The visual savants over at the Society of Publication Designers won’t announce the winners of their annual awards bonanza—now in its 47th year—until May 11, at a fancy bash at Cipriani in New York. However, the judging wrapped up last weekend, with co-chairs Luke Hayman, Richard Turley, and Jeremy Leslie overseeing the print judging, Scher Foord and Joe Zeff supervising the digital judging, and Robert Newman chairing the Magazine of the Year competiton. Foord, Zeff, and their trusty five-member jury were particularly busy, having been deluged with a record number of digital submissions. Not only did they get through all of the entries, but they lived to tell about it. In this video by Joe Zeff Design, judges Mike Burgess (Beattie McGuinness Bungay), Neil Jamieson (Money), Steve Motzenbecker (NYmag.com), Josh Clark (author of Tapworthy: Designing Great iPhone Apps), and Marisa Gallagher (CNN Digital) reveal what they liked most in the entries they reviewed and what it all means for the publishing business.
Archives: February 2012
“In a profound way, the museum experience is a critical one, which is to say it begins by seeing the object—in the case of art museums, the work of art—as in itself it really is and not as our predilections and prejudices think it to be. The opportunity to look hard and long at works of art, to have our first impressions changed and deepened, our expectations challenged and rearranged, reconciled to the works on display, is the promise of art museums. The works of art preceded us. Experiencing them, as they are, requires that we put aside our self-centeredness. And this is good, in the sense put forward by the English moral philosopher Iris Murdoch when she said, ‘Anything which alters consciousness in the direction of unselfishness, objectivity, and realism is to be connected with virtue.’”
-James Cuno, president and CEO of the J. Paul Getty Trust, in his new book Museums Matter: In Praise of the Encyclopedic Museum (University of Chicago Press)
The J. Paul Getty Museum will soon likely be enjoying some stability for the first time in more than two years, with the announcement that Timothy Potts who has most recently served as the director of the Fitzwilliam Museum in Cambridge, England, will be coming on board as the museum’s full-time director. The Getty’s leadership of late, has been more than a bit in flux, first with Michael Brand‘s sudden and unexpected exit at the start of 2010. David Bomford was named as his acting replacement, until he also hit the road this past December to move back to his native London, leaving still-recently-installed Getty Trust president, James Cuno, to temporarily take over the position. Fortunately for Cuno’s schedule and nerves, Potts will take over at the museum come September 1. Here’s his thoughts on joining the Getty:
I am delighted to be joining the Getty Museum at such a promising time, when its leadership, ambitions and prospects are stronger than ever. Like others in the museum world, I have for many years admired (and sometimes been frustrated by!) the quality of its collecting and the innovative way it pursues its scholarly and educational mission. It has evolved into much more than an artistic showpiece of national and international renown, however. With the Museum and its sister institutes devoted to research, conservation and philanthropy, the Getty represents a uniquely well-rounded ‘university of the arts.’ No other institution does more to collect, preserve and understand the history and materiality of art than the Getty, and I greatly look forward to working with the Museum’s outstanding staff in building on this achievement over the years ahead.
In the latest episode of mediabistroTV’s “Elevator Pitch,” host Alan Meckler meets with piictu founder Jonathan Slimak. Piictu is a mobile app that allows people to collaborate using pictures. It’s also one of the “What’s Hot” and “New & Noteworthy” apps in Apple’s app store.
This Week on the mediabistro.com Job Board: Oxford University Press, American Institutes for Research, Young Presidents’ Organization
This week, Oxford University Press is looking for a new designer, while the American Institutes for Research is hiring an infographics specialist. Young Presidents’ Organization is in need of a graphics artist, and UBM Channel is on the hunt for a video/graphics editor. Get all the details on these openings below, and find additional just-posted gigs on mediabistro.com.
- Designer Oxford University Press (New York, NY)
- Graphics Artist Young Presidents’ Organization (Irving, TX)
- Senior Art Director Playboy (Beverly Hills, CA)
- Video/Graphics Editor UBM Channel (Framingham, MA or Manhasset, NY)
- Infographics Specialist American Institutes for Research (Washington, DC)
There are many ways to while away the hours between screenings at the Sundance Film Festival: skiing, shopping for ponchos, stalking Robert Redford, donning the aforementioned poncho (four-ply cashmere, vaguely Navajo-inspired) to crash the nearest “celebrity gifting suite.” But this year’s festival offered a new pastime: inspecting models and designs of the buildings proposed for Park City’s Kimball Art Center. Festivalgoers (and anyone visiting the non-profit arts center last month) were invited to weigh in on the five finalists in the design competition for its renovation and expansion project: submissions by BIG-Bjarke Ingels Group, Brooks + Scarpa Architects, Sparano + Mooney Architecture, Will Bruder + Partners Ltd., and Tod Williams Billie Tsien Architects.
