Sunday 24 August 2014
L’hommage: Thomas Kracauer > Deborah Sussman
Deborah Sussman at the opening of the exhibition Deborah Sussman loves L.A. Photo: Laure Joliet.
On the 20th of August, graphic and environmental designer Deborah Sussman passed away, at the age of 83. The Brooklyn born designer was the woman behind groundbreaking work in environmental design, just recently acknowledged in a retrospective exhibition called Deborah Sussman Loves L.A – her designs still being very much part of the landscape of her adopted home town. Her most famous work includes the large scale graphic identity for the 1984 Olympics in Los Angeles, which paved the way for a whole new platform in graphic design as part of the public space. She also worked at the Ray and Charles Eames office, and founded the agency Sussman/Prejza in 1968, together with her architect husband Paul Prejza.
Since Deborah Sussman’s name has probably been less known than her iconic work to most, a few enthusiasts started fund-raising to make a show in honor of her achievements. The exhibition took place at the WUHO Gallery in Los Angeles earlier this year, just months before her passing, and became noticed far beyond the channels of the advertising/design industry. The exhibition was curated and organized by Catherine Gudis, Barbara Bestor, Thomas Kracauer and Shannon Starkey.
Considering us big fans of Sussman and her work, Hall of Femmes took great interest in the exhibition this spring. We contacted the fellow admirer and graphic designer Thomas Kracauer, to find out more about the show. Here he talks about the project and about spreading the creative spirit of Sussman to the next generation:
What was your relation to Deborah Sussman’s work before this project?
Before we started talking to Deborah about her work, and digging through her archives, I was only familiar with the work she carried out for the 1984 Olympics and a few recent projects around Los Angeles. I have always gushed over the Sonotube designs. Before seeing them at the Getty last year at the Overdrive show I wasn’t aware of that every day I encounter signs, buses and structures in Los Angeles designed by Deborah and her office.
How did the idea for this exhibition first arise? What was your interest in the project?
It was the architect Barbara Bestor’s idea to do a show about Deborah’s work; we just didn’t know what kind of show. After collecting material we decided to focus on her work from 1953 to 1984, Eames Office to the Olympics. When the project started I was extremely excited to get to design an exhibition about such an important character in Los Angeles design – she was one of the best subjects to design an exhibition about since a lot of her (and Paul’s) work was spatial. It was great material to craft messages in space.
There seems to have been a bit of a buzz about the exhibition even before it opened, because it was crowd funded – what were the advantages of doing the project this way?
I think the buzz wasn’t because it was crowd funded, but because it was a long time coming for a dedicated show about Deborah’s work. The 1984 Olympics was her most well known contribution to the city, and now a new generation was able to experience her work from the 50s, 60s and 70s.
Barbara Bestor said in an interview that part of the intention with the exhibition was to bring the designer’s work into the Pinterest age – what would you like for people to see and take away from the exhibition? The element of joie de vivre that is so apparent in all her environmental work.
The title of the WUHO Gallery show was Deborah Sussman Loves LA – how would you describe Sussman’s Los Angeles?
So much of Los Angeles is Sussman’s. Driving through downtown you can see her work at Grand Avenue Park and signage for office buildings. On the highway you’ll drive past a FlyAway bus with the logo designed by S/P (Sussman/Prejza). Santa Monica and Culver City’s urban branding were done by S/P, and soon you’ll be able to see their work in the Willowbrook neighborhood. Many Metro stations are coated with S/P designs. Every show about the Eames has echoes of Deborah’s contributions. It’s actually really hard to go a day in Los Angeles and not see Deborah’s (S/P’s) Los Angeles. And that’s just what you can see today. Her work on such culturally significant stores as Standard Shoes, Joseph Magnin and Zody’s were dazzling Angelenos in the 60s and 70s… Deborah has always been a pioneer in improving the visual culture, street culture and shopping environments of Los Angeles, and we’ve all benefited. She was incredibly generous with her creativity.
Deborah Sussman at the Eames office. Photo from this video.
