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Archives: September 2012

Design Jobs: Gemvara, New York Daily News, McMurry

This week, Gemvara is hiring a senior art director, while the New York Daily News needs a photo editor. McMurry is seeking a senior art director, and MVP/NY is on the hunt for an editorial designer. Get the scoop on these openings and more below, and find additional just-posted gigs on Mediabistro.

Find more great design jobs on the UnBeige job board. Looking to hire? Tap into our network of talented UnBeige pros and post a risk-free job listing. For real-time openings and employment news, follow @MBJobPost.

Behold, The Phaidon Archive of Graphic Design

Move over Phaidon Design Classics, there’s a new must-have box set in town. In this corner, weighing in with 3,300 illustrations (3,000 in color), 1,000 pages, and 500 graphic design projects—film graphics, books, magazines and newspapers, logos, album covers, posters, and more—created since the advent of mechanical reproduction, we have The Phaidon Archive of Graphic Design, out this week in a DIY book-in-a-box format. The enclosed dividers can be used to organize the pages (sturdy double-sided cards) according to your own design: chronologically, alphabetically, by designer, by subject, or something more subjective, such as “love,” “hate,” “wish I’d thought of that,” and “so that’s where they got that idea.”

‘S’ Marks the Spot: Mevis & Van Deursen Design New Identity for Stedelijk Museum

Amsterdam’s Stedelijk has renovated more than its building. The museum tapped Dutch graphic design duo Mevis & Van Deursen (a.k.a. Armand Mevis and Linda van Deursen) to whip up a fresh identity. They begin with the idea of “some kind of stage for the works of art to be shown on,” expains Mevis in the below video. “Our source of inspiration is art.” But when it came to creating a clear and recognizable logo, “Stedelijk Museum Amsterdam” doesn’t exactly roll of the tongue or pop off the page, so they got creative with the letter “S.” Survey says? Surprising, scrappy, and smart. Here’s the full scoop:

New to DVD: Gerhard Richter Painting

“Painting under observation is worse than being in the hospital,” Gerhard Richter tells filmmaker Corinna Belz, shortly after she has installed herself and a small crew in his bright, clutter-free studio outside Cologne, Germany. Fortunately, the artist agreed to endure several months of scrutiny as he went about what he describes to Belz as “a secretive business”: painting a series of giant abstracts in the spring and summer of 2009. The result is Gerhard Richter Painting, a mesmerizing documentary that made its U.S. debut last December at Art Basel Miami Beach and is out this week on DVD. “My interest was to show Richter at work,” says Belz, who first convinced the artist to appear on camera in her 2007 short, Gerhard Richter’s Window (fingers crossed for a trilogy). “How he moves, how he applies paint to canvas, his compelling squeegee technique.”
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Welcome to the Bathtub: Amsterdam’s Stedelijk Museum Reopens with Addition by Benthem Crouwel

Queen Beatrix herself was on hand this weekend (in a festive red ensemble, no less) to reopen the Stedelijk Museum, which has undergone an extensive renovation and gained a new wing designed by Mels Crouwel of Benthem Crouwel Architects. The Amsterdam institution’s original building dates to 1895, and virtually all of its program spaces have now been converted to galleries for the first comprehensive display of the Stedelijk’s permanent collection of modern and contemporary art and design (think Aalto to Zwart). The 98,400-square-foot new wing, which some locals have dubbed “the bathtub,” not only provides a sleek home for temporary exhibitions (first up: a group show of young artists working in the Netherlands) but also reorients the entire museum to face Amsterdam’s Museumplein, where its floating white facade rub-a-dubs with the neighboring Rijksmuseum, Van Gogh Museum, and Concertgebouw.

“The Stedelijk Museum of Willem Sandberg, the director who put the museum on the international map, was our starting point,” explains Crouwel. “He stripped the interior of decoration and had it painted white, creating a neutral background for art.” Crouwel’s formula for the exterior was simple: keep the 19th-century architecture, add 21st-century technology, and paint everything Sandberg white. The new building’s milky exterior, made of 271 panels of Twaron aramid fibers and Tenax carbon fibers attached to a steel structure, makes the Stedelijk the largest composite building in the world. “With the completion of Mels Crouwel’s bold yet brilliantly functional building, we are effectively adding a major new work to our exceptional collection of Dutch modern design,” said director Ann Goldstein in a statement issued by the museum.
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Derek Lam Designs Green Room for Emmys

And the Emmy goes to…Derek Lam! OK, so the fashion designer won’t take home a statuette tonight at the 64th Primetime Emmys, but he could surely land a hefty discount on a new Audi S4. The maker of German-engineered luxury vehicles tapped Lam to design the green room at this year’s Emmys, which will be held at the Nokia Theater in Los Angeles. He sped into action, defining the entrance with curving metallic fabric and tricking out the space with vintage furniture. The design elements nod to Audi vehicles and a company that Lam says shares his own brand vision of “modern luxury and uncompromised quality.” Get a closer look at the Audi Green Room tonight on “Backstage Live,” a slate of online programming that will run in parallel with the Jimmy Kimmel-hosted telecast.

