolitana, Mexico.
R. O. Blechman is an illustrator whose work has appeared on fourteen covers of The New Yorker, forty covers of Story Magazine, and in the pages of the New York Times, Harper's Bazaar, Rolling Stone, Elle, and Fortune, among other leading publications. He has had one-man shows in Paris, Munich, and New York. The author of seven graphic novels, his animated films were given a retrospective at The Museum of Modern Art in 2003.
Matthew Brannon in an artist based in New York City whose work turns on the opposition—and ever-mounting imbrication—of art and design. After an early stint as a painter, he began to draw his inspiration from those printed materials that mediate everyday life in late-capitalist, early twenty-first- century America, from posters and advertisements to promotional flyers and take-out menus. But if Brannon’s iconography conjures...mass-produced, throwaway sources, his methods are laboriously handcrafted, even old-fashioned: screenprint, letterpress, and lithograph works, often executed in a limited palette and consistent in their graphic rigor. His art seems at first glance disarmingly direct. But as one turns to the text paired with his images, disorder intervenes. Behind the veneer of convenience, plenty, and success implied by the content and format of his images, Brannon seems to suggest, reside darker imperatives—abuse, excess, careerism, insecurity, and failure. His work has been exhibited in several solo and group shows. Solo exhibitions include The Question is a Compliment, Friedrich Petzel Gallery, New York; Before You Say No, Galleria Gio Marconi, Milan; Where Were We, Whitney Museum of American Art at Altria, New York; Try & Be Grateful, agyu, Art Gallery of York University, Toronto; Shoegazers & Graverobbers, Art 37 Statements, David Kordansky Gallery, Basel; Hyena, Jan Winkelmann, Berlin. His work was included in the Whitney Biennial 2008.
Neville Brody, the British designer and art director, has been at the forefront of graphic design for over two decades. Initially working in record cover design, Brody made his name largely through his revolutionary work as art director for The Face magazine. Other international magazine directions have included...City Limits, Lei, Per Lui, Actuel, and Arena, together with London’s The Times & The Observer newspaper and magazine. Previous clients include Reuters, Coca-Cola, Microsoft, and Sony. Brody has consistently pushed the boundaries of visual communication in all media through his experimental and challenging work. In 1988 Brody published the first of his two monographs, which became the world’s best selling graphic design book—sales now exceed 120,000. An accompanying exhibition of his work at the Victoria and Albert Museum attracted over 40,000 visitors before touring Europe and Japan. In 1994 Brody launched Research Studios, London. Since then studios have been opened in Paris, Berlin, Barcelona, and New York. A new studio is opening in Mubai in Summer 2008. Clients range across all media, from web to print, and from environmental and retail design to moving graphics and film titles. A sister company, Research Publishing, produces and publishes experimental multi-media works by young artists. The primary focus is on FUSE, the renowned publication and conference, both of which are forums for experimental typography and communications.
Philip Brooker is an artist, art director, illustrator, and filmmaker. He was an illustrator and art director at the Miami Herald for twenty-five years. His illustrations have appeared in numerous publications including the Washington Post, New York Times, New York Times Sophisticated Traveler, Atlantic Monthly, U.S. News and World Report, and Business Week. His paintings and photographs have been exhibited at galleries in the U.S. and abroad, including shows in the past year at Bordas Studio in Paris and Paris Photo. He has recently started working on film projects and is currently working on a documentary about the life of April Ashley. He divides his time between Miami and Paris.
Ken Carbone, co-founder and chief creative director of the Carbone Smolan Agency, is among America’s most respected graphic designers, whose work is known for its clarity, intelligence, and effectiveness. He has built an international reputation creating outstanding programs for world-class clients, including...Tiffany & Co., W.L. Gore, Herman Miller, PBS, Christie’s, Nonesuch Records, the W Hotel Group, and the Taubman Company. His clients also include cultural institutions such as the Museé du Louvre, The Museum of Modern Art, The Pierpont Morgan Library, The Chicago Symphony Orchestra, and the High Museum of Art. An adjunct professor at the School of Visual Arts, Ken also speaks frequently to audiences across the country about the role of creative inspiration in design and communications. He is the author of The Virtuoso: Face to Face with 40 Extraordinary Talents, which explores excellence in art, science, and music. In addition to his design career, he has been an avid guitarist for forty years.