Standard shoes store
1984 L.A Olympics graphic identity
Wednesday 28 May 2014
Meeting the Vignelli’s
When we arrive at the Vignellis’ Upper East Side apartment to interview Lella, her husband Massimo answers the door. Their combined home and studio is a duplex apartment, dominated by a giant, lead window. We chat while waiting for Lella to appear – she is not entirely well. A storm rages outside and every so often a lightning strike rattles the church-like window. Later, when we listen to the tape, there’s so much rumbling at times that we can barely hear what we’re saying.
Suddenly Massimo looks up and says, »I think that’s Lella,« sensing her presence. And there she stands, on the balcony that looks out over the large, high-ceilinged room. She comes down to talk and introduces herself. Lella Vignelli is regal. Though today, at the age of 78, she is no longer working, she is sharp, impeccable and has an air of knowing something the rest of us don’t. After all these years in the US, her accent is still unmistakably Italian. Despite her health issues, she projects authority, and it’s easy to see why clients and suppliers did as she said.
Lella and Massimo Vignelli met when they were very young. They both studied architecture in Venice and later moved back and forth between Italy and the US, running a successful business, the Vignelli Office of Design and Architecture, in Milan with big clients like Pirelli and Olivetti. When the pair settled in New York at the end of the 1960s, they, Ralph Eckerstrom and others launched Unimark International, one of the world’s biggest design firms at the time. Lella says they felt like missionaries during those first years; in the US there was much in need of designing.
The Vignellis have a holistic approach to design that they put forward in their book Design is One. Lella’s broad and impressive output proves their motto: »If you can design one thing, you can design everything.« She has turned her hand to every kind of project, from furniture, interiors, showrooms and exhibitions, to product design, silverware and clothing. When we meet, Lella wears a gray pantsuit and jewelry of her own design. The furniture we sit on is from their shared portfolio, and Massimo pours water into glasses he designed. All follows from a directive that is both prosaic and like a command from a higher sphere: »If you can’t find it, design it.«
Ever since they first met, their private relationship has been impossible to separate from their intellectual and creative partnership. In an interview with the couple, from the early 1980s, Lella says that they did compete with each other in the beginning, but that the ambition- to one-up one another in those early years was soon replaced by cooperation. They answer all questions using the pronoun »we.«
Not everyone has understood just how closely they have worked, and the couple is frustrated that Massimo has often gotten sole credit for projects that they have done together, or »for my work,« as Lella sharply puts it.
Throughout art and design history there are a smattering of couples in the same profession. Cipe Pineles and William Golden, and later Will Burtin, for example. But it is more common to find a pairing of two related professions, such as Massimo and Lella Vignelli – graphic- designer and industrial designer. The role distribution, and how the female partner, or wife, has been involved in the process, may not always be clear to others. Bertha Goudy and Edna Beilenson helped their men with typesetting, and Ray Eames took an active part in the Eames’ work as a couple.
The issue of partnership has often surfaced in our work on Hall of Femmes. For us the image of a professional creative couple has always held a certain allure – a partnership in love and work. Perhaps because we too are a »design couple,« albeit not in the romantic sense. For ten years we worked together in a seamless partnership in which it was impossible to divine who did what. In our case this never meant that one of us was obscured by the other. Do women who work in tandem with their men run a higher risk of this?
Admitting to ourselves that the Vignellis’ private relationship inte-rests us as much as their professional one feels shameful, almost taboo. Like everyone else, we’ve been taught that a designer’s actual work is the aspect important to a historical biography. To intrude into the private sphere would be messy. This seems even more loaded when it comes to women. If a woman is living with a man who is successful in her field, people’s opinions of her professional life will likely be influenced by it. Martha Scotford writes about this in her introductory essay. So, in deference to their life-long collaboration, we decided to interview the Vignellis together, although Lella is our main interest.
After the interview, Lella and Massimo walk us to the door. Mas-simo remarks how important it is that Lella get the book she deserves.
