Graphic Design News

Posted on Tuesday, February 14, 2012 by Lindsey Westbrook

Steidl, 2012
Hardcover, 152 pages, $125

DIRTY BABY presents a provocative trialogue between the paintings of Ed Ruscha, the music of Nels Cline, and the poetry of David Breskin. The book is designed by Graphic Design faculty Angie Wang (who is also an MFA alumna of CCA) and Mark Fox of the San Francisco firm DesignIsPlay and the package includes two full-length music CDs. The title refers to the fact that when different art forms mate, there is never a purebred offspring, but rather a muttish and raunchy one: gloriously dirty. The 66 pictures in the book are drawn from two of Ruscha's bodies of work, the Silhouettes and the Cityscapes. In these works, Ruscha uses censor strips in place of the words or phrases that characteristically occupy a prominent place in his pictures. Their obfuscation gives the missing words a powerfully subversive presence: Language is emphasized even as it is obscured.

The book is in two "sides" in the manner of a vinyl record. Side A presents a kind of "time-lapse" history of Western civilization. Side B returns to the cradle of that civilization, charting the American misadventure in Iraq. For his poetic form, Breskin uses the ancient Arabic ghazal, a perfect foil and fencing partner for Ruscha's language-sensitive strategies. To this mix, Cline adds music for a large ensemble.

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Posted on Tuesday, February 14, 2012 by Lindsey Westbrook

The Pisco Book
ClearGrape, 2011
Paperback, 138 pages, $19.99

For the modern American cocktail enthusiast, The Pisco Book, designed by Graphic Design faculty Tom Ingalls with Kseniya Makarova (Graphic Design alumna) reveals pisco's long and colorful history through pictures and stories capturing the diverse range of approaches and styles that go into producing it, the legendary personalities who craft it, and the excitement for it among today's leading mixologists. Renowned pisco producers and industry experts share their personal ruminations about their connections to pisco. Also featured is the rich historic connection between Peruvian pisco and San Francisco that began during the Gold Rush and which is undergoing a Renaissance today. The book includes nearly 50 pisco cocktail recipes from leading bar chefs and mixologists in the U.S. and Peru.

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Posted on Tuesday, February 7, 2012 by Lindsey Westbrook

Chicks with Guns
Vendome Press, 2011
Hardcover, 168 pages, $45

Graphic Design faculty member Bob Aufuldish is the designer for this book of photographs by Lindsay McCrum showing women gun owners in America. The book examines issues of self-image and gender through the visual conventions of portraiture and fashion. The guns are presented not as superimposed props but as very personal lifestyle accessories of the subjects portrayed. The women (whose portraits are accompanied by their own words) reside in all regions of the country, come from all levels of society, and participate seriously in diverse shooting activities. They are sportswomen, hunters, and competition shooters. Some use guns on their jobs. They may not all be classically beautiful, but in these photographs they all look beautiful, exuding honesty, confidence, poise, power and pride.

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Posted on Tuesday, February 7, 2012 by Lindsey Westbrook

More American Photographs
CCA Wattis Institute, 2012
Paperback, 106 pages, $28

As the United States slowly emerges from its most significant economic downturn since the Great Depression, the [CCA Wattis Institute] reexamines the well-known photography program of the Farm Security Administration (1935-44). In More American Photographs, 12 contemporary photographers were commissioned to travel the United States, documenting its land and people. These new works are presented alongside historical images by original FSA photographers such as Dorothea Lange in a catalogue whose design was inspired by Walker Evans's seminal book American Photographs. The featured photographers include Walead Beshty, Esther Bubley, Larry Clark, Roe Ethridge, Walker Evans, Katy Grannan, William E. Jones, Dorothea Lange, Russell Lee, Sharon Lockhart, Catherine Opie, Gordon Parks, Martha Rosler, Collier Schorr, Ben Shahn, Stephen Shore, Alec Soth, Hank Willis Thomas (MFA and MA Visual Criticism 2004), and Marion Post Wolcott. The exhibition was curated by Wattis director Jens Hoffmann, who contributes an essay, and the book is designed by Graphic Design faculty Jon Sueda.

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Posted on Tuesday, February 7, 2012 by Lindsey Westbrook

CCA Wattis Institute: Painting Between the Lines
CCA Wattis Institute, 2012
Hardcover, 72 pages, $25

Writing and painting have been intertwined throughout history, but literature has of late become a diminished subject in the medium of painting, which has looked more to history, society and politics for inspiration. With Painting Between the Lines, the CCA Wattis Institute sought to reinvigorate the relationship between these two fields by commissioning 14 contemporary artists to create works based on descriptions of paintings in historical and contemporary novels. Here, art that until now has only existed in the mind's eye can now be seen, as interpreted by the likes of Fred Tomaselli (on Samuel Beckett's Watt) and Marcel Dzama (on Haruki Murakami's Kafka on the Shore). Additional materials include images of first-edition book covers and installation images from the accompanying exhibition. The exhibition was curated by Wattis director Jens Hoffmann and the book is designed by Graphic Design faculty Jon Sueda.

