Cuban-American Art Collaboration, “Woman,” on Exhibit at Dordt College

Cross-cultural poster exhibit on display from now until February 11.

Sioux Center, Iowa: A new art exhibit is on display in the Dordt College gallery. The display, titled, “Woman,” is a series of posters examining a variety of different cultural depictions of womanhood.

Dordt art professor David Versluis first learned of the student-designed poster exhibit at a conference in Chicago, where his friend, Purdue professor Dennis Ichiyama, showed him the exciting new project.

The posters explore three distinct themes: Woman and Society, Woman and Family, and Great Women in History. The images are striking and evocative, and particularly poignant at our current moment in history.

This display was the result of a collaboration between Purdue University in Indiana and the Institute of Design in Havana, Cuba. Ichiyama visited Havana in 2015 and met with the Insitute’s administrators. During this meeting, they discussed the possibility of a joint project between the American and Cuban universities. The two institutions worked together to create a series of posters, which were then printed in the US by Xerox Corporation. But due to constraints from the 1960’s embargo on mailing, Ichiyama had to hand-deliver the posters to Havana, in time for the April 2016 exhibition.

This collaboration between the two countries is not merely artistic. It is historically momentous, as it represents attempted reparation of the rift between the United States and Cuba. American tourism is currently still a violation of Cuban federal law. President Obama’s 2016 visit to Havana was the first presidential visit to Cuba since Calvin Coolidge, 88 years prior. Although Obama’s visit set a precedent for rebuilding these international divides, the relations between the two countries remain strained. So artistic and scholarly collaborations, such as this poster display, are particularly meaningful in the current political climate.

The posters also have cultural significance. Cuba has made strides forward in the struggle to overcome the objectification of women, as was sometimes seen in traditional Cuban poster art. This new display represents a way of preserving this facet of the country’s cultural heritage, while reforming and reexamining its content.

A new set of these printed posters was produced specifically for the Dordt art gallery by Versluis and Ichiyama. The exhibit is free and open to the public. It will be on display at the Dordt College art gallery until February 11.

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Dordt Hosts Art Reception on the Mathematical Art of Yeohyun Ahn, Nov. 13

Image: ©Yeohyun Ahn, all rights reserved

South Korean artist combines code, typography, and mathematics with calligraphy.

Sioux Center, Iowa: Beginning November 2, a new art exhibition will be on display in Dordt’s Campus Center Gallery. The artwork is by Yeohyun Ahn, South Korean artist and graphic designer.

Ahn is an award-winning typographer and visual designer. She is also an assistant professor of communication at Valparaiso University in Indiana. Previously, she taught at Chicago State University, the School of Art Institute of Chicago, and did freelance graphic art for the New York Times. Her artwork has been featured in the Washington Post and the New York Times, as well as in art galleries in South Korea, Japan, and the United States.

Growing up in South Korea, Ahn was first drawn to typography by learning calligraphy from her grandparents. While her parents encouraged her to study computer science, Ahn eventually decided to pursue an MFA in graphic design.

Her artwork is a representation of “cybernetic ecology”: the harmonization of the human and the machine.  Ahn uses computer coding and mathematical algorithms to create abstract representations of letters and words, which simultaneously evoke cutting-edge technology and the natural or religious. To create her works, Ahn utilizes a variety of computer software, including Adobe Photoshop, Illustrator, InDesign, and “Processing” – a more recent program that integrates coding and artwork.

“[My pieces] convey diversified visual messages inspired by nature,” says Ahn, “addressing environmental issues such as green design, healing through art, and exploring philosophical and religious interpretations regarding life, death and love.”

Two of Ahn’s collections: “The Bible + Code” and “O Antiphones + Code” will be exhibited in the Campus Center Gallery at Dordt from November 2 until the end of December. “The Bible + Code” is inspired by Scriptural imagery, and “O Antiphones + Code” was created for the 2016 Advent Vespers booklet for the Chapel of the Resurrection at Valparaiso University.

A reception will be held at Dordt’s Campus Center Gallery on November 13, from 6:45-8:00 p.m., with a discussion at 7:00 p.m.