We have to agree with him on that. Lella smiles her most radiant smile and says »I never let myself be intimidated by the attitudes
Preface from Hall of Femmes: Lella Vignelli, published 2013
Editor: Sarah Clyne Sundberg
Friday 21 March 2014
Article from Bruno Feitlers collection, borrowed here.
Tuesday 18 March 2014
Bruno Feitler on Bea Feitler
A few weeks ago we contacted Bruno Feitler, the nephew of art director Bea Feitler, and the initiator of a recently published book about her life and work. Bea Feitler was an outstanding designer who unfortunately passed away in the 1980s (how we wish we could’ve paid tribute to her with a Hall of Femmes book). She was Ruth Ansel’s art direction partner at Harper’s Bazaar in the 1960s and gave the form to Ms Magazine, Rolling Stone, and numerous book covers. We skyped with Bruno who lives in Sao Paolo on a cold winter Sunday in Stockholm.
Is Bea well known in Brazil? Is she a kind of design celebrity?
Because of the book now: yes, but maybe five years ago, much less. But she was well known while she was alive. Once a year when she came to Brazil, there would be something about her in the newspapers. But when she passed away, after a while, nobody talked much about her.
Can you tell us a bit about her background, and why she went to New York?
When she was 18 she wanted to study something related to fashion, and my grandparents decided to send her to New York to study at Parsons. She had an aunt in New York, so maybe they decided to send her to the United States and not to Europe, or somewhere else, because of that. Once there, she realized that she wanted to study graphic design.
After her degree, she came back to Brazil where she started to work at a magazine called Senhor. It was a very important publication at the time, and she worked there from 1959 to ’60. And she also designed very, very important covers for important Brazilian authors at the time.
Do you have the books that she did those covers for?
Yes, I have one here, O Homem Nu. It’s in very poor condition, but it is iconic of design in the ’50s and ’60s. I also have this one. O Encontro Marcado. You can see the palette of colors she uses.
She also worked for an art gallery, making invitations and posters, very typical of that period as well. But when she was fired from the magazine together with the main editor, she decided to go back to the United States after only one year in Rio. She started to look for work there, and that’s when Marvin Israel approached her.
Because Marvin Israel used to be her teacher at Parsons?
Yes, he taught at Parsons and that’s how she knew him. But there’s also Diana Vreeland, she says somewhere that someone had spoken very highly of her, that’s why she was hired.
What’s so special is that there were two art director’s assistants hired at the same time: Ruth and Bea. Do you know anything about how they worked together from Bea’s point of view?
It’s very hard for everyone who was there: for Ruth, for some photographers that I interviewed, people that were assistants for Bea later, to explain how they worked together. But Avedon wrote something about that once, saying that one was the classic and one was the modern, Bea being the classic. In fact there was emulation and a lot of collaboration, making it sometimes difficult to say exactly who did what. One would come with one idea, that would be developed by the other one, and then maybe reused by the first one in another spread of Bazaar.
We have gotten the impression that Bea was a wild child and a rebel. What’s your thoughts on that?
Yes, she was very exuberant!
And everyone mentions the bracelets that jingled when she walked.
Yes, I remember her necklaces with Brazilian things hanging, and the bracelets I really remember also. And she was very expansive. But she knew of course, in design, what would be the best solution, what would be the best thing to do.
What else interested her?
In Rio, before going to Parson, she used to come every week to the opera house in Rio, to watch ballet and opera, she was really passionate about ballet. And in NYC, while still studying, every week she would write a friend of hers about ballet and not much about work. But she also wrote in a couple of those letters (and I write that in the book) that she noticed during school that she needed a high-voltage tension. She needed to do all these things at the same time, she needed all this information coming out, and without that she wouldn’t be happy.
For example: when she worked with Bazaar, she also did a magazine here in Brazil and no one knew about that. It’s called Setenta, “Seventies”. So here’s the first issue.
And nobody in United States knew, because she was still hired at Bazaar, so she couldn’t be working with other things. She was an advisor but she also made the layouts for some issues. For instance, she took Bill King to Brazil to take photos for this magazine. There are some gorgeous pictures and gorgeous spreads. She did that secretly and there were some spreads and some pictures that were used in this magazine and later, also in Bazaar. She mixed things up.
