stimulation

The design whizzes over at C&G Partners have many talents, but among the most mind-blowing is their ability to transform grayish-yellowish mountains of historical documents and artifacts into visually stunning, user-friendly exhibits and displays. Feast your eyes (and your web browser) on their latest archival triumph: a website for The Martin Luther King, Jr. Center for Nonviolent Social Change in Atlanta. A C&G team led by partner Maya Kopytman (working in collaboration with Chicago-based web development firm Palantir) created a site that builds on the graphic identity established for a related traveling exhibition that the firm completed last year. At the core of the site, which launched yesterday, is a new digital archive for The King Center Imaging Project, a JPMorgan Chase & Co.-backed initiative to “bring the works and papers of Martin Luther King, Jr. to a digital generation.” Browse the archive to pore over King’s handwritten notecards and telegrams or zoom in on a Flip Schulke photo of MLK enjoying lunch with his family in 1964, under the watchful gaze of Ghandi, whose image hangs on a wall above them. Next up: more meticulously scanned and eminently searchable letters, speeches, drafts, notes, and photos. The King Center Imaging Project digital archive will eventually contain about a million documents.

Create a social media strategy, launch your campaign, and track the results in our Social Media Marketing Boot Camp starting February 16. The online event and workshop will feature speakers including The Onion‘s Baratunde Thurston (left), Facebook’s Morin Oluwole, and bitly’s Tim Devane. Register now.

Foundation Rwanda’s latest fundraising initiative, “Color Rwanda with Hope,” comes with a typographic twist. The nonprofit organization, founded in 2008 by photojournalist Jonathan Torgovnik and former creative director Jules Shell, tapped members of creative agency LBi Syrup to design an original typeface for the multi-media campaign. Rather than whip up something in the studio, where they work on projects for artistically inclined brands such as Bottega Veneta and Puma, the LBi Syrup group traveled to Rwanda and used the artwork and writing of the children they met there as inspirational font fodder. The resulting typeface, “Color Rwanda,” appears on various campaign materials, including the limited-edition coloring books that are at the heart of the fundraiser. LBi Syrup also created a short film (below) for the campaign. All proceeds from the Color Rwanda with Hope effort will help to fund Foundation Rwanda’s work to provide secondary education for the 20,000 ostracized children born of rape during the 1994 Rwandan genocide.
Read more

In a move that we hope will land him the network-TV variety show he so richly deserves, Chip Kidd will give a talk at this year’s TED Conference, which gets underway on February 27 in Long Beach, California. The charismatic author, editor, art director, book jacket designer, Batman expert, and rock star will lead off a March 1 session entitled “The Design Studio,” according to the program line-up released today. Kidd will be followed onto the TED stage by Andrew Bolton, curator of the Metropolitan Museum of Art’s Costume Institute, who may shed some light into the global phenomenon that was “Savage Beauty” (he organized the McQueen blockbuster) or just help to get the audience thinking outside their boxy polos and khakis. Rounding out the session is IDEO founder and Stanford professor David Kelley, who is expected to address his passion for “unlocking the creative potential of people and organizations to innovate routinely.”

Meanwhile, New Yorkers have a couple of imminent opportunities to get their Kidd fix (and wouldn’t Kidd Fixx be a great name for that TV show?). Tomorrow evening, the Museum of Comic & Cartoon Art hosts an evening of Bat-Manga. Kidd will discuss the Japanese Bat-mania phenomenon, the basis for his 2008 book, amidst the museum’s current exhibit of original artwork and lavish cover art from the Batman-manga comics. And on Thursday, January 26, he’ll be on hand for “The Next Chapter,” an AIGA/NY-sponsored look at e-publishing dynamics. What does Kidd know about digital publishing and the future of the book? Absolutely nothing, so he’ll be moderating a panel of people who actually do, including Carin Goldberg, Craig Mod (500 Startups, Flipboard), and Jeremy Clark (Adobe).

In a year studded with beautiful new volumes by and about artists and designers ranging from Alexander McQueen to Andrea Zittel, these are the five that we found most inspiring.