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Backgrounded—Identity Sightings by Rick Valicenti

Installation views: Backgrounded: Identity Sightings by Rick Valicenti, Artist-in-Residence, Loyola University, Chicago, 2016-17 (iPhone photographs, Translucent window vinyl).
Out of focus yet pres­ent — [persons] behind those captioned in the NY Times, 2013–16. From the exhibition: (maybe) THIS TIME at Loyola University Ralph Arnold Gallery. (the exhibition has ended. photographs courtesy of Thirst/3st)

From the exhibition prospectus: “Not everyone is the focus of media attention. This portraiture looked on those positioned behind captioned subjects featured in the NY Times.”

Having seen this show in October I’ve pondered this piece:

The correlation of recognition and memory—
For his solo exhibition at Loyola, Valicenti works within the neutral wall color of the gallery space while brilliantly utilizing the picture window of the gallery to reach out to those on the street and audiences beyond the gallery. Galleries tend to disengage artifacts from the outside world, but Valicenti as both artist and curator does not circumvent the gallery. Instead he projects its contents to the public, which is quite amazing.

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Rick Valicenti: Patriot Table—from the exhibition “(maybe) THIS TIME”

Rick Valicenti: Patriot Table made in collaboration with Jonathan Nesci.
nothing normative—in post-election Patriot Table becomes even more poignant.
From the exhibition: (maybe) THIS TIME
Loyola University Artist-in-Residence, 2016–17 Ralph Arnold Gallery
Exhibition ends 26 November 2016

The following text taken from Thirst/3st:

“Red, White, Blue and Dangerous—this life-threatening side table is the ideal accent in any flag waving, All-American decor.”

There’s no question this piece can stand on its own—the red, white, and blue pork pie drum/table supported by javelin legs, which includes the stereoscopic reflection of the mirror on which this piece stands. Time will tell if hell is on the way—meanwhile Valicenti’s piece offers help by contrasting irony (sans cynicism) with an artifact of exquisite design and craft.

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A signature piece: Rick Valicenti’s “A Wheel of Fortune—Round and Round”

From the exhibition: (maybe) THIS TIME
Rick Valicenti
Loyola University Artist-in-Residence, 2016–17
Ralph Arnold Gallery
11 October – 26 November 2016

Chicago based artist/designer Rick Valicenti’s Wheel of Fortune—Round and Round installation artwork seems to be a hybrid and hyperbolic time piece with a subtle note of George Nelson’s modern clock designs. The light rays emanating from the center hint at Bernini’s Ecstasy, while the centralized casting of a “death mask” accents the vanitas genre without the moralizing. The piece is a roulette and metaphor for all the small deeds of civility. Photograph above used with permission.

Wheel of Fortune 2016
Industrial Felt
60 x 60"
Fabricated by West Supply
Unique

Round and Round 2016
Polished Aluminum
72 x 72"
In collaboration with Taek Kim
Fabricated by West Supply
Unique

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Walker Art Center “Ordinary Pictures” Exhibition: Amanda Ross-Ho

Amanda Ross-Ho (American, b. 1975)
OMEGA 2012
aluminum, steel, wood, high-density foam, extruded rubber,
enamel paint, cast urethane, glass
Courtesy the artist; Shane Campbell Gallery, Chicago; and Mitchell-lnnes & Nash, New York

Color Calibration Card (Artifact from THE CHARACTER AND SHAPE OF ILLUMINATED THINGS) 2013
exterior MDF, aluminum, UV print on Sintra, latex paint
Courtesy the artist; Shane Campbell Gallery, Chicago; Mitchell-lnnes & Nash, New York; and The Approach, London

The following is from the Walker Art Center label:

Amanda Ross-Ho’s sculptural works often begin by identifying the potential of cast-off objects and personal ephemera, combining them with the residue of past projects. For example, OMEGA-a giant replica of a darkroom photo enlarger-applies the magnifying function of the device to itself. At the same time, this particular enlarger carries a personal history: it is a painstaking re-fabrication of an actual object given to a young Ross-Ho by her photographer-parents.

Similarly, for a recent outdoor installation at the Museum of Contemporary Art Chicago, Ross-Ho produced a giant replica of a color-calibration card, a professional photographer's tool for color correction and exposure settings. In both works on view here, the re-creation of these photographic apparatuses as massive sculptures calls attention to the fundamental tools of traditional image-making and production

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Walker Art Center “Ordinary Pictures” Exhibition: Steven Baldi’s “Branded Light” photographs

Steven Baldi (American, b. 1983)
Branded Light (Canon) 2014 (second piece in the series)
gelatin silver print; ed. 2/3 + 2 AP
Courtesy the artist and Thomas Duncan Gallery, Los Angeles
photoraph by versluis 2016
From the Walker Art Center exhibition: Ordinary Pictures is on view until October 9, 2016.

