Bio

A New Program for Graphic Design is the first communication-design textbook expressly of and for the 21st century. Three courses—Typography, Gestalt and Interface—provide the foundation of this book.

Through a series of in-depth historical case studies (from Benjamin Franklin to the Macintosh computer) and assignments that progressively build in complexity, A New Program for Graphic Design serves as a practical guide both for designers and for undergraduate students coming from a range of other disciplines.

Synthesizing the pragmatic with the experimental, and drawing on the work of Max Bill, Beatrice Warde, Muriel Cooper and Stewart Brand (among many others), it builds upon mid-to-late 20th-century pedagogical models to convey contemporary design principles in an understandable form for students of all levels—treating graphic design as a liberal art that informs the dissemination of knowledge across all disciplines. For those seeking to understand and shape our increasingly networked world of information, this guide to visual literacy is an indispensable tool.

David Reinfurt (born 1971), a graphic designer, writer and educator, reestablished the Typography Studio at Princeton University and introduced the study of graphic design. Previously, he held positions at Columbia University Graduate School of Architecture, Planning and Preservation, Rhode Island School of Design and Yale University School of Art. As a cofounder of O-R-G inc. (2000), Dexter Sinister (2006) and the Serving Library (2012), Reinfurt has been involved in several studios that have reimagined graphic design, publishing and archiving in the 21st century. He was the lead designer for the New York City MTA Metrocard vending machine interface, still in use today. His work is included in the collections of the Walker Art Center, Whitney Museum of American Art, Cooper Hewitt National Design Museum and the Museum of Modern Art. He is the co-author of Muriel Cooper (MIT Press, 2017), a book about the pioneering designer.

Clara Istlerová: A Life Among Letters is the first publication in the United States to delve into the design landscape of the former Czechoslovakia through the lens of Czech designer Clara Istlerová (born 1944). A trailblazer in her field, Istlerová was one of the few women in the male-dominated field of Czech typography. This publication introduces readers to Istlerová’s renowned book designs, particularly highlighting the analog processes she utilized to create one of the most influential books on Czech architecture, Švácha, Rostislav. From Modernity to Functionalism (Odeon, 1985).

The publication features an intimate interview with Istlerová conducted by editor Anežka Minaříková, accompanied by work from Istlerová’s personal archive alongside discussions detailing her creative process. Offering a vivid portrayal of an era where design was a tangible, labor-intensive endeavor carried out in close collaboration with typesetters and printers, the publication unveils the Czech design narrative of the twentieth century to English-speaking readers, highlighting Istlerová’s lasting impact and central role.

Design by Anežka Minaříková and Marek Nedelka

Hackers, scholars, artists and activists of all regions, races and sexual orientations consider how humans might reconstruct themselves by way of technology.

When learning about internet history, we are taught to focus on engineering, the military-industrial complex and the grandfathers who created the architecture and protocol, but the internet is not only a network of cables, servers and computers. It is an environment that shapes and is shaped by its inhabitants and their use.

The creation and use of the Cyberfeminism Index is a social and political act. It takes the name cyberfeminism as an umbrella, complicates it and pushes it into plain sight. Edited by designer, professor and researcher Mindy Seu (who began the project during a fellowship at the Harvard Law School's Berkman Klein Center for the Internet & Society, later presenting it at the New Museum), it includes more than 1,000 short entries of radical techno-critical activism in a variety of media, including excerpts from academic articles and scholarly texts; descriptions of hackerspaces, digital rights activist groups, bio-hacktivism; and depictions of feminist net art and new media art.

Contributors include: Skawennati, Charlotte Web, Melanie Hoff, Constanza Pina, Melissa Aguilar, Cornelia Sollfrank, Paola Ricaurte Quijano, Mary Maggic, Neema Githere, Helen Hester, Annie Goh, VNS Matrix, Klau Chinche / Klau Kinky and Irina Aristarkhova.

Published to accompany the artist’s first retrospective exhibition, Teddy Sandoval and the Butch Gardens School of Art examines the work of the inventive yet overlooked Teddy Sandoval, a central figure in Los Angeles’s queer and Chicanx artistic circles. Sandoval was known for producing subversive and playful artworks in a range of media that explored the codes of gender and sexuality, particularly conceptions of masculinity.

This publication surveys Sandoval’s work alongside other queer, Latinx, and Latin American artists whose practices profoundly resonate. This expansive catalogue features essays by C. Ondine Chavoya, David Evans Frantz, Raquel Gutiérrez, and Mari Rodríguez Binnie, as well as biographical entries on other artists featured in the exhibition, including Félix Ángel, Myrna Báez, Álvaro Barrios, Ester Hernández, Hudinilson Jr., Antonio Lopez, María Martínez-Cañas, Marisol, and Joey Terrill.