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Posted on Monday, February 6, 2012 by Lindsey Westbrook

Overthrown: Clay Without Limits
Denver Art Museum, 2011
Paperback, 2 volumes in a slipcase, 64 and 64 pages, $25

Graphic Design faculty member Bob Aufuldish designed this two-volume exhibition catalogue that accompanies the 2011 exhibition Overthrown: Clay Without Limits at the Denver Art Museum. Most of the 25 artists featured in the show made works especially for Overthrown and many are in direct dialogue with the Frederick C. Hamilton building architecture, moving beyond the pedestal to the wall, the floor, and even the ceiling. They break boundaries that are physical, technological, conceptual, and spatial. Working in all scales, from architecturally expansive to almost impossibly small, the artists in Overthrown employ 21st-century technology hand-in-hand with standard modeling and molding techniques. Some push the forms of functional objects. Others push the limits of fragility. They take risks that draw on material chemistry and maverick kiln techniques. Some of their works include not only clay, but also found objects such as metal, plastic, and abandoned industrial materials. Available via mail order from the museum shop: 720.865.4488.

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Posted on Thursday, February 2, 2012 by Simon Hodgson

"Zero to hero" is a cliché in sports movies, but how does a sports-obsessed graphic designer make the leap from rookie to professional? Growing up outside Detroit, Michael Sun (Graphic Design 2010) was always a fan but never thought of sports as anything more than a hobby or entertainment. Then after attending the University of Michigan and receiving a teaching degree, he came to the sinking realization that teaching might not be for him. He admits he needed some direction.

"I went to lunch with my dad one day and I was spitballing, trying to think of my next step, but I had no idea what to do. Sports was an obsession, the only thing that held my interest at the time. I didn't know what I wanted. I'd always been interested in sports logos but only doodled them on notes in high school. I didn't even know logos dealt with something called graphic design.

"Fortunately I found CCA, but it was definitely a tough transition. For a while I felt like an outsider. I'd already received a degree, I was a little older, I didn't dress the same way, and I lived far from the city in Sunnyvale. Worst of all, it was discouraging to compare my projects with students who had been designing for longer than I had, or who had a better eye for color or composition."

He realized even in these tough moments, however, that his teachers were on his side. "They knew my work was not the greatest, but they also knew so badly I wanted to succeed and how hard I was trying. My background was academic -- expecting results according to how hard you worked -- so I decided I'd get there if I tried hard enough. And the professors noticed that.

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Posted on Thursday, January 19, 2012 by Allison Byers


California College of the Arts presents
Place=Basho: Osaka/CCA Printmaking and Graphic Design Exchange Exhibition
February 15-22, 2012

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Posted on Wednesday, January 11, 2012 by Clay Walsh

Justin Carlisle-AndgrandView slideshow 

Congratulations to Justin Carlisle-Andgrand and Kate Nartker, each a finalist in the 2011 Design*Sponge Student Scholarship!

About the Design*Sponge Scholarship

Now in its fourth year, the Design*Sponge Scholarship is $10,000 in awards for full-time undergraduate and graduate students studying art and design. The scholarship was created to support the creative endeavors of the awardees and can be spent without restriction to support their pursuits (internship abroad, tuition, technology, supplies, etc.).

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Posted on Wednesday, November 23, 2011 by Simon Hodgson

Lisa Mishima and Yvonne Mouser turn food into art at Sam's Movie Night

From painter to pastry chef, ceramicist to wine cellar owner, innovative CCA alumni are shaping creative niches across the world of food and drink.

Twenty people stand around a long butcher-block table. The lights above cast a pale glow on its surface, illuminating the ingredients piled in its recessed trough -- lemons, lettuce, flour, eggplants, bell peppers -- without lighting the faces of the diners. They are here for Hands On, a food-making experience in which they use their hands rather than utensils to create a three-course meal.

"Cooking is very much a form of art," says Lisa Mishima (Graphic Design 2005), who concocted Hands On together with her boss, Randall Stowell of the creative production company Autofuss, and friend Yvonne Mouser (Furniture 2006). "Both cooking and art involve concepting, crafting, and presenting a piece. But there is something about consuming one's creation that feels even more personal, immediate, and honest."

Initially, the guests are nervous, even clumsy. Flour falls to the floor. Slowly, the experimental chefs grow more confident. There are giggles around the room, then nods of approval as the dishes take shape. The menu features Caesar salad, handmade pasta with pesto sauce, and tiramisu. Some diners shape vegetables into utensils and use those instead of spoons or spatulas. Maybe there will be a meal at the end of this.

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