Sunday 28 September 2014
Meeting Ruth Ansel

Ladies and gentlemen, we proudly present Ruth Ansel, a woman who’s always been at the right place at the right time. Back in the 60’s, when she was just 24, she and Bea Feitler became co-art directors of Harper’s Bazaar. In the 70’s, Ruth was the art director of The New York Times Magazine, in the 80’s, Vanity Fair. Each time, she was the first woman in that position. In recent years, she’s run her own studio – Ruth Ansel Design – designing books like the much-talked about, 20-inch tall monograph on the photographer and artist Peter Beard. Today, Ruth is 70 years old and still working.

Ruth is Grand. Everyone we’ve met has spoken about her with the utmost respect. Ruth is the one we’ve dreamed most about meeting though we hardly dared to think it would ever happen. She’s been known to publish fake e-mail addresses online with the sole purpose of making it harder for people to reach her. A few months ago, we called her up. It was a brief conversation, ending shortly after Ruth sternly told us that she would »look us up«. Several nervous weeks later, we received an e-mail from Ruth in which she praised our work. Throughout our entire career, nothing has been as important as that e-mail. We felt like a door had opened, that we had received an invitation to an important society. Is this what it feels like to be in the »in« crowd?

Ruth Ansel lives in a posh apartment building on Manhattan’s Upper West Side. In her courtyard a film crew is set to shoot a Disney film starring Nicolas Cage. On our way up to the tenth floor, the elevator man asks us if we’re aware that Cyndi Lauper lives in the house. »You know that song ’Girls Just Wanna Have Fun’?« But we’re focused on a different lady.

Ruth Ansel welcomes us into her large apartment, only to disappear into the kitchen. She’s wearing black clothes, Mary Janes, a big orange watch and a turquoise ring. In the kitchen, she’s arranged a lunch buffet of delicious treats; croissants, smoked fish spread, tasty cheeses and small apples. We fill up our plates and ask if she’s interested in food. »Unfortunately«, she replies, not helping herself to lunch. Above the refrigerator there’s a blackboard in the shape of a cat. On it, Ruth has scribbled a Diana Vreeland quote : »Elegance is refusal.« It’s supposed to keep her from sneaking things out of the fridge.

In 1963, when Ruth Ansel and Bea Feitler were appointed co-art directors of Harper’s Bazaar, the leading fashion magazine of its time, they were met with blatant skepticism by a male-dominated media world. Could two twenty-something females really shoulder such an important role? However, it didn’t take long before the duo had modernized the magazine by infusing it with elements of pop art, street fashion, rock and roll music and film. They chose photographers whose work changed fashion photography forever. Furthermore, the graphic design of Ansel and Feitler set a new standard in magazine design, an updated take on Brodovitch’s revolutionary designs from the 40’s and 50’s.

Ruth Ansel ended up in the magazine world by accident. She was born in the Bronx in the late 1930s. Her father was in the china import business and her mom ran a small lingerie shop. From childhood, Ruth took a great interest in art and movies. Along with her classmate Nina Castelli, daughter of Leo Castelli and Ileana Sonnabend , central figures in the New York art world, she spent a summer in East Hampton at age 15. There, she saw the artist William De Kooning paint his »Woman« series in the downstairs guest bedroom where he was living at the time. Jackson Pollock and Larry Rivers often came by for dinner. Together with the Castelli-Sonnabend family, Ruth went to see her first Balanchine ballet performance as well as Robert Rauschenberg and Picasso exhibitions. It was then her love for art took root.

She graduated from Alfred University earning a Bachelor of Fine Arts Degree majoring in ceramic design but soon realized her career opportunities were limited. After a brief marriage, she escaped to Europe to mend her heart and look for adventure. Her plan was to look for work in different countries and eventually end up in Rome. But after eight months of travel she ran out of money and knew it was time to head home. She felt that, as a young woman, she was never taken seriously in her pursuit of a graphic design career. 

Ruth shows us into the living room. The sun shines in through an open window. On the walls there are pictures we’ve seen in books, like Richard Avedon’s famous Andy Warhol Factory triptych and his portrait of Stravinsky. Some are signed with personal notes to Ruth. Her white Mac is standing on a desk that stretches along a wall. Every now and then, we hear a little »pling« announcing she’s got mail. Ruth asks us to sit down on the large couch, and adds that it’s quite uncomfortable, so we should help ourselves to plush pillows to put behind our backs.

Large bookshelves hold yard upon yard of bookmarked books and magazines. We would love to browse through them all. One of the lower shelves carries all the magazine issues on which Ruth has ever worked. They’re collected in heavy bound volumes. She tells us that she has one copy of each magazine except for the Harper’s Bazaar 1965 April issue – with the legendary cover where model Jean Shrimpton wears a large pink helmet and blinks with one eye if you tilt the magazine.

– Samira Bouabana, Angela Tillman Sperandio, 2010

Preface: Hall of Femmes: Ruth Ansel, 2010
Editor: Ika Johannesson

Buy the book here. Buy the poster here.