That’s daring, two-timing Harper’s Bazaar … So she needed stimulation?
Yes, she needed a lot of things at the same time, working a lot, later also teaching at the SVA, and having the rhythm that they had in New York at that time. And that was not the same in Rio.
How did the idea for the book come about?
My mother passed away very early. My father passed away, Bea passed away in the ’80s, my grandparents too. So it was a way for me to remember all of them at the same time.
Since we haven’t read the book, because it’s in Portuguese, how is it written? Is it from your perspective or from a design history perspective?
We didn’t want the book to be sentimental. In the book there are two texts: one is my text, a personal biography, it goes sideways when you hold the book straight, so you have to turn the book to see texts and images that relate to her personal life. And all the work images, and the text with design analysis, are set out in the regular way, written by André Stolarski, a great design theorist among many other things. Stolarski analysis of Bea’s work is amazing, and his text is the most important one for the book. Unfortunately he recently passed away. The book’s layout was a way Elaine Ramos found to play with Bea’s idea of the use of text as image. The size of the book is the same size as Bazaar’s magazine. So it makes it easier to reproduce some of those images.
Has the book been well received?
Very well. We got a lot of good press.
Can you say something about her work at Ms magazine?
After leaving Bazaar in 1971, Bea was called by editor Gloria Steinem to be the art director of Ms magazine, which was just starting. It was a huge success. According to André Stolarski, Ms’ popularity was a direct consequence of its graphics, and thus also was the influence of feminism in the US. It was in fact a pop magazine, and Bea was able to gain a lot of space for images over text in it. Ms while dealing with political and serious social matters, was visually agitated, informal, and also well humored, what certainly helped its popularity. Bea worked there until July 1976.
Can you tell us something about how the photographer Annie Leibovitz and Bea worked together?
Bea asked Annie to shoot some photos for Ms. magazine, and that’s how they got in contact. Annie then had Jann Wenner call Bea to do some special projects for Rolling Stone, where Annie was the head photographer; works as “capturing the soul. Seven master photographers”, of May 1976, or the 10th anniversary issue, of 1977, a huge work of edition of Annie’s photos. Once Rolling Stone moved to NY, Bea started collaborating even more, first as consultant art director and later as design director. For Annie it was very important to have Bea there. Have you seen the documentary Behind the Lens? Annie said that Bea took her under her wing and taught her a lot.
Actually, that was one of the starting points for Hall of Femmes, when we saw that documentary, because it was the first time we ever heard a woman speak of another woman as a mentor and give that kind of credit to another woman in a work collaboration thing. So it got us really curious about Bea and about the whole mentorship between women.
They had a very intense relation. And Bea was the one who took Annie Leibovitz to fashion, when she worked on the prototype for Vanity Fair. Do you want to see the prototype?
What made Bea the mentor type?
She recognized talent, and what would become the focus of that photographer or artist. For example, Richard Wilde (director of the SVA) told me that Bea paid attention to Keith Harring when he was a student, at a time when other people would not. With photographers and designers, she would know which path they had to follow. She would know how to make them develop their own personality.
Thank you for taking the time to talk, Bruno, bye!
Bruno Feitler lives in São Paulo, Brazil, where he is a Professor of History at the Universidade Federal de São Paulo, with studies mainly on the Church in Brazil and the Portuguese Inquisition. O design de Bea Feitler is published by Cosac Naify and ipsis in 2012. Buy it here , even if it’s in Portuguese, it’s worth it.
Monday 3 February 2014
Omar Sosa on Nathalie Du Pasquier
L’Hommage is an interview series about people who highlight and promote people they admire and their work, thus spreading their inspiration.
Omar Sosa is an art director, designer, and one of the founders of now world-renowned interiors magazine Apartamento – which often features creatives and their homes and workspaces. One of the people who’s been featured in the magazine is Nathalie Du Pasquier, who’s coming to Stockholm for the Hall of Femmes seminar on February 3.
