Chapters from auto biography are as bulleted below so these would be the best way to break up the research.
- Growing up in Austria
- Learning from New York
- Goodbye, Vienna
- Hello, Hong Kong
- Back in New York
Additional questions that I need to address are;
- Who is Stefan Sagmeister?
- What does Stefan Sagmeister do?
- Who influenced Stefan Sagmeister?
- What are his most notable achievements?
- Controversy?
- Associates?
- Where is he now?
Hand outs with basic info, notable exerts from presentation and a selection of imagery. Hand out final link to contain links including finished wordpress page, bibliography and my own links.
- Growing up in Austria.
- Learning from New York
- Goodbye, Vienna
- Hello, Hong Kong
- Back in New York
- Who is Stefan Sagmeister?
A) Stephan Sagmeister is an Austrian born Graphic Designer and Typographer, trained in fine art and engineering.
- What does Stefan Sagmeister do?
A) Stefan Sagmeister works across a wide range of Graphic Design subjects from typography design to branding. The thing all of his work has in common is its originality and innovation, using new and experimental techniques with amazing results. From this I can see that he is a person that doesn't like to knucke down and get on with something because 'that is what he should be doing', I relate to his desire to constantly work 24/7 without switching off but his desire to do what he is passionate about. The range of media he works across is vast. from crisp computer generated work to instalation design and photography, using all end every material at his disposable on his clock and on his subject. It may sound childish and stubborn but who ever heard of getting passion out of a person who is fine to just get on with a mundane job they hate.
- Who influenced Stefan Sagmeister?
A)
- What are his most notable achievements?
A)
- Controversy?
A)
- Associates?
A)
- What is he doing now?
Stefan Sagmeister Bio Posted @ http://designmuseum.org/design/stefan-sagmeister
STEFAN SAGMEISTER (1962-) is among today’s most important graphic designers. Born in Austria, he now lives and works in New York. His long-standing collaborators include the AIGA and musicians, David Byrne and Lou Reed.
When Stefan Sagmeister was invited to design the poster for an AIGA lecture he was giving on the campus at Cranbrook near Detroit, he asked his assistant to carve the details on to his torso with an X-acto knife and photographed the result. Sunning himself on a beach the following summer, Sagmeister noticed traces of the poster text rising in pink as his flesh tanned.
Now a graphic icon of the 1990s, that 1999 AIGA Detroit poster typifies Stefan Sagmeister’s style. Striking to the point of sensationalism and humorous but in such an unsettling way that it’s nearly, but not quite unacceptable, his work mixes sexuality with wit and a whiff of the sinister. Sagmeister’s technique is often simple to the point of banality: from slashing D-I-Y text into his own skin for the AIGA Detroit poster, to spelling out words with roughly cut strips of white cloth for a 1999 brochure for his girlfriend, the fashion designer, Anni Kuan. The strength of his work lies in his ability to conceptualise: to come up with potent, original, stunningly appropriate ideas.
Born in Bregenz, a quiet town in the Austrian Alps, in 1962, Sagmeister studied engineering after high school, but switched to graphic design after working on illustrations and lay-outs for Alphorn, a left-wing magazine. The first of his D-I-Y graphic exercises was a poster publicising Alphorn’s Anarchy issue for which he persuaded fellow students to lie down in the playground in the shape of the letter A and photographed them from the school roof.
At 19, Sagmeister moved to Vienna hoping to study graphics at the city’s prestigious University of Applied Arts. After his first application was rejected – "just about everybody was better at drawing than I was" – he enrolled in a private art school and was accepted on his second attempt. Through his sister’s boyfriend, the rock musician, Alexander Goebel, Sagmeister was introduced to the Schauspielhaus theatre group and designed posters for them as part of the Gruppe Gut collective. Many of the posters parodied traditionally twee theatrical imagery and offset it with roughly printed text in the grungey typefaces of punk albums and 1970s anarchist graphics.
In 1987, Sagmeister won a Fulbright scholarship to study at the Pratt Institute in Brooklyn, New York. Here humour emerged as the dominant theme in his work. When a girlfriend asked him to design business cards which would cost no more than $1 each, Sagmeister printed them on dollar bills. And when a friend from Austria came to visit, having voiced concern that New York women would ignore him, Sagmeister postered the walls of his neighbourhood with a picture of his friend under the words "Dear Girls! Please be nice to Reini".