The following is taken from the label that accompanies this piece:

Steven Baldi’s series of Branded Light photographs reveal the familiar yet distorted logos of camera manufacturers and imaging corporations such as Fuji, Kodak, Canon, and Sony. Though his fractured compositions may suggest digital manipulation, the artist creates his pictures entirely in-camera. Abstract as they may seem, the images nevertheless trigger our recognition of these ever-present global brands.

Baldi’s works often address the materials and systems that support both art and imaging. This series in particular draws attention to ways that corporate conglomerates exert invisible control over the images we make and consume. Baldi reminds us of the branded character of the medium's most fundamental aspects: the materials-film and a camera-required to produce an image.

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Chicago Design Archive aficionados: Susan Jackson Keig

To Chicago Design Archive aficionados:
This is a photo of Susan Jackson Keig talking with reference librarian, Janis Versluis at the Society of Typographic Arts 85th Anniversary Celebration held at Wright in Chicago on 26 October 2012. This was the event that also featured: “Carl Regher: The Lost Journals.”

Keig is a Fellow and past-president of the STA. R. Roger Remington’s Graphic Design History Resource lists Susan Jackson Keig as a woman pioneer in design and a key individual in the development of American design.

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MCA Chicago / Pop Art Design: Alexander Girard’s Letter Patterns

Alexander Girard (American, 1907-1993)
Alphabet, 1952
Wallpaper pattern
Printed paper
Herman Miller, Inc.
Zeeland, Michigan
Collection of the Vitra Design Museum

The fabric piece (wall hanging) partially shown above Girard’s letter patterns is titled “Letters” was designed in 1955 by Gunnar Aagaard Andersen (Danish 1919-1982). 

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Iterations (a design process): John Ronan’s the Poetry Foundation

Poetry Foundation Building, Chicago, Illinois. 2011
Photograph courtesy of the Poetry Foundation.
John Ronan Architects (American, founded 1997); John Ronan (born 1963)
The building comprises:
• a public garden
• a 30,000-volume library
• an exhibition gallery
• the Poetry Foundation’s programming offices


Presentation Model, 2008. The semi-transparent screen in front is featured.
Basswood, cardboard, and Plexiglas
Photographs taken from the exhibition Iterations: John Ronan’s Poetry Foundation.
December 14, 2013–May 4, 2014 at the Art Institute of Chicago, Gallery 24.
Architecture & Design Society, 2012
Photographs by versluis @ 2015 unless otherwise indicated.



Diagrammatic Sketches, 2008
Computer print on paper exhibition copy
Architecture & Design Society, 2012


Iterative Models, 2008
Cardboard, paper, Plexiglas, and other materials
Collage and assemblage site-plans and floor-plans (projecting-up the plan views).
Architecture & Design Society, 2012


Precision drawing.
Architecture & Design Society, 2012

AIC exhibition didactics state:

For Ronan, the gestation of a design begins with analog processes. After a period of thinking the ideas are quickly sketched hand, or down-loaded, in a spontaneous and intuitive manner. This set of hand-drawn diagrams reflects Ronan’s initial thoughts about how best to integrate a garden—a requisite of the project—with the space’s other key elements: a public reading room and library a performance space, a gallery, and an office. Here Ronan explored different relationships—such as interlocking or overlapping—between the building and the garden, which he then translated onto the site plan. …

Founded in 1997 by John Ronan, the Chicago-based architecture firm John Ronan Architects has made its mark with a range of critically acclaimed buildings and a thoughtful approach to spatial relationships and materials. The firm uses a distinct, iterative methodology in order to explore a wide range of options at the outset of a project. While many architects have adopted a completely digital process, Ronan sees advantages in both handmade and digital design methods; the handmade process, seen here, allows for a more intuitive and less calculated approach that is valuable in the beginning stages, while digital tools allow for the precision necessary to finalize a design.