We called Omar up, on a busy day in Apartamento’s Barcelona office, to find out more about his projects with Nathalie.
Tell us about how you first came in contact with Nathalie.
In 2009 I saw some paintings she had made – they were still lifes, peculiar arrangements of little objects. They were just beautiful and I told the gang at Apartamento about it. A few days later I found out that she was one of the founders of the influential Memphis Group in the eighties – I didn’t even know about that part of her work at first.
Apartamento co-hosted an exhibition of Nathalie’s in 2011; featured an interview with her in issue #8; you collaborated on a design project of playing cards; and now you’re finishing a book on her drawings. What intrigues you about her work?
Her paintings were my first interest. She sometimes says that designing and painting involve different parts of her brain. But what interests me most about her work is her way of doing things. She is not about analyzing or planning – she is so immediate about her work, and extremely fast and creative.
I suggested we do a book with her paintings and drawings. Going through her archives has now resulted in a 350 page book with works never yet published or produced. We are now in the process of finding the right publisher. Hopefully, the book will be out in 2014.
What has your acquaintance with Nathalie meant to you as a designer?
Well, she has had an influence on me in the use of color. A while back, most of my designs were in a black-to-white scale. I use color in designs more since I met her.
But, more importantly, she’s had an influence on me as a person. Her fantastic personality is what captures me most. She has such a good energy about her, so fast and productive. She likes to explore things by doing, rather than thinking about them. All that is so inspiring to be around. So her influence on me is more on a personal level.
What part of her work do you think is most relevant today?
Well sure – her pattern and design work as part of the Memphis Group were extremely influential at the time, and continue to be. In the last decade many things reminiscent of that style have been popular, it’s a strong trend. But that’s not what is most prominent about her potential as an artist; her body of work is so much more, she continues to explore. I hope to show that she is continuously developing. I’m very excited to see what she will do in the future.
Tomorrow, Nathalie Du Pasquier is one of the speakers at the seminar »True freedom can only be collective« at Arkitektur- och Designcentrum (The Swedish Centre for Architecture and Design) in Stockholm. Tickets 150 skr available here.
Thursday 23 January 2014
Lawen Mohtadi om Rosa Taikon
Idag inleder vi vår intervjuserie L’hommage, där vi lyfter fram människor som valt att lyfta fram andra. Först ut är Lawen Mohtadi, journalist, författare och debattör i frågor kring genus och rasism, och bland annat tidigare chefredaktör för tidningen Bang.
Berätta om din bekantskap med Rosa Taikon?
– Vi lärde känna varandra i arbetet med boken om hennes syster Katarina Taikon (Den dag jag blir fri, Natur & Kultur 2012), och deras kamp för romers rättigheter i Sverige under 1960- och 70-talet. Genom Rosa fick jag upp ögonen att för en vital rörelse för antirasism fanns i Sverige redan på 60-talet, och för att den kampen lever vidare och har stor relevans idag. Det var upplyftande att inse att vi, i vår tid, inte är de första att se de här problemen i samhället. Att få insikt om det genom Rosas berättelser berikade och inspirerade mig mycket, det liknade mitt feministiska uppvaknande 20 år tidigare. Det är också en ny upplevelse, som journalist, att lära känna och bli vän med någon som man intervjuar under en längre tid.
Du skriver ofta om Rosa på sociala medier och andra ställen utanför din bok – finns det en medveten tanke kring det?
– Jo, det har nog funnits en underliggande ambition på ett sätt. Min generation ska få veta vem Rosa är. Men mycket handlar det också om att jag tycker om att dela hennes tankar och kommentarer om saker.
Är det viktigt att göra frontfigurer som är kvinnor mer kända?
– Ja, det är viktigt. Feminismen har ju inga ledare, men den har sina ikoner. De har haft stor betydelse för mig, man inspireras av dem, man kritiserar och går i dialog med deras idéer. Att dela erfarenheter betyder en hel del. Mycket inspiration och tröst finns ju i det att man själv inte är den första som upptäckt att man behöver kämpa mot olika former av förtryck. I framhållandet av kvinnliga förebilder och ikoner är man med och gestaltar kulturen och sin samtidshistoria.