Autobiography of a Fashion Designer: Ralph Rucci (Bauer and Dean) by Ralph Rucci, with photographs by Baldomero Fernandez
Fashion designer and artist Ralph Rucci has been betrayed by key members of the fashion press, who should have made him a household name years ago, but critics, curators, and connoisseurs have picked up the slack. This just-published volume is a fascinating follow-up to Ralph Rucci: The Art of Weightlessness (Yale University Press), published in 2007 to accompany the Museum at FIT’s exhibition of the designer’s work. Like Rucci’s exquisite creations, Autobiography of a Fashion Designer rewards patience and close-looking, with pages of lush color photos and descriptions of the couture techniques used (and in some cases pioneered) in the Chado Ralph Rucci atelier. Inspired by Sol LeWitt’s Autobiography (1980), a kind of exhaustive visual index of the artist’s life, this book also tells the stories behind 20 objects Rucci has collected in his lifetime. It’s a fitting tribute to an uncompromising designer with the soul of artist.

Alexander Girard by Todd Oldham and Kiera Coffee (Ammo Books)
Treat yourself to the amazing Alexander Girard mega-monograph by designer Todd Oldham and writer Kiera Coffee. The product of nearly four years of research and, at 672 pages, an innovative scheme of printing and binding, this book is a must for any design lover. Oldham was granted exclusive permission to sift through the fastidiously kept archives of Girard (1907-1993), who is best known for his folk art-infused textiles for Herman Miller but also designed everything from buildings to typography. “I’d estimate that 90 percent of the work in the book hasn’t been seen,” Oldham told us earlier this year. “Wait ‘til you see the stuff from his early design career, in the ‘20s.” And take a closer look at the image credits: many of the archival photos were taken by frequent Girard collaborator Charles Eames.
Read more

We can’t help but viewing 2011 in terms of artistic losses—from Lucian Freud and Cy Twombly [sigh!] to John Chamberlain and Helen Frankenthaler—and don’t even get us started on Hitch. This perspective makes our own 2011 highlight reel about as uplifting as the annual Academy Awards death montage, and so we defer to Mac Premo and Oliver Jeffers of The Daily. The video artists have whipped up this two-minute video recap of the biggest stories of 2011, from the January shooting of Arizona Rep. Gabrielle Giffords to the end of the Iraq War, all in a whimsical stop-motion style that recalls the interstitial programs of Sesame Street. Happy New Year!

Watch out, Tangerine Tango, there’s a new hue angling for the title of Color of the Year. Global paints and coatings giant AkzoNobel has crowned “Terracotta Rose” as the it-color of 2012. The Dutch multinational, which also does a brisk business in specialty chemicals, has selected the “blushing, lively, juicy red” for its versatility. “The radiant shade is the most important color for 2012 as it is at once whimsical and serious, dynamic and soft, perfect for a tiny accent or a feature wall,” notes AkzoNobel’s latest Color Futures booklet (downloadable as a PDF here), which highlights key trends that emerge from the company’s annual Color Convention. “A color that can be many things to many people reminds us not to look for simple solutions, but to open our minds to new ideas that are waiting to be discovered.” The selection of a warm and robust shade as AkzoNobel’s Color of the Year comes after a string of pale tones, including “a light, airy, citrus yellow” that helped to make 2011 more “illuminating, cheering, refreshing, and uplifting.”

Previously on UnBeige: Pantone Names ‘Tangerine Tango’ 2012 Color of the Year

“On when we’re off, screen savers are both hallucinatory napscapes and work-site facades. Though customizable, like icons and wallpapers, and comparable to other cubicle brighteners (potted plants, fluorescent stickies), they possess a distinct poetics. As boxed, watchable decor, where a fireplace or window might once have sufficed, they tend to emulate the mesmeric morphing and gelatinous luminosity of fish tanks, lava lamps, self-tilting wave tanks. (Cognate forms might include digital picture frames, dance-club visuals, the trompe l’oeil of Yule-log DVDs.) Whether ribbons of light that streak and fold, frantic zooms through a brick maze, or an inexorable volley into the Milky Way, the screen saver’s most insistent optical illusion is infinitude. Reaching beyond dead opaque surface and deadpan document glare—as if receding behind, sinking into the depths of true aliveness those occlude—its generous spaciousness seems to redeem work’s merely serial endlessness. The screen saver is comfort food for thought the way pop chaos theory is: it lets us believe we are more linked by the serendipities of a butterfly’s wings than by finance capitalism. As tasks await amid cascading windows or avalanching paper, the screen saver’s immersive depths unfurl the cosmic picture that keeps the job in perspective, outsourcing gripes to karma, converting tedium into trance. It acknowledges, and briefly gratifies, one’s drowsy desire for not-work.”