After three years in the US, Sagmeister returned to Austria for compulsory military service. As a conscientious objector, he was allowed to do community work in a refugee centre outside Vienna. He stayed in Austria working as a graphic designer before moving to Hong Kong in 1991 to join the advertising agency, Leo Burnett. "They asked if I would be interested in being a typographer, " he later told the author, Peter Hall. "So I made up a high number and said I would do it for that." When the agency was invited to design a poster for the 1992 4As advertising awards ceremony, Sagmeister depicted a traditional Cantonese image featuring four bare male bottoms. Some ad agencies boycotted the awards in protest and the Hong Kong newspapers received numerous letters of complaint. Sagmeister’s favourite said: "Who’s the asshole who designed this poster?" By spring 1993, he had tired of Hong Kong. Sagmeister spent a couple of months working from a Sri Lankan beach hut before going back to New York.
As a Pratt Institute student, his dream had been to work at M&Co, the late Tibor Kalman’s graphics studio. Sagmeister bombarded Kalman with calls and finally persuaded him to sponsor his green card application. Four years later on his return from Hong Kong, the green card came through. His first project for M&Co was an invitation for a Gay and Lesbian Taskforce Gala for which he designed a prettily packaged box of fresh fruit. Cue a logistical nightmare as M&Co’s staff struggled to stop the fruit rotting in the heat of a sweltering New York summer. A few months later, Tibor Kalman announced that he was closing the studio to move to Rome, and Sagmeister set up on his own.
His goal was to design music graphics, but only for music he liked. To have the freedom to do so, Sagmeister decided to follow Kalman’s advice by keeping his company small with a team of three: himself, a designer (since 1996, the Icelander, Hjalti Karlsson) and an intern. Sagmeister Inc’s first project was its own business card, which came in an acrylic slipcase. When the card is inside the case, all you see is an S in a circle. Once outside, the company’s name and contract details appear. The second commission came from Sagmeister’s brother, Martin who was opening Blue, a chain of jeans stores in Austria. Sagmeister devised an identity consisting of the word blue in black type on an orange background.
As none of the record labels he approached seemed interested in his work, Sagmeister seized the chance to design a CD cover for a friend’s album, H.P. Zinker’s Mountains of Madness. Many of his contemporaries felt that music graphics had become less interesting once their old canvas, the vinyl LP cover, had shrunk to the dimensions of a CD, but Sagmeister saw the CD as a toy with which he could tantalise consumers. Having spotted a schoolgirl on the subway reading a maths text book through a red plastic filter, he placed his CD cover inside a red-tinted plastic case. Replicating the optical illusion of his business card, the complete packaging shows a close-up of a placid man’s face, but once the CD cover is slipped out from the red plastic, the man’s face appears furious in shades of red, white and green. Mountains of Madness won Sagmeister the first of his four Grammy nominations.
Invited by Lou Reed to design his 1996 album Set the Twilight Reeling, Sagmeister inserted an indigo portrait of Reed in an indigo-tinted plastic CD case. When the paler coloured cover is removed, Reed literally emerges from the twilight. The following year, Sagmeister depicted David Byrne as a plastic GI Joe-style doll on the cover of Feelings. One of his trickiest assignments was for the Rollings Stones’ 1997 Bridges to Babylon album and tour. Sagmeister struggled to persuade the band’s management to accept his motif of a lion inspired by an Assyrian sculpture in the British Museum. Also the astrological sign of the Rolling Stones’ lead singer, Mick Jagger (a Leo), the lion doubled as an easily reproducible motif for tour merchandise.
As well as these music projects, Sagmeister still took on other commercial commissions and pro bono cultural projects, such as his AIGA lecture posters. The obscenely elongated wagging tongues of 1996’s Fresh Dialogue talks series in New York and a Headless Chicken strutting across a field for 1997’s biennial conference in New Orleans culminated in the drama of Sagmeister’s scarred, knife-slashed torso for 1999’s deceptively blandly titled, AIGA Detroit.
In June 2000, Sagmeister decided to treat himself to a long-promised year off to concentrate on experimental projects and a book Sagmeister, sub-titled Made You Look with the sub-sub-title Another self-indulgent design monograph (practically everything we have ever designed including the bad stuff.) The worst of the "bad stuff" was a 1996 series of CD-Rom covers for a subsidiary of the Viacom entertainment group. "Don’t take on any more bad jobs," Sagmeister scolded himself in his diary. "I have done enough bullshit lately, I just have to make time for something better. Something good."