Är det viktigt att ha en självupplevd utgångspunkt som förebild? Finns det några män exempelvis, som är feministiska förebilder för dig?
– De egna erfarenheterna är betydelsefulla, men så är också intresset för och solidariteten med det som ligger utanför den egna upplevelsen av världen. Författaren James Baldwin har varit en förebild, i hur han gestaltar mänskliga erfarenheter och det sociala och kulturella landskapet i USA på 60,70- och 80-talet.
Vad hoppas du lever vidare av Rosa Taikons gärningar?
– Hennes budskap om att vi alla förtjänar ett liv utan förnedring och förtryck, ett slags frihetsbudskap.
Men också hennes sätt att vara, att ha nyfikenheten i behåll, en förmåga att röra sig framåt som är betydelsefullt när man jobbar med väldigt tunga frågor. Visst berörs hon av rapporter om hur romers rättigheter fortfarande kränks, men hon låter sig inte nedslås. Hon skulle aldrig ge upp, tror jag. I sitt politiska engagemang lever hon inte på gamla meriter, hon finns i nuet. Hon säger ofta när vi pratar om de här frågorna: ”Vi kan inte bara prata om dåtid, vi måste prata om framtiden också.”
Tuesday 7 January 2014
The Hall of Femmes’
Annual Report 2013
As the new year begins, we’d like to wrap up what we did last year.
2013 was the year Hall of Femmes expanded from a two-person mission to a much bigger one, thanks to our smart, savvy and professional collaborators.
2013 was the year we published four new books; three on Tomoko Miho, Lella Vignelli and Janet Froelich, which we celebrated with parties at Moderna Bar, Yaki Da and Lydmar Hotel. We also compiled our 700 – so far – blog posts, written between 2009 and 2013, into a book.
2013 was the year we arranged our first (but not last!) conference, aka design festival, aka Best Week of 2013: Hall of Femmes Talks, at Moderna Museet. For two days, Swedish creatives experienced lectures from and discussions with leading international creatives. Thank you all for making this conference so memorable, and thank you for the kind words, e-mails and letters we’ve received – it means the world to us.
2013 was the year we did several new interviews with leading Swedish creatives, who generously shared their thoughts on both gender and design. Don’t miss this brand new interview with leading lady Lotta Kühlhorn.
2013 was the year we sometimes changed position, from doing interviews, to being interviewed.
2013, in the Fall, we presented a screening: »Sarnos – A Life in Dirty Pictures«, a documentary by Wiktor Ericsson, at Bio Rio. After the film, there was a conversation between Peggy Sarno and Hall of Femmes’ editor Ika Johannesson.
2013, in October, we were honored with the prestigious Bengt Hanser Award for, in the words of the jury: »having contributed to an improved industry for both men and women – and for giving us a more inclusive history of design« (We’re so proud!).
And not forgetting – in 2013 we got this web page.
We wish you a wonderful new year, and hope to see you at one of the events we’re planning for 2014. Our first event for 2014 is »True freedom can only be collective«, welcome!
Thursday 12 December 2013
Designers & Books
»Change happens because people want things to change«. Read the interview with us here.
Wednesday 11 December 2013
Nu ska ni få den enda lista ni behöver inför julen. Det är lite oklart om det är en inköpslista eller önskelista, både och förmodligen – det vet ju alla att man alltid hittar bäst presenter till sig själv. Det är lika bra vi säger det på en gång, den är väldigt partisk, ingenting du lika gärna kan slöjda själv, allt är kvalitet men inget är gratis!