"The Wikipedia Revision History of the Term 'Freedom of Speech'" is perhaps the smallest and greatest evidence of both the unassailability and fungibility of the term. Certainly the various revision entries are riddled with what Wikipedia calls "vandalism" (and the consequent reversion entries aimed at returning things to where they were), but the notion that anyone with access to the internet can create, augment, argue, tweak and yes, even subvert a publicly-owned, encyclopedic definition of the term "freedom of speech" says something both trivial and profound; words are just words, of course, but the opportunity to participate is worth more than just about anything.
Allan Chochinov is a partner at Core77, a New York–based design network serving a global community of designers and design fans...He is editor in chief of the websites Core77.com, a widely-read website focusing on product design; Coroflot.com, a job and portfolio site serving designers and employers across all design disciplines; and Designdirectory.com, an online database linking design firms with corporations seeking strategic design services. Chochinov writes and lectures widely on the impact of design on contemporary culture, and teaches in the graduate departments of Pratt Institute and the School of Visual Arts.
As director of The Pushpin Group, Seymour Chwast has reintroduced graphic styles and transformed them into a contemporary vocabulary. His designs and illustrations have been used in advertising, animated films, and editorial, corporate, and environmental graphics. He has created over one hundred posters and has written or illustrated more than thirty children’s books.
Crispin Porter + Bogusky (CP+B), a member of the MDC Partners Network, is a collaborative of writers, designers, and media-agnostic content creators and managers with factories in both Miami and Boulder and additional offices in Toronto, Los Angeles, and London. CP+B is perhaps best known for its work with...Burger King, Volkswagen, and as the creator of the “truth” anti-tobacco campaign, as well as for its role in the launch of the BMW MINI. CP+B’s client list also includes Microsoft, Coke Zero, Sprite, Geek Squad, and Domino’s Pizza. CP+B has the unprecedented distinction of winning the Grand Prix at the Cannes International Advertising Festival in all five categories: Sales Promotion, Media, Cyber, Titanium, and the coveted Film Grand Prix. The agency has been named Agency of the Year nine times by Advertising Age, Creativity, Adweek, and Media Magazine combined and was recently named Most Awarded Digital Agency in the World by the Won Report. The agency and its work have been profiled in the New York Times, Wall Street Journal, USA Today, Business Week, Forbes, INC., Fast Company, Time, Newsweek, Advertising Age, Creativity, Archive, and Metropolis.
Wim Crouwel is an artist, designer, professor, and museum director. Trained at the Art Academy Minerva and the Amsterdam Art Academy, he began his professional life as an abstract painter before becoming a designer. His long and rich career includes...establishing a studio with the industrial designer Kho Liang Ie; becoming the first general secretary of Icograda in 1963; and cofounding Total Design, the first multi-disciplinary design studio in the Netherlands, which became a dominant force in Dutch design. Crouwel and his colleagues had significant influence on the national and cultural identity of the Netherlands; from Crouwel’s postage stamps for the Dutch Post Office to his extensive body of work for the Stedelijk Museum, which demonstrates his achievements in the refinement and application of the grid. In 1967 Crouwel designed the New Alphabet; he extended the grid to become a matrix within which letterforms were constructed as units on a grid, thus allowing for digital typesetting. Beginning in 1972 Crouwel started teaching part time at the Delft Technical University, and in 1980, he left Total Design to be a full time professor. In 1985 he became the director of the Museum Boijmans van Beuningen, Rotterdam and also held the Private Chair at Erasmus University, Rotterdam (1987-93). Crouwel has received numerous awards, including the British OBE, Knight of the Order of the Dutch Lion, Officer of the Order of Orange Nassau, and most recently the prestigious Oeuvre prize.
Alan Dye is a designer who worked for various advertising and design agencies, including a four-year stint at Ogilvy’s Brand Integration Group, before becoming design director of kate spade in 2004. Dye’s group was responsible for the overall...aesthetic of the brand, from the advertising campaign and the website to the paper line and the home collection. Recently, Dye moved to San Francisco where he currently works as a creative director at Cupertino. Dye’s clients have included Simon and Schuster and the National Basketball Association and he is a regular contributor to the New York Times and New York magazine. Dye’s work has been recognized by a number of design shows and publications, and he is a regular speaker at design and advertising events. Before his recent move, Dye was vice president of the AIGA’s New York Chapter and served chairman of the “Young Guns” committee for the Art Director’s Club.