© Design Museum
Biography
1962 Born in Bregenz, Austria. His parents own a fashion retailing business. Educated at a local engineering school, then at a college in nearby Dornbirn.
1981 Moves to Vienna. Accepted on his second attempt to study graphic design at the Vienna University of Applied Arts.
1984 Having designed posters for Vienna’s Schauspielhaus theatre with the Gruppe Gut collective, creates the posters for a successful campaign to save the Ronacher music hall from demolition.
1985 Graduates with a first class degree and a $1,000 prize from the City of Vienna.
1987 Arrives in New York with a Fulbright scholarship to study at the Pratt Institute.
1990 Returns to Vienna for community service as an alternative to military conscription. Works in a refugee centre. Posters for Nickelsdorf jazz festival.
1991 Moves to Hong Kong and lands a job with ad agency, Leo Burnett.
1992 Controversy over Sagmeister’s bum-bearing 4As awards poster.
1993 Returns to New York (via Sri Lanka) to work for Tibor Kalman at M&Co. Six months later, Kalman closes M&Co and Sagmeister opens his own studio.
1994 Creates identity for his brother, Martin’s jeans stores, Blue. Nominated for a Grammy Award for the cover for H. P. Zinker’s Mountains of Madness.
1995 Starts collaboration with David Byrne by designing the cover of his Afropea compilation album.
1996 First project with Lou Reed: Set the Twilight Reeling album cover. Emblazons a pair of tongues on poster for AIGA’s Fresh Dialogue talks
1997 Creates Headless Chicken poster for AIGA biennial conference in New Orleans and designs graphics for David Byrne’s Feelings and Rolling Stones’ Bridges to Babylon.
1999 Sagmeister carves the text of a poster for an AIGA lecture at Cranbrook near Detroit into his own torso.
2000 Takes a year off to work on experimental projects.
2001 Reopens studio and publishes the book, Sagmeister: Made You Look.
2003 Designs Once in a Lifetime boxed set for Talking Heads.
2004 Visiting professor in Berlin and unveils Trying to look good limits my life, series of typographic billboards.
1981 Moves to Vienna. Accepted on his second attempt to study graphic design at the Vienna University of Applied Arts.
1984 Having designed posters for Vienna’s Schauspielhaus theatre with the Gruppe Gut collective, creates the posters for a successful campaign to save the Ronacher music hall from demolition.
1985 Graduates with a first class degree and a $1,000 prize from the City of Vienna.
1987 Arrives in New York with a Fulbright scholarship to study at the Pratt Institute.
1990 Returns to Vienna for community service as an alternative to military conscription. Works in a refugee centre. Posters for Nickelsdorf jazz festival.
1991 Moves to Hong Kong and lands a job with ad agency, Leo Burnett.
1992 Controversy over Sagmeister’s bum-bearing 4As awards poster.
1993 Returns to New York (via Sri Lanka) to work for Tibor Kalman at M&Co. Six months later, Kalman closes M&Co and Sagmeister opens his own studio.
1994 Creates identity for his brother, Martin’s jeans stores, Blue. Nominated for a Grammy Award for the cover for H. P. Zinker’s Mountains of Madness.
1995 Starts collaboration with David Byrne by designing the cover of his Afropea compilation album.
1996 First project with Lou Reed: Set the Twilight Reeling album cover. Emblazons a pair of tongues on poster for AIGA’s Fresh Dialogue talks
1997 Creates Headless Chicken poster for AIGA biennial conference in New Orleans and designs graphics for David Byrne’s Feelings and Rolling Stones’ Bridges to Babylon.