-Chinnie Ding exploring what screen savers tell us about our wishes, anxieties, and obsessions in the November/December issue of The Believer

(Photos: Christopher Burke, courtesy Paul Kasmin Gallery)

What’s nine feet tall, twelve feet wide, and dangerously emotional? The face of King Kong, as depicted by Walton Ford in three massive new watercolors that will be unveiled this evening at Paul Kasmin Gallery in New York. The artist based the primate portraits on the 1933 monster adventure film starring a satin-draped, constantly screaming Fay Wray as Ann Darrow, who catches the eye of Skull Island’s mysterious gorilla-beast. “The Depression-era Kong was misshapen, not modeled on any living ape. He has an odd, ugly, shifting charisma like Cagney, Edward G. Robinson, or Bogart. Naturally his women screamed in terror,” says Ford in a statement issued by the gallery. “The grief of the original Kong is the grief of the unloved, and like Humbert Humbert or Frankenstein, the grief of the unlovable.”

When titling the works, the artist borrowed Wray’s line, delivered behind shielded eyes to her human lover: “I don’t like to look at him, Jack.” Meanwhile, Ford’s monumental Kongs are impossible to look away from, with impeccably detailed faces contorted in varying combinations of anguish and fury. “These paintings are about Kong’s heartbreak,” says Ford. “I wanted to reveal the monster’s grief, his enormous sadness, the sorrow that the original Kong kept hidden from view.” The solo exhibition, on view through December 23 at Kasmin, also includes six new, monkey-laden meditations on a passage from the memoirs of John James Audobon. The colorful paintings bring to life an episode from the ornithologist’s childhood in which he watched one of his mother’s pet monkeys snuff out another one of her pets, a parrot. “This made,” wrote Audobon, “a very deep impression on my youthful mind.”

“I’m always looking for an unconventional way to do holiday,” Simon Doonan told us the other day. The famed window dresser and style authority, who holds the plum title of creative ambassador-at-large for Barneys New York, prides himself on “crafty ingenuity”—think Rudolph made from old Coke cans—and his latest project came with a high-tech twist. PayPal hired Doonan to whip up festive window displays for its pop-up “Shopping Showcase,” a ground-level space in New York where the online payments giant will show off its latest offerings to retailers beginning tonight. So how did he conquer the challenge of selling, well, selling? “After they called me, I was walking past an art supply store, and I saw these,” he said, holding up a posable wooden manikin. “I thought they would be a great way to represent the 100 million people that use PayPal. They’re zillions of these in different sizes in the windows. They’re chic, they’re connected, they’re flexible.”

After Doonan submitted his initial sketches (one is pictured above), the displays were fabricated on site. “That’s a tremendous advantage, because it allows you to keep running outside and seeing what everything’s actually going to look like,” explained Doonan, dressed in a snappy Thom Browne jacket in a shade that he described as “PayPal blue.” The company’s signature color is a key theme of the windows, which feature an industrious bunch of wooden people going about their seasonal preparations amidst a flurry of wintry tissue and tulle. “It’s a fantasy holiday vignette,” he said, standing in front of the largest window. “Buy your gifts, throw them all in a sleigh, and then haul them off through the snow.” For those eager to bring a bit of Doonan’s kooky approach to their own December decor, he recommends a trip to Home Depot for some chicken wire, which he used to make the PayPal wreath. “Chicken wire is such a versatile, incredible material,” he said. “Make yourself a chicken wire Christmas tree and then just start shoving things into it.”
Read more

An eight-foot-tall man returned from a swim on Tuesday morning in Siesta Key, Florida and was promptly detained by authorities. The 100-pound fellow, who resembles a giant Lego figurine, is made of fiberglass. The front of his green tank top reads “No Real Than You Are,” and the back is emblazoned with the number eight and “Ego Leonard,” the name of a Dutch artist whose creations have previously washed up on beaches in England and the Netherlands. “I am glad I crossed over. Although it was a hell of a swim,” wrote the artist, replying to an e-mail from a writer for the Sarasota Herald-Tribune. “Nice weather here and friendly people. I think I am gonna stay here for a while. A local sheriff escorted me to my new home.” According to a press release issued by the Sarasota County Sheriff’s Office, “Mr. Leonard is being kept in a secure environment until his owner comes forward.” Lego is not amused. A spokeswoman for Legoland in Orlando told the Herald-Tribune that the Lego man is a counterfeit and not endorsed by Legoland. Meanwhile, the Sarasota Convention & Visitors Bureau is eager to keep him in town. “We were trying to spring him out of jail,” said Erin Duggan, communications director for the tourism bureau. “We had offered to give him a home at the visitors center, where people could come and have their pictures taken with him.”