Liberty Weeps was inspired by Eugene Delacroix's "Liberty Leading the People." In this piece, Liberty is embodied in the innocence of a crying child. Is Liberty crying for the victims of September 11th? Is Liberty crying over the loss of civil liberties in the War on Terror? Is Liberty crying for our fallen soldiers in Iraq or for the prisoners at Guantanamo Bay? The open nature of the language in this poster, contrasted with the specificity of the image, is meant to provoke discussion.
Elliott Earls is a performance artist, musician, and designer, and is designer in residence and head of the Graduate Graphic Design Department at Cranbrook Academy of Art. His experimentation with nonlinear digital video, spoken word poetry, music composition, and design has been seen in venues as diverse as...The Walker Art Center in Minneapolis and the “Exit” Theater Festival at Maison des Arts de Créteil in France. As a performance artist, Earls was awarded an emerging artist grant by Manhattan’s Wooster Group. In 1999 he was a featured performer at the Wooster Group's Performing Garage. Earls spent September 2000-May 2001 as an artist in residence at Fabrica, Benetton's research center in Treviso, Italy. As a typographer, his original type design is distributed worldwide by Emigre Inc. Some of Earls's poster designs are part of the permanent collection of the Cooper-Hewitt National Design Museum, Smithsonian Institution and he has bronze busts in the Wasserman Collection. Earls's multi-media piece entitled “Eye Sling Shot Lions” is part of the Cooper-Hewitt Museum's research file. In 2001, Earls was a finalist for the Chrysler National Design Award in New Media. In January 2006, Earls performed his latest performance piece “Bull and Wounded Horse” at Music Hall Detroit with his band The Venomous Sons of Jonah. Earls has lectured extensively at American universities, and has given workshops on design, culture, and new media in Europe and America.
Manuel Estrada began his career in architecture before moving to design and founding a design studio in Madrid. His studio produces a range of graphic projects including work for...El Museo del Traje de Madrid (Madrid's Costume Museum), the graphic identity of Premios Cervantes (Cervantes’ Prize), and the Christmas street lights for Madrid, with the word “peace” written in thirty-five languages. His studio has worked on branding and corporate identity projects for many public institutions and companies in Spain including Metrovacesa, the Organización de Estados Iberoamericanos, and Bibliometro. In addition, Estrada has designed book collections and hundreds of book covers for Spanish publishing houses. He is the author of the book El Diseño no es una guinda, a selection of his work. He is also active as a teacher, and has directed the program on Editorial Design at Istituto Europeo de Design in Madrid as well as the Design Workshop at Universidad Internacional Menendez Pelayo. His work has been recognized with many awards and distinctions from organizations including LAUS, AEPD, and Art Directors Club of Europe. He is currently president of DIMAD, Madrid Designers’ Association.
The slogan “Loose Lips Build Ships” is a collision of two iconic WWII posters: the “Freedom of Speech” poster as painted by Rockwell, and the “Loose Lips Sink Ships” poster, the US Office of War Information's attempt to limit the possibility of people inadvertently giving useful information to enemy spies.
On the one hand, our contribution is a tribute to the concept of freedom of speech: the idea that all constructive things start with an open exchange of ideas. On the other hand, we wanted to show our uneasiness with the concept of propaganda. Acknowledging freedom of speech by turning a propaganda slogan on its head is our attempt to create a little bit of friction, or better said, to reveal a friction that is already there.
Experimental Jetset is an Amsterdam graphic design unit founded in 1997 by Marieke Stolk, Erwin Brinkers, and Danny van den Dungen. Focusing on printed matter and installation work, Experimental Jetset has worked on projects for the Amsterdam Stedelijk Museum, Purple Institute, Centre Pompidou, Colette, Dutch Post Group, Réunion des Musées Nationaux, Le Cent Quatre (104), De Theatercompagnie, and the t-shirt label 2K/Gingham.