Operating on a shoestring budget since its 1912 founding by Harriet Monroe, Chicago-based Poetry magazine experienced a surprising windfall in 2003 with the bequest of approximately $200 million from the pharmaceutical heiress Ruth Lilly. The magazine reorganized as the Poetry Foundation and decided to build a permanent home to advance its mission of raising the public profile of poetry. After a thorough selection process, the organization selected John Ronan Architects to design the building.

For the Poetry Foundation, Ronan’s design process entailed thoughtful considerations about how to integrate the required elements of the building. As seen here, the iterative approach was used throughout the design’s development-from the initial diagrams and a set of site-specific models to the presentation model-with the goal of creating a compelling spatial narrative. Completed in 2011, the building was recognized with a national design award from the American Institute of Architects. 

This exhibition has been mode possible with support from the Architecture & Design Society. 

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Harold Sikkema: Curiosity as strange, but also as inquisitive

Dordt College recently completed the run of “I am curious” art exhibition by Canadian artist/designer Harold Sikkema. The following are notes from one of Harold's presentations when he was visiting the College.

By Matt Van Rys—
My Notes on Harold Sikkema, Visiting Artist/Designer
Dordt College Senior Seminar Class Visit / Presentation—21 October 2014.

• From Caledonia Ontario.
• Working Graphic Designer, Web Developer and Fine Artist
• Showed exhibition design, to scale, pillars, wall layouts with templates provided by David [Versluis] (see illustration above).
• Freelance, Self-Employed.
• Spoke of the importance of curating as part of the art making process
• Conversation within a specific space
• Think about the installation as it reflects with the work
• Harold is also currently using Google’s Open Gallery to show digital versions of what the “i am curious Show might look like.
• Expressed habit of being on the lookout for traces of humanity all around, think footprints, scratches, paths, trails and the like.

1. Borrowing as a way of respecting the people around you (collaboration, making marks in the world together)
2. Photoshop can be a very lonely place, just you and the screen
3. It can make you move to get more active engagement
4. How to connect the dots between art and religion (Reformed as a form of minimalism)

• Community as performance artwork – committed to a confession
• Community world service Asia (example of branding and website)
• Commercial work can enrich your personal art
• Journaling and writing as a secondary outlet and resource (good and helpful for building and shaping perspective)
• Curiosity as strange, but also as inquisitive
• “Otherverse” as nature, the other form of revelation

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At the Walker: Art Expanded, 1958–1978

George Brecht (American, 1926–2008)
No Smoking
c.1973
Offset Lithograph on Paper
Collection of the Walker Art Center, Minneapolis, Minnesota
photo by versluis

George Brecht, was a vital proponent of Fluxus, the loosely connected international group of spirited Conceptualists who were mainly active in the 1960s and 1970s. Below is a promotional clip produced by the Walker.



The following lyrics by Jasper Johns greets the viewer as one enters the exhibition:

One thing working one way
Another thing working another way.
One thing working different ways at different times. 
Take an object.
Do something to it.
Do something else to it. 
 "        "         "   "  "
Take a canvas. 
Put a mark on it.
Put another mark on it. 
  "      "       "     "  "
Make something.
Find a use for it. 
AND OR
Invent a function. 
Find an object. 
 —Jasper Johns 1965

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The “Holly Hunt on Opus” brochure designed by Thirst/3st: Learning how to see by asking what do you see?

Holly Hunt on Opus Image Book
Height: 13 inches / 33.2 cm. x Width: 9.5 inches / 24.13 cm.
2013
Design Firm: Thirst/3st
Art Director/Design Director/Designer: Rick Valicenti
Photographer: Tom Vack
Client: Holly Hunt Inc.
Illustrator: John Pobojewski
Designer: Robyn Paprocki
Printer: Classic Color
Photographs courtesy of Thirst/3st © 2013

Collaborative work by graphic designer Rick Valicenti of Thirst and photographer Tom Vack for the “Holly Hunt on Opus” (Sappi) publication was truly a graphic design crème de la crème event of 2013. Featured in this publication are the newest pieces from the Holly Hunt furniture collection that goes beyond what words can express. In noble fashion Holly Hunt says these new furniture artifacts “make things new again.” The “Holly Hunt on Opus” brochure is a highly aesthetic effort, a visual narrative that reveals the sophisticated and subliminal visual journey of Holly Hunt product design. Glossy, heavy Sappi paper makes the Holly Hunt product brochure unusually weighty, and allows for exceptionally high-quality images of photos and art, to a point seldom found in product brochures. The publication (64-pages with end sheets and cover) also emphasizes the performance of extraordinary printing techniques of Classic Color on high quality Sappi’s Opus paper.