Left: Model Jean Shrimpton on the famous cover of Harper's Bazaar April 1965, with the winking eye. Art direction: Ruth Ansel and Bea Feitler. Photo: Richard Avedon. © 2010 The Richard Avedon Foundation. Right: Harper’s Bazaar fold-down cover, August 1966. Art direction: Ruth Ansel and Bea Feitler. Photo: James Moore.

Left: Model Jean Shrimpton on the famous cover of Harper’s Bazaar April 1965, with the winking eye. Art direction: Ruth Ansel and Bea Feitler. Photo: Richard Avedon. © 2010 The Richard Avedon Foundation. Right: Harper’s Bazaar fold-down cover, August 1966. Art direction: Ruth Ansel and Bea Feitler. Photo: James Moore.

Posted by: 16:09

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Categories: Ika Johannesson, Preface, Richard Avedon, Ruth Ansel, Yolanda Cuomo

Saturday 27 September 2014
Meeting Janet Froelich

Sometimes a good question is more important than a good answer. While everybody can have an answer, questions make you pause and reflect. Janet Froelich’s questions make us doubt and they make us think. They make us smarter and more creative. Her thoughtful, »Could it be…? « tends to trigger a chain of thought that in turn leads to new and interesting queries.

Janet Froelich is one of few American women we’ve met to without hesitation call herself a feminist. »It’s not something I think a whole lot about, it’s part of who I am and how I see the world.« In fact, she began her successful career at a feminist publication, Heresies, when she – after 10 years as an abstract painter – swapped solitary hours in the studio for all-nighters and collective discussions about photos and headlines. At the time, in the 1970s, art direction was not a high status profession. She says they called it commercial art and in the world of fine arts, from which she came, that was perhaps the least well-regarded thing there was. »I mean it’s not like it’s art«, Janet might say of her work.

We meet for the first time in 2009, at a fancy hotel on Union Square where we are supposed to have breakfast together. The music is loud and our waiter tells us it is impossible to lower it, right before he pours coffee into a cup full of tea. Janet is polite but strict when she draws his attention to his mistake and asks for a new cup. In one fell swoop she demonstrates her abilities as a leader in her way of deftly taking charge of the situation. We’re impressed. To us, Janet Froelich is the epitome of a professional woman in New York. Elegant, cool, friendly and appropriate.

Ever since she was a girl, Janet Froelich has had a powerful drive, a competitive spirit and a will to always do better. She says she doesn’t know where it comes from, but over the course of our conversation she draws parallels between athletics and the professional world and says that everybody should be involved in sports at some point in their life. That is where you hone your competitive instinct, set clear goals and learn to lose. The latter is something she thinks women are often less good at. In part due to the fact that it was more common for boys than girls to grow up with sports, at least in her generation.

Over that breakfast, she tells of a fresh start in her career. She is beginning a new job that week; after 22 years as art director and creative director at The New York Times Magazine and T Style, she is moving to Real Simple, a lifestyle publication for working women. She is full of anticipation and yet again, we are impressed.

Janet Froelich was born in Brooklyn and raised in the suburbs of New York. She studied fine art at Cooper Union and later pursued a M.F.A. at Yale. It wasn’t until she came into contact with and worked for Heresies that she found her calling in graphic design. With bare-bones qualifications she got a job at the Daily News Magazine, which in time lead her to the position of art director at The New York Times Magazine, and later The New York Times Style Magazine .

The New York Times magazines have won countless prizes under her leadership. Her style is visually strong and extremely catchy, but always intelligent and elegant. Janet tells us that the big difference between The Times magazines and Real Simple is that while the first is a supplement in a newspaper, the latter is sold on the newsstand, which has presented a big challenge. It seems paradoxical to us that The Times Magazine would be a publication not intended for the newsstand, since we feel we would be drawn like magnets to each and every cover if we saw it on the shelf. The endless variations on the T in T Magazine, by various creators is genius and brings out the collectors in us.

Our meeting with Janet Froelich planted a seed. Once back in Sweden we don’t quite know what to do with our project, but Janet’s interest and questions have made us confident that this is important. We are egged on by her urging that something concrete must come of our informal meetings with nine of the world’s foremost (female) designers in New York.

Another idea that takes root is Janet’s thoughts on women and athletics. When we get home we start working our bodies, spending more time at soccer fields, boxing rings and gyms. It turns out to be surprisingly easy to compete with men in the only realm in which there are biological differences in the basic conditions for success. When we take on the men at local gyms doing push-ups, we feel that competing on equal ground in design should be easy.

– Samira Bouabana, Angela Tillman Sperandio, 2013

Preface: Hall of Femmes: Janet Froelich, 2013
Editor: Sarah Clyne Sundberg

Buy the book here.
Buy the poster here.

Posted by: 06:33

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Categories: Janet Froelich, Preface, Sarah Clyne Sundberg

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