There is an irony to the fact that four days after the Can Graphic Design Save Your Life? exhibition opened at the Wellcome Collection, the biennial Defence and Security Equipment International (DSEI) arms fair kicked off at the ExCeL centre in London’s Docklands.
In October last year I wrote about the visual identity for Hull City of Culture 2017. I’d mostly only ever heard negative things about the city but vowed to go there this year after seeing this deliberately attention grabbing piece of branding. Claire and I duly booked our summer holiday in the beautiful Lincolnshire Wolds for last week so that we could take a day out in Yorkshire, and Hull did not disappoint.
I took a dérive to work the other day and came across road work annotations on the pavement. I’ve seen these many times before, and often photographed them, but yesterday’s discovery prompted me to pull the more interesting images together in one place. When cropping some of these square, the reference to Mark Boyle and the Boyle Family‘s work is obvious to see.
You need many strategies to teach graphic design, and resources can be key to effective delivery. But if there is one piece of equipment I find it hard to teach without, it is a wipe board. I’m not neat, and I often respond to students comments intuitively when writing / drawing on these magnetic metallic sheets of white—if you walked into a lecture theatre just after I had finished my session that explores the contexts surrounding the sleeve of the Velvet Underground’s first LP, you wouldn’t be able to make head nor tail of what was on the board. (It is fair to say you have to be there.)
I’ve just written a review of the excellent Gee Vaucher exhibition, Introspective, at Colchester’s Firstsite gallery for Eye Magazine’s blog. Read it here.
PhotoEast, Suffolk’s first festival of photography was launched this week in Ipswich and can claim to be a major success, even within its first few days of existence. The half-mile walk along Ipswich’s waterfront from DanceEast to Cult Cafe brings dramatic images from around the world to this small Suffolk town. Local history and Ipswich life are presented alongside contemporary photography as part of the fabric of the waterside architecture. There is even a projection room inside a shipping container at the far end of the marina.
In my teens in the 1980s, as I was becoming politically aware and active, (going on CND demonstrations and reading radical publications), it is difficult for me not to be very familiar with the work of Peter Kennard. I think I must have held several of his images in my hands as placards and certainly stuck some of his photomontages on my bedroom wall torn from pages in lefty rags. When I heard he was having a retrospective at the Imperial War Museum, titled Unofficial War Artist, I debated whether I should go or not, thinking that I knew what I would get and worried about it being an exercise in personal nostalgia. It wasn’t until I read Art-e-facts’ review of her several visits to the show that I decided to go, and without a shadow of a doubt it blew me away, (no pun intended).