In reviewing this publication here are a few observations:

1. It is very apparent that Rick Valicenti and Tom Vack convey that the visual medium can be a valid mode of narrative without words (or using very few words). 
2. In graphic design classes at Dordt the Holly Hunt publication becomes a new instrument in art and design educational methods as a case history. In this piece graphic design director Valicenti teaches students/viewers how to see by asking, “what do you see?” 
3. “Holly Hunt on Opus” is a commitment to a high level of visual excellence and encouraging example of a superbly produced brochure. To lavish attention on aesthetics achieves an artifact of preciousness that becomes a keepsake.

For the “Holly Hunt on Opus” brochure Valicenti and Vack respond distinctively to the objet d’art and what Rick has described as real human presence:

“I encourage all of you to avoid formulaic methodologies and look—inside to see if indeed the communications we foster and we bring to the humankind are full of real human presence—let’s bring life to form….” (1)

A Holly Hunt display case in the Merchandise Mart, Chicago. Graphic identity by Thirst/3st photograph by versluis, 2013.

1. Valicenti, Rick. “Human Presence.” TEDxMillCity. Minneapolis. 16 June 2010. Web. 3 Feb. 2014.

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a classic student project (continued): close cropping of letterforms à la Norman Ives

In the previous blog piece in which we featured graphic design work from Dordt College students, we continue the theme here with a couple of examples of students’ work.

This classic project of closely cropped letterforms was influenced by designer and educator Norman Ives and is commonly found in most graphic design programs. Each composition closely crops the lower case “a” letterform to suggest and reveal the intrinsic artistic form and character of the letter. The goal of the project is to develop greater thoughtfulness toward the communicative function of typography.


© Amanda Oberman 2013


© Nathan Walter 2013

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a classic student project: close cropping of letterforms à la Norman Ives (1923–1978)

This classic project of closely cropped letterforms is commonly found in most graphic design programs. In essence, this project was inspired by the work of designer/artist Norman Ives. Dordt College students in Graphic Design 1 this past semester completed the examples shown here. Each composition closely crops the lower case “a” letterform to suggest and reveal the intrinsic artistic form and character of the letter.

Norman Ives’s work celebrates and cultivates the typographic arts. Designer Rick Valicenti says that Ives typographic compositions promote “the poetry of organic curves and rigid structures found hidden deep within an alphabet…”(1) 

The tension created by the juxtaposition of positive and negative spaces—or the figure and ground shapes—articulate a wonderful visual rhythm and pattern.

1. Valicenti, Rick, et al. “Digital Glass Portfolio Series.” Thirst 3st. n.p., 12 June 2013. Web. 15 Dec. 2013. http://www.3st.com/work/skyline-digital-glass-portfolio-series#5.

compositions by © Shelby Herrema 2013

compositions by © Tanner Brasser 2013

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marian bantjes: floral arrangement, “Sorrow”

Earlier his summer graphic designer, Marian Bantjes was featured as a guest artist/designer at Chicago’s 2013 Pop-up Exhibition titled “Work at Play” at Block Thirty Seven. The exhibition ran June 1–30 in tandem with Chicago Design Week that began the week of 9 June.

One of Bantjes’s pieces, in the show, was this poignant table top flower installation titled, "Sorrow" that was made during an 8 hour period on 10 June 2013. This photograph was taken on 12 June at 2:30 p.m.

Bantjes work always seems thoughtful and personal. This unique flower installation suggests a kind of traditional floral “mass arrangement” that is orchestrated with many flower pedals/leaves in several striking colors.

Perhaps there’s also the suggestion of “Dutch Style” floral arranging with the naturalistic garden style tropical materials and perennials with groupings of similar flowers and implied grid lines. It’s interesting that the total effect seems like a hand-tied bouquet.


The hand-signed label for “Sorrow”


This is one of Bantjes’s Valentines, which was in the show. It seems to have a Dutch Baroque style, and is correlated stylistically to “Sorrow”.