Design by Content Object
Co-published by Inventory Press, Williams College Museum of Art, Vincent Price Art Museum, and Independent Curators International

(...) There is no one on the chair, there is no hand on the table, perhaps nobody on the floor. The set up is empty, but some kind of unsettling presence is undeniable. The set up is so obviously fake that there must be something behind it. I am not going to lie: I am going to lie.
If I lie, there is a deliberated stand. I don't have to be "true", to myself, to others. My intention is not to find lying moving, but those who can never lie cannot grow either, cannot discover who they really are. The people, that every day are forced to rip off their personality into fragments, know something about themselves and about life that nobody could teach them. Lying, betraying, is to want to or be able to transform a situation, a fact, an emotion, oneself. The act of lying suddenly un-conceals what has been considered as neutral or as the reference point. The power relations already in place are being revealed, "normality" appears as hegemony. The lie embodies a transgression. It is an attempt to escape normative structures and the refusal to assimilate them. (...)

Includes contributions by Christian Noelle Charles, Andrej Dubravsky, Sandra Golubjevaite, Lewis Hammond, Tarek Lakhrissi, Nils Amadeus Lange, Floriane Michel, Stijn Pommée, Adam Ulbert

A cento is a poem composed of verses or fragments from various literary texts that are collaged into a new one. The word comes from an ancient Latin term which means a blanket made of textile scraps.

This etymological root interweaves important aspects of Cosima zu Knyphausen's practice: the materiality of a piece of cloth—the support of the paintings—with the process of quoting, paraphrasing and appropriating art historical motifs, in order to imagine an alternative canon that is shaped by lesbian desire.

Cento brings together a selection of paintings by Cosima zu Knyphausen from the last five years. Instead of following a chronological order, the works are presented in an intertextual reading that puts them in dialogue and show the range of interests that the artist has pursued in her versatile practice, such as her variations on the motif of "women reading", Christine de Pizan's medieval feminist utopia, the interior of a Berlin queer bar, and egg shell universes.

Accompanied by an essay by Rahel Schrohe, and a poem of the artist, the pages of Cento are overarching Cosima zu Knyphausen's themes, as well as assembling the book itself as a context for the work: a mosaic, a patchwork garment, an egg.

With texts by Phillip Van den Bossche, Filarowska and a conversation between Eva Wittocx and the artist (NL/EN)

Nº 48 / October 2022

sawing a plank is like going for a walk by Kato Six (b. 1986) is published on the occasion of Kato’s solo exhibition at M Leuven this autumn. This book encapsulates 10 years of her quest as an artist.

The work of Kato Six (b. 1986) balances between abstract and figurative art. She works on different themes which she develops into series or ensembles. Architecture, design, domesticity and utensils all act as important references. Starting there, she uses recognisable and everyday materials such as MDF, stone, plastic or textiles.
Kato wants to question certain affinities and let the viewer look at familiar objects or images from a different perspective. As a viewer, you feel connected to the object or image but the actual meaning or function no longer applies.

Some of my works refer to the domestic, especially the most recent ones, such as ‘Carpet Beater Carpet’ and ‘Striped Knitwear’. The invisible work done by “housewives”, but also by workers or maintenance staff, is certainly one of the themes addressed in ‘Carpet Beater Carpet’. The above works are textile works, created with so-called “soft skills”. In the arts, these “soft skills” are often attributed to female artists — women often being assigned a certain medium.
Kato Six in conversation with Eva Wittocx in “sawing a plank is like going for a walk”

This book/catalogue is published on the occasion of the final event of Noa & Snow, a gentle experiment between the everyday and the event, at the Volkskundemuseum, Vienna.

Publication Concept Alix Eynaudi, Goda Budvytytė
Design Goda Budvytytė
Printing Robstolk, Amsterdam
Edition 600 copies
Proofreading Bella Marrin

ENVELOPE Pattern design based on the Lila Dress and its signature cording by An Breugelmans

LE VESTIAIRE
Costumes & objects An Breugelmans Tapestries & trompe-l’oeil Cécile Tonizzo Weaves Lydia McGlinchey Photos taken inside of Jason Dodge’ show Cut a Door in the Wolf at Macro Museum by Carlotta Pierleoni Photos in Vienna Samuel Feldhandler

THEM, PROTEXTIONS
Han-Gyeol Lie, Mette Edvartsen, Lydia McGlinchey, Clara Amaral, Ujjwal Kanishka Utkarsh, Jennifer Lacey, Cécile Tonizzo, Sabina Holzer, Alice Chauchat, Jason Dodge, Joachim Hamou, Quim Pujol, Litó Walkey, Serena Lee, Mihret Kebede

PUBLIC MEDITATIONS
Anne Faucheret, Elizabeth Ward, Kirsty Bell, Tony Just, Sabina Holzer, Samuel Feldhandler, Frida Robles

TEXTURAGES Paula Caspão VIGNETTES Alix Eynaudi

Poster picture of Claire Lefèvre’s Grimoire/Giant Notebook/Bison Book Rasa Juškevičiūtė

INSTITUTE OF REST(S)
Alix Eynaudi, Paula Caspão, Quim Pujol
Back side A thread for Alix Eynaudi, woven as a table placement by Genė Janušauskaitė in 1936, out of the flax she had sawn and harvested herself. Photographed by Kristien Daem in 2022, after Aldona Malašauskienė revealed the placement to her son Raimundas.