(Photos: WireImage/Charley Gallay)

When Chuck Close Met Barack Obama

Chuck Close with “Obama I” and “Obama II” (both 2012). The Jacquard tapestries, published by Magnolia Editions, will be sold at a fundraiser at Lever House on October 3.

“Well, you know, my friends call me Barack,” the President told Chuck Close when the two met earlier this year for a portrait sitting in Washington D.C. “I didn’t do it,” says the artist of calling Obama by his first name. “But I think he was letting me know I could.” Calvin Tomkins sheds light on the photo shoot and the resulting artworks—ten tapestries (pictured) and 250 prints of a color portrait—and in a Talk piece that appears in the September 17 issue of The New Yorker.

Despite the success of Shepard Fairey’s HOPE poster, Obama’s staff seems to be less than savvy when it comes to art. Close, whose portraits have helped to fatten the campaign coffers of the likes of Hillary Clinton and Al Gore, offered to make a tapestry portrait of then-candidate Obama during his first presidential campaign, but never got a response. In 2010, Close was appointed to the President’s Committee on the Arts and Humanities. “Every time I went to Washington for a meeting I’d talk about the great results we’d had with the art auction for Gore, and said I’d love to do something similar for Obama,” Close tells Tomkins. “Nobody picked up on it until just recently, when they found they weren’t raising enough money, and somebody said ‘Oh, yeah, wasn’t there something about an art auction?’”
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Mark Your Calendar: Design-Centric Hackathon

We’ll take a good hackathon over a brainstorming session any day, and M-RGE is cooking up a design-centric version. The New York-based community for hackers and designers, which has already attracted some 200 members with a two-month run of free workspace and classes at startup farm AlleyNYC, will hold a weekend hackfest on October 13 and 14. The design-minded twist? Designers will pitch developers, and not vice-versa. “In addition, design will be as important in winning as technology,” add the organizers, who promise abundant “food, shwag, and prizes.” Click here for details.

Five Reasons to Attend Mediabistro’s Social Curation Summit

The Social Curation Summit is set for December 12 in Los Angeles. Here are five reasons to attend:

1. The keynotes. Steven Rosenbaum of opens the conference with “Curation: Brands, Media, and Consumers.” He’ll show you how to improve your branding strategies and connect with consumers. Ramy Adeeb of will explore the “Three S’s of Curation: Sharing, Social, and Self.”

2. All-industry impact. Explore how social curation is being embraced throughout companies across a diverse range of disciplines and discover how to apply curation to directly benefit your business.

3. The right mix of topics. Expert speakers will take on hot topics, including “The Social Media Mixtape,” “The Future of Curation Platforms,” “Tastemaking Through Curated Communities,” and “The Google Advantage.” View the full program here.

4. Networking, networking, networking. Mingle with today’s industry thought leaders and your peers during coffee breaks, lunch, and a cocktail reception.

5. Your wallet will thank you. Save $300 when you register by September 28.

Quote of Note | Bridget Foley

“Even fifteen years ago, the fashion houses were still houses. That is the most intimate of terms. Coca-Cola and Buick were brands. But there is such pressure now to brand-build and be global and have this sort of all-encompassing image and aura. That’s very difficult. Some designers use it as an opportunity to push their primary lines. I know that Jack [McCollough] and Lazaro [Hernandez, of Proenza Schouler] feel that way. I just saw Jason Wu at the launch of his Miss Wu collection, and he said that it just really gives him the opportunity to have a division between the two collections. But I do think that the brand building is a major difference. Have Christian Dior and Yves Saint Laurent been brands for a long time? Yes. Did both of those designers brand? Of course they did. But now you have a kid who has been in business for three seasons talking about his brand. When Alexander McQueen was starting out, he wasn’t the wild child in London talking about his brand—he was talking about his work and his craft and pouring all of that emotion into the clothes. I think it’s important not to lose that.”

-Bridget Foley, executive editor of Women’s Wear Daily, in an interview with Stephen Mooallem that appears in the September issue of Interview