1999 Sagmeister carves the text of a poster for an AIGA lecture at Cranbrook near Detroit into his own torso.
2000 Takes a year off to work on experimental projects.
2001 Reopens studio and publishes the book, Sagmeister: Made You Look.
2003 Designs Once in a Lifetime boxed set for Talking Heads.
2004 Visiting professor in Berlin and unveils Trying to look good limits my life, series of typographic billboards.
© Design Museum
Bibliography
Peter Hall, Stefan Sagmeister, Chee Pearlman, Sagmeister: Made You Look, Booth-Clibborn Editions, 2001
Stefan Sagmeister, Visible Music: CD Jacket Graphics, Gingko Press
Donald Albrecht, Ellen Lpton, Steven Skov Holt, Design Culture Now, Princeton Architectural Press, 2000
Stefan Sagmeister, Postcard Graphics: The Best Advertising and Promotion Design
Stefan Sagmeister, Visible Music: CD Jacket Graphics, Gingko Press
Donald Albrecht, Ellen Lpton, Steven Skov Holt, Design Culture Now, Princeton Architectural Press, 2000
Stefan Sagmeister, Postcard Graphics: The Best Advertising and Promotion Design
stefan sagmeister (@ http://www.designboom.com/eng/interview/sagmeister.html )
born in 1962, bregenz, austria. stefan sagmeister
studied graphic design at the university of
applied arts in vienna. in 1987 he moved to new york
to attended pratt institute on a fulbright scholarship.
he then returned to austria in 1990 for community service
as an alternative to obligatory military conscription.
at the age 29, he attained a job with leo burnett hong kong.
in 1993 he returned to new york to work for the hungarian
graphic designer tibor kalman at M&Co. when the studio
closed the same year, sagmeister opened his own office
‘sagmeister inc’. in 1994 he was nominated for a grammy
award for his album cover - 'h. p. zinker mountains of madness’.
in the following years he designed album packaging for
artists such as david byrne, lou reed and the rolling stones.
in 1996 sagmeister began developed posters for AIGA
-american institue of graphic arts-
he took a ‘year out’ in 1999, closing his studio
to commercial work and concentrating on his own experimental
projects. in 2001 released the book ‘made you look
(another self-indulgent design monograph)’.
in 2005 he won a grammy award as art director of the
‘once in a lifetime’ talking heads boxed set packaging.
currently among many projects sagmeister continues his
work on ‘20 things in my life I have learned so far.’ a series
of typographic pieces inspired by the work of his grandfather
that he began in 2004.
born in 1962, bregenz, austria. stefan sagmeister
studied graphic design at the university of
applied arts in vienna. in 1987 he moved to new york
to attended pratt institute on a fulbright scholarship.
he then returned to austria in 1990 for community service
as an alternative to obligatory military conscription.
at the age 29, he attained a job with leo burnett hong kong.
in 1993 he returned to new york to work for the hungarian
graphic designer tibor kalman at M&Co. when the studio
closed the same year, sagmeister opened his own office
‘sagmeister inc’. in 1994 he was nominated for a grammy
award for his album cover - 'h. p. zinker mountains of madness’.
in the following years he designed album packaging for
artists such as david byrne, lou reed and the rolling stones.
in 1996 sagmeister began developed posters for AIGA
-american institue of graphic arts-
he took a ‘year out’ in 1999, closing his studio
to commercial work and concentrating on his own experimental
projects. in 2001 released the book ‘made you look
(another self-indulgent design monograph)’.
in 2005 he won a grammy award as art director of the
‘once in a lifetime’ talking heads boxed set packaging.
currently among many projects sagmeister continues his
work on ‘20 things in my life I have learned so far.’ a series
of typographic pieces inspired by the work of his grandfather
that he began in 2004.
what is the best moment of the day?in the early evening and the early morning.
when talking about design Iwould say the morning because
it's quiet in here (his office) and there is then time to really
think about concepts. the evening because then most of the
day is over and so it's a more playful time, specifically when
all the tasks are done.
when talking about design Iwould say the morning because
it's quiet in here (his office) and there is then time to really
think about concepts. the evening because then most of the
day is over and so it's a more playful time, specifically when
all the tasks are done.
much of your work is related to music...I have always been interested in music
although now a diminishing part of my life.
growing older (I'm 43 now) I can say that looking back
music was much more important to me when I was 23.
although now a diminishing part of my life.
growing older (I'm 43 now) I can say that looking back
music was much more important to me when I was 23.
what kind of music do you listen to at the moment?what you just heard there (music playing in the office)
is 'cat power' we've been listening to her extensively
recently.
is 'cat power' we've been listening to her extensively
recently.
do you always like the music of the bands you work with?we always try not to have to work with musicians or
any other clients who we don't like. there is absolutely
no excuse to work with ass-holes.
any other clients who we don't like. there is absolutely
no excuse to work with ass-holes.
do you listen to the radio?I used to love listening to the radio when I was in austria
but here (NY) much less. the level of advertising between
songs drives me nuts. I haven't been very diligently looking
for stations lately. we have a new intern every three months
and we always ask them to bring with them their favorite music,
so there is quite a little bit of vocation going on.
