In a stroke of good fortune for design-minded gift givers with a charitable bent, Target is linking up with TOMS for a holiday collection of home goods, apparel, and accessories for women, men, and children. All items, from a scented candle and wool blanket to a denim jacket and, of course, classic slip-ons, will be under $50 each. Los Angeles-based TOMS, a past winner of the Cooper Hewitt People’s Design Award, is adapting its buy-one-give-one model for the Minneapolis mega-retailer: for each item purchased from the collection, Target is donating a blanket, meals, or shoes in partnership with TOMS and American Red Cross Disaster Relief, Canadian Red Cross Disaster Relief, Feeding America, and Food Banks Canada. Target estimates that “TOMS for Target” has the potential to provide more than 11 million meals, blankets, and shoes to those in need. The collection is set to launch on November 16 at all Target stores in the U.S. and Canada, as well as Target.com.
Did you know that the Wadsworth Atheneum Museum of Art in Hartford, Connecticut is the oldest public art museum in the United States? Now you do. The 172-year-old institution, now in the final stages of a five-year, $33 million renovation, announced today that it has received a combined $750,000 from the National Endowment of the Humanities (NEH) and the Hartford Foundation for Public Giving (HFPG) to fund the comprehensive reinstallation of its collections and to continue related programming aimed at community engagement.
The NEH awarded the Wadsworth Atheneum $400,000 for “the creation of an interdisciplinary gallery with interactive technology” to introduce visitors to the Cabinet of Art and Curiosities: an exhibition of remarkable 17th-century objects, many of them collected by J. Pierpont “Remarkable Objects” Morgan, combined with natural history specimens and other rarities. The space will be part of the reinstallation of European artworks in the restored Morgan Memorial building, slated to open in September 2015. The HFPG grant of $325,000 will fund community engagement initiatives over the next three years through the museum’s “Beyond the Walls/Behind the Scenes” program.
This week, Montclair State University is hiring a graphic designer, while Digiday needs a design director. Landor is seeking a senior designer, and Life Time Fitness is on the hunt for a graphic designer. Get the scoop on these openings and more below, and find additional just-posted gigs on Mediabistro.
- Graphic Designer Montclair State University (Montclair, NJ)
- Design Director Digiday (New York, NY)
- Senior Designer Landor (San Francisco, CA)
- Graphic Designer Life Time Fitness (Saint Paul, MN)
- Creative Director The Boeing Company (Huntington Beach, CA)
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.
From left, Perrier-Jouët’s Cellar Master Hervé Deschamps and Vik Muniz.
Vik Muniz has demonstrated his range with raw materials that range from diamonds and caviar to dust and recyclables plucked from the world’s largest garbage dump. The Brazilian artist’s latest project returned him to the luxe end of the spectrum, via Art Nouveau flourishes and blush-hued bubbles. Muniz designed the bottle for the 2005 vintage of Perrier-Jouët’s Cuvée Belle Epoque Rosé. The limited edition, released this month, began as a scene crafted from scraps of gold: a dreamy meeting of a gilded hummingbird and the Perrier-Jouët anemone that has graced every Belle Epoque bottle for more than a century. The scene was photographed and applied by Muniz to the Belle Epoque bottle via a gold plate on which the hummingbird—seemingly, depending on how much of the salmon-hued wine one has consumed to that point—flies toward the anemones in the foreground. Notes the artist, “Much as Perrier-Jouët has long embraced Art Nouveau’s love of nature and enchantment, I took the idea of captivation in a natural setting as the inspiration for this motif.”
Before we could say “Gelato Fiasco,” Elegantissima: The Design and Typography of Louise Fili had opened and closed at the Art Directors Club in NYC. If you missed the show’s two-week run, which wrapped up Friday in a evening pleasant prosecco haze, all is not perso. The series of thematic interiors, designed by the incomparable Kevin O’Callaghan and sure to inspire a run on violet-hued fainting couches, live on in a short film (below). We suggest following this taste of Fili’s brand of la dolce vita with her stunningly beautiful new book, Grafica della Strada: The Signs of Italy, published earlier this month by Princeton Architectural Press.
If we’ve heard it once, we’ve heard it a thousand times: “I could tell you this Big Design News, but then I’d have to kill you.” Now you can give us the scoop and skip the messy task of plotting murder, thanks to our handy “Anonymous Tips” box nestled in the menu bar at right, below the search box. Simply type in your news—design happenings, movements of the Revolving Door, scandalous revelations, a designer’s hidden talent, or any newsy, design-y morsel—and click “Send.” And for those not inclined to clandestine tipping, we’re still just an e-mail away.
“There are no indigenous materials anymore. You can find yourself in Italy being offered Indian marble because it’s cheaper, and that’s…it’s just very confusing. Or else the marble is Italian, but it’s being sent to India to be cut, and then shipped back to Italy. It means that unless you’re up in the Swiss mountains, or in the Cotswolds in England, where there are pre-described architectural languages that you should clearly respect, it’s a conceptual rather than practical issue. I do think it’s the case that because of industrialization and globalization everything is gradually starting to look the same, and the question is how can you stop buildings looking like each other? We just made a small office building (pictured) by the railway lines at King’s Cross in London, where they’ve recently dismantled the cast iron gasometers. I was inspired by all that Victorian architecture, which led to us making the columns from cast iron, which is actually a fantastic material. So in one sense, it’s a predictable and arbitrary connection to history, which is not necessarily right or wrong, but it’s a clue as to why you make a building different to others.”
-Architect David Chipperfield in an interview in The Travel Almanac. Chipperfield’s “Sticks and Stones,” an exhibition-cum-renovation prologue goes on view October 2 at the Neue Nationalgalerie in Berlin.
At a time when nearly everything is available in bits, bytes, and pixels, print lives on in inspired packaging. Stuart Tolley brings together the most innovative examples in Collector’s Edition, new from Thames and Hudson. The book spans the worlds of music, book publishing, and magazines to reveal extraordinary analog artifacts, from limited-edition box sets and deluxe editions made from specialist materials to handmade packaging and sculptural objects that incorporate digital technologies. Sprinkled among the inspiring work are interviews with the likes of Alec Soth, Dinos Chapman, and Stefan Sagmeister.
Why settle for an ordinary vacation home when you can have a “baroque event”? Frieze recently visited artist Pablo Bronstein—who you may recall from the mythical architectural history of the Metropolitan Museum of Art that he conjured in 2009—on the east coast of Kent, England, where he is embracing a “mid-century, slightly granny” aesthetic and the “pleasurable mess” of baroque architecture. “I think that it has no shame,” he says. “Baroque architecture does everything it possibly can to appeal, to amuse, to impress, to show off, to seem heavy or grand or important. It’s really sort of desperate architecture.” Watch Bronstein discuss art, architecture, taste, and the playful pathos of postmodernism.