1. Självklart vill vi att alla du känner ska läsa alla våra böcker och att väggen som är det första du ser när du slår upp ögonen på morgonen, hela tunnelbanevagnen på väg till jobbet, utrymmet bredvid kaffemaskinen på kontoret och varenda lägenhet du tjuvkikar in i på kvällarna alla ska vara tapetserade med Hall of Femmes affischer. I år gav vi ut tre nya böcker och lika många affischer, om Janet Froelich, Lella Vignelli och Tomoko Miho. Dessutom gjorde vi Bloggboken, där du som vill julevila skrollfingrarna kan läsa Hall of Femmes blogg i bokformat. Dessutom har Ruth Ansel formgivit en fin bok förra året och dom här fina anteckningsböckerna har Paula Scher gjort. För den som redan har allt Hall of Femmes-relaterat (vi älskar dig), och hellre vill blicka in i framtiden, föreslår vi att köpa biljetter till det här eventet vi ordnar på Arkitektur och Designcentrum, True Freedom can only be collective – a seminar celebrating Lina Bo Bardi.
2. Årets största konsthändelse i Stockholm – vid sidan av Barbara Krugers föreläsning i maj – var förmodligen Cindy Shermans utställning på Moderna museet. Årets konstkatalog är helt följdriktigt Stefania Malmstens katalog för utställningen, där litterära texter blandas med konstbilder. En annan av våra favoritkatalogformgivare Anders Wester har gjort den här om Charles Long.
3. Kören The Sweptaways 10 år som Stockholms mest lysande popkör har blivit till en kombinerad foto- och notbok (kan även köpas på Bondegatan 11 under kontorstid) med arr och nyskrivna texter av kören själv. När alla julaftonsvännerna gått hem, sätter du på den nya skivan och sjunger med, svajande framför granen.
5. För dig som känner någon som är – eller själv är – ålderslös. För utan att ha läst den ännu, föreställer vi oss att Bea Uusmas bok Expeditionen kan ges bort till vem som helst, i vilken ålder som helst. Formgivning av Lotta Kühlhorn är såklart den andra anledningen att köpa boken.
6. The Gentlewoman kan du köpa en prenumeration på här. Prenumerationer är för övrigt världens bästa present, spridd över året och alltid lika glad överraskning när ett nytt nummer kommer. Vi rekommenderar även Mattias Åkerbergs ambitiösa nyhetsbrev Please Copy Me. Och för fanzineälskaren: maila firstname.lastname@example.org och beställ 44 sidor talang.
9. Till den som är mer teoretiskt lagd, köp Hello World eller 100 Ideas that Changed Graphic Design. Och för den som vill ha en bok som räcker i flera år och är så tung att man inte behöver ge bort ett gymkort, köp Svensk illustration – en visuell historia. Och såklart: In som ett lamm, ut som en tigrinna.
10. När du köpt alla dom här sakerna, föreslår vi att du slår in allt i rättesnöret.
Posted by: admin 16:46
Monday 4 November 2013
Bengt Hanser 2013
to Hall of Femmes
»With the help of sold-out lectures, hip podcasts, and multiple book-releases with international success, they’ve contributed to an improved industry for both men and women – and they’ve given us a more inclusive history of design.«
Hall of Femmes is the recipient of the 2013 Bengt Hanser award, presented by the Swedish Association of Communication Agencies (Komm!). The award was established to »encourage opinion-forming contributions that illuminate and argue the role of market communication in the economy and society.«
- Ruth Ansel (94)
- Fina saker (70)
- Killar (64)
- Paula Scher (62)
- Lillian Bassman (56)
- Arbete (56)
- Ladies (55)
- Fotografi (51)
- Carin Goldberg (47)
- Nöjen (42)
- Press (37)
- Budskap (29)
- Romantik (28)
- Janet Froelich (25)
- Mary Shanahan (24)
- Typografi (21)
- Gentlemen (21)
- Richard Avedon (20)
- Döden (19)
- Bea Feitler (17)
- Tomoko Miho (17)
- Hall of Femmes intervjuar (16)
- Lella Vignelli (16)
- Böcker (15)
- Dagens lunchkille (15)
- Massimo Vignelli (14)
- Mode (13)
- Stefania Malmsten (13)
- Types and Faces (13)
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