but here (NY) much less. the level of advertising between
songs drives me nuts. I haven't been very diligently looking
for stations lately. we have a new intern every three months
and we always ask them to bring with them their favorite music,
so there is quite a little bit of vocation going on.
what books do you have on your bedside table?I just finished 'the brooklyn follies' by paul auster which I loved.
last week I read a picasso biography and I have just started
'the last true story I'll ever tell' by john crawford, it's an
account of a soldier in iraq. for pleasure I read fiction,
non-fiction really whatever comes my way.
last week I read a picasso biography and I have just started
'the last true story I'll ever tell' by john crawford, it's an
account of a soldier in iraq. for pleasure I read fiction,
non-fiction really whatever comes my way.
do you read design magazines?the studio has subscriptions to a number of them,
and I flick through them usually for pleasure not for
inspiration, and not usually in office hours.
and I flick through them usually for pleasure not for
inspiration, and not usually in office hours.
where do you get news from? newspapers? TV?not from TV, I cant stand TV news in america,
I read the new york times, which I find a good newspaper
although it is slanted towards one direction.
it's probably my prime news-source.
I read the new york times, which I find a good newspaper
although it is slanted towards one direction.
it's probably my prime news-source.
do you notice how women are dressing?I do now much more than I used 10 years ago
because my girlfriend is a fashion designer. now I notice
things here and there. she's influenced how I dress for sure
(heavily), and she has given me more of an eye for things.
because my girlfriend is a fashion designer. now I notice
things here and there. she's influenced how I dress for sure
(heavily), and she has given me more of an eye for things.
do you have any preferences?also through her influence, simple grounded ideas.
what kind of clothes do you avoid wearing?basically anything that isn't made by my girlfriend,
or isn't sold by my brother. he also has a men’s fashion
store. so between the two of them I would say 95%
of what I wear comes from either of them.
or isn't sold by my brother. he also has a men’s fashion
store. so between the two of them I would say 95%
of what I wear comes from either of them.
do you have any pets?no I don't, when I was very, very young I had a turtle.
when you were a child, did you want
to become a designer?
not as a child but as an adolescent, when I was around
15 or 16 I knew that I wanted to become a designer.
to become a designer?
not as a child but as an adolescent, when I was around
15 or 16 I knew that I wanted to become a designer.
where do you work on your designs and projects?everywhere, obviously the execution of them mostly in the
office. the conception of them everywhere, I travel quite a bit
and now I find it easy to work on a plane and I love to work
in a hotel room. I love to work in new fresh surroundings,
a new country...also i prefer working on concepts that don't
have a deadline attached where I can work freely.
office. the conception of them everywhere, I travel quite a bit
and now I find it easy to work on a plane and I love to work
in a hotel room. I love to work in new fresh surroundings,
a new country...also i prefer working on concepts that don't
have a deadline attached where I can work freely.
do you discuss your work with other graphic designers?we have a group called 'second tuesday' and we meet every
second month. there are about 15 people who run design firms.
we always meet at someone's home or studio, that person has
to organize dinner and a subject. sometimes these subjects are
quite practical such as finances. lately the topics have been
focused more towards administration and business rather than
cultural aspects.
second month. there are about 15 people who run design firms.
we always meet at someone's home or studio, that person has
to organize dinner and a subject. sometimes these subjects are
quite practical such as finances. lately the topics have been
focused more towards administration and business rather than
cultural aspects.
please describe your style,
as a good friend of yours would.for a long time we prided ourselves not to have a style
which to uphold became impossible. this is because if you
really switch your stylistic approach from project to project
it is impossible to come up with a new one on a weekly or
monthly basis, without ripping-off either historical styles or a
particular designers' style. although it would not cover all of
our work I would say we are probably best known for our
hand-made quality.
as a good friend of yours would.for a long time we prided ourselves not to have a style
which to uphold became impossible. this is because if you
really switch your stylistic approach from project to project
it is impossible to come up with a new one on a weekly or
monthly basis, without ripping-off either historical styles or a
particular designers' style. although it would not cover all of
our work I would say we are probably best known for our
hand-made quality.
... and 'style = fart'?yes i said this but I had to give up. it was the headline of
a theory that style and stylistic questions are just hot air
and meaningless. I discovered that this is simply not true.
through experience I found that if you have content that is
worthwhile the properexpression of that content, in terms of
form and style is actually very important. it can be a very
useful tool to communicate that content.