It’s a highly skewed version of 1940s show-card lettering. Only Steven Heller would probably know what connections it makes, I can't even tell you myself!
Edward Fella is an artist and graphic designer known for his eccentric letterforms and compositions—his work has had an important influence on contemporary typography in the U.S. and in Europe. A self-described “commercial artist,” Fella began his career in Detroit’s advertising world in the 1950s...and nearly thirty years later entered graduate school at Cranbrook Academy of Art. For the past twenty years he has been a faculty member at CalArts, where he has had a profound influence on a younger generation of designers. In addition to teaching, he currently devotes his time to his unique self-published work, which has appeared in many design publications and anthologies. His work is in the National Design Museum and MOMA in New York. In 1997, he received the Chrysler Award and in 1999, an Honorary Doctorate from CCS in Detroit. A book of his photographs and lettering, Letters on America, was published by Princeton Architectural Press. He was a finalist for the National Design Award in 2001, and in 2007, Fella was awarded the AIGA Medal.
Liam Gillick is an artist based in London and New York. Solo exhibitions include The Wood Way, Whitechapel Gallery, London; A short text on the possibility of creating an economy of equivalence, Palais de Tokyo; and the retrospective project Three Perspectives and a short scenario, Witte de With, Rotterdam, Kunsthalle, Zurich, and MCA, Chicago. Selected group exhibitions include Singular Forms, Guggenheim Museum and 50th Venice Biennale. In 2006 he co-founded the free art school project unitednationsplaza in Berlin. Gillick has published a number of texts that function parallel to his artwork including Literally No Place, Five or Six, Discussion Island/Big Conference Centre, and Erasmus is Late. A book of his selected writings, Proxemics, was recently published. Gillick has also contributed to many art magazines and journals including Parkett, Frieze, Art Monthly, October, and Art Forum.
Robert Grossman is a New York–based illustrator and cartoonist who has done cover illustrations for more than five hundred issues of national magazines such as Time, Newsweek, Sports Illustrated, Rolling Stone, and The New Republic. Today his work can be seen regularly in the Nation, New York Times, and New York Observer. He received a BA from Yale and worked briefly as assistant to New Yorker art director James Geraghty before going freelance. He was nominated for a 1978 Academy Award for a brief animated film entitled Jimmy The C, and during the 1980s he produced a number of animated television commercials. His work has been featured in a solo show at the Vontobel Gallery in Zurich and his sculpture and paintings in oils have been widely exhibited in numerous group shows.
Adler Guerrier lives and works in Miami. He received his BFA from the University of Florida/New World School of the Arts. Guerrier has been included in many group exhibitions including the Whitney Biennial 2008, Conditions of Display at the Moore Space and at Locust Projects; and 10 Floridians at Miami Art Central. He has had solo exhibitions at Miami Art Museum and at Newman Popiashvili Gallery, where he most recently presented Blck, Red & Tang.
Kit Hinrichs is a partner in the international design firm, Pentagram, and has been an influential force in graphic design for more than three decades. Hinrichs has taught at the School of Visual Arts in New York and the California College of Arts in San Francisco. His work has been widely published internationally and several of his pieces are part of the permanent collections of the Museum of Modern Art in New York, the Museum of Modern Art in San Francisco, and the Cooper-Hewitt National Design Museum. He is the co-author of several books and a frequent speaker on design. He is a past executive board member and a medalist of the AIGA and a member of the Alliance Graphique Internationale. Currently, he serves as a trustee of Art Center College of Design.
Tim Hossler is the originator, coordinator, and co-curator of Thoughts on Democracy. He is the former in-house art director for photographer Annie Leibovitz and helped create her memorable images, books, and exhibitions from the mid-1990s through the early 2000s. As an independent art director in New York City he worked with many photographers including Richard Avedon, Steve Hiett, and Martin Schoeller, and with art directors Ruth Ansel and Douglas Lloyd. He holds a degree in Architecture from Kansas State University and an MFA from Cranbrook Academy of Art. He was the design director at the Massachusetts Museum of Contemporary Art and is currently the art director of The Wolfsonian¬–FIU, where he oversees the visual look of the museum and is instrumental in its preparations for Art Basel/Miami Beach 2008.