No word as to whether the jury was swayed by the results of the feedback it solicited, but the winner is BIG. The New York- and Copenhagen-based firm proposed “what is in essence a highly evolved log cabin.” BIG envisions a new Kimball Art Center made of massive stacked timber elements (reclaimed from train track piles from the Great Salt Lake) that enclose a spiral staircase, exhibition spaces, and a restaurant, all topped by a terrace. For the historic Kimball Art Center building, located directly adjacent to the new one, BIG proposed that it be renovated into an educational hub with a rooftop sculpture garden. Inspired by the “raw charm of Park City and the Kimball Art Center,” Ingels says that he sought to continue the town’s tradition of repurposing old industrial buildings for cultural purposes. His firm’s winning proposal looks to the construction technique of the old mines and salavaged railroad trestles “to create a raw spacious framework for the art and artists of Park City—a traditional material and technique deployed to produce a highly contemporary expression.” The project is expected to begin in mid-2013 and be completed in mid-2015.
If you aren’t living in Chicago at the moment, there’s a good chance you might have missed the city’s first major design scandal of the year. First, the City Clerk’s office announced a winner for the annual contest, open only to students, to design the next year’s city sticker (a “city sticker,” for those outside of Chicago, is a sticker you have to buy every year for $75, on top of your registration, that allows you to park on city streets, even at meters, without getting a ticket). The 2012-2013 sticker seemed like those before it: an innocuous, hand-drawn, rough-around-the-edges affair. However, worries started circulating that maybe there were hidden gang signs being flashed therein. So the City Clerk, Susana Mendoza, decided to pull the win away from the 15-year-old who designed it, promising to pay the $1000 bond prize money herself to lessen the blow, and bumped the runner-up to first place. Then, of course, the runner-up decided she didn’t want to win like that, and asked that her illustration not be used. So here we are today, with the City Clerk’s office announcing that it “has decided to design the 2012-2013 vehicle registration sticker in house.” All of that explained, it seems to us that this perfect storm is why crowd sourced, open invitation design competitions, no matter how adorable and child-enlightening they might seem, have the potential of backfiring in a very public way. And how much of the city’s money could have been spared if they’d just gone in-house or hired-out in the first place? Of course, the whole thing could have been worse, like in Vermont.
The ever-lauded and design-focused British company Dyson is now a bit more German and American. Longtime CEO of the company, Martin McCourt, has stepped down and has been replaced by Max Conze, former member of the German Army and recent head of Dyson’s North American arm. Conze has promised that Dyson will make more money, as CEOs are wont to do, but it’s his plans to expand the business that seem most interesting. In an interview with the Telegraph, Conze says he plans to hire hundreds more engineers and designers, as well as continuing to expand the company’s product offerings, further branching out from what had previously been “a one product company” and into more of “a technology company.” With sales last year already having broken past the billion dollar mark, and with new products like their fans and heaters, it should be an interesting transition to watch.
New York Fashion Week is in full swing, and on Friday morning, Kate Spade presented a Paris-infused fall 2012 collection dappled with polka dots and painterly prints, all smartly styled by Brad “Pop of Color” Goreski. “I’m kind of the Kate Spade girl but a boy,” he says. “I connect very well with the clothes and the aesthetic.” Meanwhile, Deborah Lloyd‘s ever-sharper, retro-chic brand is also busy rolling out cheeky spring offerings, a tribute to Australian textile designer Florence Broadhurst (1899-1977; we like to imagine her palling around with a young Edna Everage and going by the nickname “FloBro”), with the help of a boldly patterned bus-cum-pop-up shop. The collection is part of a larger collaboration with Helen and David Lennie‘s Signature Prints, which controls the Broadhurst design library. In addition to handbags, shift dresses, and Tretorn sneakers in her mod-nouveau Japanese Floral pattern, Kate Spade has debuted homegoods awash in graphic FloBro patterns. Now on offer at the brand’s just-launched Florence Broadhurst Decor Shop are eye-catching cushion covers, old-school luggage, china, and, of course, wallpaper. Bedding and other items incorporating Broadhurst prints will be added in the months ahead.
“You push the button, we do the rest!” promised George Eastman in 1888, touting his freshly patented rollfilm box camera. Now the company he founded has decided to have someone else do the rest when it comes to making cameras. Kodak, which filed for bankruptcy last month, has announced that it will stop making digital cameras, pocket video cameras, and digital picture frames, as it “phases out its dedicated capture devices business” over the next several months. Kodak-branded cameras may eventually reappear on the market, however, through Polaroid-style licensing deals that the company said it will pursue. The decision to shutter the digital camera business that Kodak pioneered is expected to save the embattled company more than $100 million (although it will cost about $30 million to shut down the operation). So, what’s left at Kodak? On the consumer side, the focus will be on online and retail-based photo printing, as well as desktop inkjet printing. Kodak’s commercial businesses segment includes its digital and functional printing, enterprise services and solutions, and graphics, entertainment ,and commercial films units. Meanwhile, if you’re still stumped for a Valentine’s Day gift, may we suggest a cherry red Easyshare Sport C135? Waterproof up to 16 feet, it comes with a free case. Act fast, because neither the offer nor the camera will be around for long.