I don't think that it is actually hot-air anymore.
a theory that style and stylistic questions are just hot air
and meaningless. I discovered that this is simply not true.
through experience I found that if you have content that is
worthwhile the properexpression of that content, in terms of
form and style is actually very important. it can be a very
useful tool to communicate that content.
I don't think that it is actually hot-air anymore.
which type of project has given you the most satisfaction?well the cop-out answer would be projects for good clients
who have good products or good services. that could be
CD packaging for a band that I love or for people who are kind
or a pleasure to work with, or smarter than me so I can learn
something. projects where I have the guts to work on them
hard enough so that they become good in my eyes,
they always tend to be more rewarding than the ones where
I was lazy.
who have good products or good services. that could be
CD packaging for a band that I love or for people who are kind
or a pleasure to work with, or smarter than me so I can learn
something. projects where I have the guts to work on them
hard enough so that they become good in my eyes,
they always tend to be more rewarding than the ones where
I was lazy.
who would you like to design something for?a person who I have always wanted to and tried to work with
is the guitarist 'robert fripp' from the band 'king crimson'
because it is a band that I have admired since I was 16.
as far as a particular product is concerned I would love to do
something ‘big’ and with a big impact in terms of its distribution.
I would love to re-design the coke can, or an identity that is truly
‘worldwide’. I always felt that these type of jobs used to be done
very well by small design companies or single designers for
example IBM or coca-cola. in the last decades though these jobs
tend to have been done by larger branding consultancies.
they often have a very different agenda and in my eyes generally
do terrible jobs, though there are some exceptions. I think that
it's a pity that designers avoid this type of work in favor of more
obscure projects, because today how children learn what the
world looks like is determined by these type of jobs. so I would
love to be involved there. in a small studio though this type of
project rarely happens, big companies like working with other
big companies.
is the guitarist 'robert fripp' from the band 'king crimson'
because it is a band that I have admired since I was 16.
as far as a particular product is concerned I would love to do
something ‘big’ and with a big impact in terms of its distribution.
I would love to re-design the coke can, or an identity that is truly
‘worldwide’. I always felt that these type of jobs used to be done
very well by small design companies or single designers for
example IBM or coca-cola. in the last decades though these jobs
tend to have been done by larger branding consultancies.
they often have a very different agenda and in my eyes generally
do terrible jobs, though there are some exceptions. I think that
it's a pity that designers avoid this type of work in favor of more
obscure projects, because today how children learn what the
world looks like is determined by these type of jobs. so I would
love to be involved there. in a small studio though this type of
project rarely happens, big companies like working with other
big companies.
and your studio is small...we very purposefully remain small. we started in 1993 and
there would have been many opportunities to grow through the
nineties. other than not being involved with the size of branding
I definately think that a small studio only has advantages
(apart from not being involved with the branding projects).
to keep the studio small was actually advice i received from
tibor kalman.
there would have been many opportunities to grow through the
nineties. other than not being involved with the size of branding
I definately think that a small studio only has advantages
(apart from not being involved with the branding projects).
to keep the studio small was actually advice i received from
tibor kalman.
is there any designer/ architect from the past
you appreciate a lot?my old boss, tibor kalman.
you appreciate a lot?my old boss, tibor kalman.
and those still working?many, we would be here forever if I were to list them all!
in industrial design I would say the 'dutch bunch',
marcel wanders etc. in graphics, especially in the USA I would
say rick valicenti, and in the UK mark farrow, but there are
many people.
in industrial design I would say the 'dutch bunch',
marcel wanders etc. in graphics, especially in the USA I would
say rick valicenti, and in the UK mark farrow, but there are
many people.
do yo have any advice for the young?try to be a good person and work your ass off.
what are you afraid of regarding the future?hmm (thinks) not much, I wouldn't call myself a very
gutsy person but I can't say that I am scared of anything
regarding the future... not at all. I think that it's going to be fine.
humanity adapts to all kinds of situations, and right now I think
is a good time to be alive.
gutsy person but I can't say that I am scared of anything
regarding the future... not at all. I think that it's going to be fine.
humanity adapts to all kinds of situations, and right now I think
is a good time to be alive.