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Designer Rick Valicenti gives presentation at Dordt College

SIOUX CENTER, IA – Design legend Rick Valicenti will share his optimistic perspective on communication design at Dordt College on Wednesday, October 9, at 7 p.m. Valicenti will present “Time Well Spent II” in the Ribbens Academic Complex classroom CL1444/1148. Event parking is located in the parking lot west of the Ribbens Academic Complex.

Valicenti is the founder and design director of Thirst, a Chicago-based communication design practice devoted to art, function, play, and real human presence. He has been influencing the design discourse internationally since 1988 and is a leading presence in design as a practitioner, educator, and mentor.

The White House honored Valicenti in 2011 with the Smithsonian Cooper-Hewitt National Design Award for Communication Design. In 2006, he received the AIGA Medal, considered the highest honor of the graphic design profession. In 2004, he was recognized as a Fellow of AIGA Chicago. He is a former president of the Society of Typographic Arts and is a member of Alliance Graphique Internationale.

Several works of Valicenti are in permanent collections of the Art Institute of Chicago, Cooper-Hewitt National Design, and the Columbia University Rare Books Collection.

Valicenti’s presentation is sponsored by the Dordt College Department of Art and Design, AIGA Student Group, and the Co-curricular Committee.

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Chad Kouri: perceptual distortions

Chad Kouri
Xerograph Monotype Exercises
8 x 10—2013
© Chad Kouri

This is one of the pieces by Chad Kouri, which was on display at the 2013 Pop-up Exhibition: “Re/View, Work at Play” that ran during June in Block Thirty Seven at the Chicago Design Museum. The exhibition ran concurrently with Chicago Design Week. photo by versluis

The following information is taken for the exhibition label:

This series of ongoing experiments utilizes imagery from Jean Larcher's Geometrical Designs and Optical Art, which were created by dragging the book over the Xerox glass while a copy was in process. By using a machine whose sole purpose is to make multiples in order to create unique prints, the illusion not only lies in the work's aesthetic value, but also in concept—touching on contemporary themes in art and design including image usage and copyright, appropriation, authorship and originality.

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Pentagram’s Eddie Opara: “Stealth”

Stealth
Eddie Opara
174 x 80 — 2008
© Eddie Opara

This piece was featured in the 2013 Pop-up Exhibition: “Re/View, Work at Play” which ran during June in Block Thirty Seven at the Chicago Design Museum. The exhibition ran concurrently with Chicago Design Week. photo by versluis

The exhibition label for this piece states:

Stealth is a marriage of two parallel themes on the visibility of identity. The dynamic form and function of the stealth fighter provides the dimensional impetus, whilst the text is homage to Ralph Ellison’s invisible man “I am invisible, understand, simply because people refuse to see me.” — an indication of how black people have been treated in society.

Pictured below is a lower left close-up of Stealth.

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“Anamorphose”: an anamorphic / metamorphosis, metaphoric typeface by Simon Renaud

X, Y, Z
A is a name (Simon Renaud), Photographer: Véronique Pêcheux
15¾ x 23⅜ — 2013

This piece was featured in the 2013 Pop-up Exhibition: Re/View, Work at Play which ran during June in Block Thirty Seven at the Chicago Design Museum. The exhibition ran concurrently with Chicago Design Week. photo by versluis

The exhibition label for this piece states:

Anamorphose is a contemporary typeface drawn in a three dimensional grid that, while rethought to exist in a physical space, retains elements of Textura (used in the Gutenberg Bible). Anamorphose is anchored in the geometry of historic Blackletter typefaces and is created by hand. The forms are then photographed to visually echo digitally rendered imagery.

A is name is a Parisian studio founded by Simon Renaud and Jérémie Nuel in 2006. Their work centers on the design process in order to discover the artistry found in typographic forms and systems. As graphic designers, Renaud and Nuel utilize a systematic approach and methodology by researching the history of writing, science, and technology in order to develop an uniquely personal visual language.

Reference:
Leeman, Frederick, Joost Elffers, and Mike Schuyt. “Anamorphosen.” Trans. Ellyn Childs Allison and Margaret L. Kaplan. Hidden Images: Games of Perception, Anamorphic Art, Illusion. New York: Harry N. Abrams, Inc., 1976. Print.

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