lars müller publishers - image now galleryingallery.ie/img/programme.pdf · 2014-11-06 ·...
TRANSCRIPT
Image Now GalleryOctober - November 201417a New Bride St, Dublin 8
Lars Müller Publishers
IntroductionLars Müller
The reprint of Neue Grafik fills a vacuum. The magazine’s scarce availability has fostered its mythical reputation.“Logos and mythos” is the motto informing my efforts tomake this monument to an important episode in graphic design history more widely accessible for archiving, consultation and discussion.
The vehemence of the statement made by four representatives of the Swiss graphic design scene of the 1950s and 1960s had an exponential impact. Designers in many countries in the western world were searching for an adequate visual language to express an era determined by extremely rapid technological and scientific developments and to convey the modern self image of a society recovering from the injuries inflicted by World War II. At the same time, designers were also keen to find responses to the kitsch-laden superficiality that accompanied growing prosperity. There was certainly no quibbling with the integrity of the answer that came fromsmall, staid Switzerland – and from purist Zurich to boot.
The publication represents an attempt to understand the background to the magazine’s birth and evolution, to examine why it was discontinued after seven years and to describe the historical impact that Neue Grafik had in different countries. The reprint of the original issues invites academics and designers to carry out more in-depth research and to recognise the crucial importance of asserting a clear position, today as much as ever.
Extract from Neue Grafik 1958-1965
Richard Paul Lohse
Lohse profoundly influenced the development of constructive design in the forties and fifties. His political integrity gave him great authority. A model for many others, he pursued a symbiosis of art and design, most visibly in his design of the magazine Bauen+Wohnen. Lohse thus guaranteed the relevance of the examination of the movement’s design elements. His incorruptible verdict on the importance of social and artistic developments made him an authority, alongside Josef Müller-Brockmann, on the programmatic objectives of Neue Grafik, although his positions were much more ideologically rooted. Altogether, Lohse wrote eleven articles for Neue Grafik and, drawing on his numerous contacts, commissioned many others.
Josef Müller-Brockmann
Müller-Brockmann conceived of and instigated Neue Grafik. As a team player, he knew how to inspire his colleagues for this undertaking. He played an active part in various fields and was the catalyst for numerous pieces for Neue Grafik, although he only contributed three texts himself. His second career as a Constructivist graphic designer brought Müller-Brockmann virtually unparalleled international acclaim. He was renowned throughout the world as a designer, author, teacher and as the lead figure of the pioneering Swiss graphic designers. He might also be called the ambassador for the editorial team.
Hans Neuburg
Neuburg was the most prolific member of the editorial team. Equipped with a journalist’s curiosity and writing skills he assumed the role of reporter, exploring a broad spectrum of different topics. In total he contributed thirty-six pieces to the journal and was instrumental in shaping its style. As a professional writer and a skilled graphic designer, he was the only member of the team who could earn a living from the fees he received for his work for Neue Grafik. Beginning with the second issue he was also responsible for the journal’s layout. His con-ciliatory personality kept the group together.
Carlo Vivarelli
Vivarelli was the youngest of the four editors. He most neatly fit the archetype of the freelance graphic designer, with a small studio and clients in select industries. Entering logo and poster competitions was part of the studio’s bread and butter. His grounding in this real-world context gave Vivarelli a keen eye when it came to evaluating the commercial impact of the work submitted to Neue Grafik for review and publication. He set a high standard with his cover design and layout for the journal’s first issue. Vivarelli contributed just two articles to Neue Grafik.
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IntroductionLars Müller
The reprint of Neue Grafik fills a vacuum. The magazine’s scarce availability has fostered its mythical reputation.“Logos and mythos” is the motto informing my efforts tomake this monument to an important episode in graphic design history more widely accessible for archiving, consultation and discussion.
The vehemence of the statement made by four representatives of the Swiss graphic design scene of the 1950s and 1960s had an exponential impact. Designers in many countries in the western world were searching for an adequate visual language to express an era determined by extremely rapid technological and scientific developments and to convey the modern self image of a society recovering from the injuries inflicted by World War II. At the same time, designers were also keen to find responses to the kitsch-laden superficiality that accompanied growing prosperity. There was certainly no quibbling with the integrity of the answer that came fromsmall, staid Switzerland – and from purist Zurich to boot.
The publication represents an attempt to understand the background to the magazine’s birth and evolution, to examine why it was discontinued after seven years and to describe the historical impact that Neue Grafik had in different countries. The reprint of the original issues invites academics and designers to carry out more in-depth research and to recognise the crucial importance of asserting a clear position, today as much as ever.