[youtube=http://www.youtube.com/watch?v=MNuOmTQdFjA]
[youtube=http://www.youtube.com/watch?v=si_3PBHdReghttp://]
[youtube=http://www.youtube.com/watch?v=eZp-H9g_jeY]
[youtube=http://www.youtube.com/watch?v=eMVWSUeeg8A]
[youtube=http://www.youtube.com/watch?v=uyktlp8C5Z4]
[youtube=http://www.youtube.com/watch?v=2OUFCyKr-t0]
[youtube=http://www.youtube.com/watch?v=KD_Vu_YzEPI]
[youtube=http://www.youtube.com/watch?v=v1AoeRlfB5U]
[youtube=http://www.youtube.com/watch?v=tMsdHxUeOQ4]
[youtube=http://www.youtube.com/watch?v=3V2_JT_-ONQ]
[youtube=http://www.youtube.com/watch?v=o8PkFSLuYOk]
[youtube=http://www.youtube.com/watch?v=hD7zTgxOmWs]
[youtube=http://www.youtube.com/watch?v=DN08tL_Jmvs]
[youtube=http://www.youtube.com/watch?v=bSz1xIUXTr4]
[youtube=http://www.youtube.com/watch?v=U--PIzSuOv8]
Deitch Projects, Banana Wall
At the opening of our exhibition at Deitch Projects in New York we featured a wall of 10,000 bananas. Green bananas created a pattern against a background of yellow bananas spelling out the sentiment: Self-confidence produces fine results.
After a number of days the green bananas turned yellow too and the type disappeared. When the yellow background bananas turned brown, the type (and the self-confidence) appeared again, only to go away when all the bananas turned brown.
The talkative chair
The text of this chair simply refers to a diary entry written while sitting on our balcony in Bali where the chair itself would ultimately be placed.
Here is the complete text:
Here is the complete text:
I very much love sitting here looking out over the Sayan Ridge with a large pot of coffee and a medium size cigar and letting my mind go.
Life is still good. Just saw a spectacular sunrise and now the incredible lush greens of the rice paddies pop my eyes out.
My big toe appears to be very dirty.
But it's just a bit of congealed blood underneath my skin, acquired during a morning walk through the jungle with John.
The small mosquitoes are a pain, so tiny they are basically invisible. Their bites itch for days even without scratching.
Stop sitting here staring into the air.
Better get going! Take a shower and start the day proper, there certainly is enough to do here, I have already a whole list ready to go.
Life is still good. Just saw a spectacular sunrise and now the incredible lush greens of the rice paddies pop my eyes out.
My big toe appears to be very dirty.
But it's just a bit of congealed blood underneath my skin, acquired during a morning walk through the jungle with John.
The small mosquitoes are a pain, so tiny they are basically invisible. Their bites itch for days even without scratching.
Stop sitting here staring into the air.
Better get going! Take a shower and start the day proper, there certainly is enough to do here, I have already a whole list ready to go.
Obsessions Make My Life Worse and My Work Better
I rarely obsess about things in my private life. I fail to care about the right shade of green for the couch, the sexual details of an ex-lover or the correct temperature of the meeting room AC. I don't think I miss much.
However, I do obsess over our work and think that a number of our better projects came out of such an obsession. Doodling obsessively onto a poster depicting a headless chicken and an obsession with white angry monkeys that ultimately led to the giant inflatable animals all over Scotland are just two such examples.
From Bernd and Hilda Becher's obsessive need to record every water tower to On Kawara's date paintings and James Turrell's Roden Crater, obsessions seem to be an important ingredient in the work of many of our favorite contemporary artists.
Obsessions make my Life worse and my Work better.*
*"Think dangerously, act safely" is a close relative - possibly its uncle - from mentor Tibor Kalman.
designed by Sagmeister Inc.
Richard The, Joe Shouldice, Stefan Sagmeister.
However, I do obsess over our work and think that a number of our better projects came out of such an obsession. Doodling obsessively onto a poster depicting a headless chicken and an obsession with white angry monkeys that ultimately led to the giant inflatable animals all over Scotland are just two such examples.
From Bernd and Hilda Becher's obsessive need to record every water tower to On Kawara's date paintings and James Turrell's Roden Crater, obsessions seem to be an important ingredient in the work of many of our favorite contemporary artists.
Obsessions make my Life worse and my Work better.*
*"Think dangerously, act safely" is a close relative - possibly its uncle - from mentor Tibor Kalman.
designed by Sagmeister Inc.
Richard The, Joe Shouldice, Stefan Sagmeister.
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