Extract from Neue Grafik 1958-1965
Richard Paul Lohse
Lohse profoundly influenced the development of constructive design in the forties and fifties. His political integrity gave him great authority. A model for many others, he pursued a symbiosis of art and design, most visibly in his design of the magazine Bauen+Wohnen. Lohse thus guaranteed the relevance of the examination of the movement’s design elements. His incorruptible verdict on the importance of social and artistic developments made him an authority, alongside Josef Müller-Brockmann, on the programmatic objectives of Neue Grafik, although his positions were much more ideologically rooted. Altogether, Lohse wrote eleven articles for Neue Grafik and, drawing on his numerous contacts, commissioned many others.
Josef Müller-Brockmann
Müller-Brockmann conceived of and instigated Neue Grafik. As a team player, he knew how to inspire his colleagues for this undertaking. He played an active part in various fields and was the catalyst for numerous pieces for Neue Grafik, although he only contributed three texts himself. His second career as a Constructivist graphic designer brought Müller-Brockmann virtually unparalleled international acclaim. He was renowned throughout the world as a designer, author, teacher and as the lead figure of the pioneering Swiss graphic designers. He might also be called the ambassador for the editorial team.
Hans Neuburg
Neuburg was the most prolific member of the editorial team. Equipped with a journalist’s curiosity and writing skills he assumed the role of reporter, exploring a broad spectrum of different topics. In total he contributed thirty-six pieces to the journal and was instrumental in shaping its style. As a professional writer and a skilled graphic designer, he was the only member of the team who could earn a living from the fees he received for his work for Neue Grafik. Beginning with the second issue he was also responsible for the journal’s layout. His con-ciliatory personality kept the group together.
Carlo Vivarelli
Vivarelli was the youngest of the four editors. He most neatly fit the archetype of the freelance graphic designer, with a small studio and clients in select industries. Entering logo and poster competitions was part of the studio’s bread and butter. His grounding in this real-world context gave Vivarelli a keen eye when it came to evaluating the commercial impact of the work submitted to Neue Grafik for review and publication. He set a high standard with his cover design and layout for the journal’s first issue. Vivarelli contributed just two articles to Neue Grafik.
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Neue Grafik Issue 6Recent Advertising Design as a Unity of Idea, Text and Form
Coloured wrappers for the daily newspaper: National Zeitung Gerstner + Kutter, Basle
Right
Neue Grafik Issue 5 The principles in theDesign of Trade marks
1Adolf Flückigor, BernRotor
2Pierre Frey, ZurichEx
3Karl Gerstner, BaselAG Basel & Zurich
4Carlo VivarelliRüesch Drill Manufacturer
5Hans NeuburgJean Oertli, Zurich
6Hans NeuburgHyspa Sport & Hygiene
During my early development as a designer, I was highly influenced by Swiss typography. In 1958, the first issue of Neue Grafik was as sent from heaven!Wim Crouwel, Amsterdam
I lived and worked in Stuttgart from 1962 to 1976 and used to buy Neue Grafik at the Wendelin Niedlich bookstore. Along with Hans Hilman’s Neue Film-kunst bulletins, it formed part of the basic toolkit for typographers and that still holds true even today.Gunter Rambow, Güstrow
I discovered Neue Grafik on my first day as a student at the London School of Printing and Graphic Arts in 1959 and it was a great influence on my early design career.David Hillman, London
1 2
3 4
5 6
Neue Grafik Issue 7A training system for the graphic designerJosef Müller-Brockmann
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Ian McLaren
Kent, UK
Ich bin ein ‘Ulmer’ / I am ‘an Ulmer’
/ Je suis ‘ein Ulmer’
_______________________________
October 2014
Contents
Dennis Bailey
Mason Wells & colleagues at
Bibliothèque Design
Tony Brook of ‘Spin’
and ‘Unit Editions’
Richard Hollis
Peter Wildbur
Ben Bos
Karl Gerstner
John Massey
Malcolm (Jack) Frost
Apple - Steve Jobs
Helmut Schmid
Osaka, Japan
(Typography from the inside)
_______________________________
Ausgabe Oktober 2014
Inhalt
Typography from the inside
Kohei Sugiura
Kirti Trivedi
Lee Kyeongsoo
Taro Yamamoto
Kiyonori Muroga
Fjodor Gejko
Hilary Kenna
Mason Wells
Bibliotheque, London, UK)
_______________________________
October 2014
Contents
Maarten Van Severen
Vitsœ – Mark Adams & Dieter Rams
Theseus Chan – Werk Magazine
Veronica Ditting – The GentleWoman
ECAL – École cantonale d’art de Lausanne
Muji – Kenya Hara & Naoto Fukasawa
SANAA – Kazuyo Sejima & RyueNishizawa
Georg Stæhelin
John Morgan Studio
Norm
Gigon & Guyer
Toko
Sydney, Austrlia
_______________________________
October 2014
Contents
Posters by Almir da Silva Mavignier
François Morellet
AG Fronzoni, the Italian minimalist
Otto Piene
Mevis and van Deursen
Jacqueline Casey
Pierre “down under” Neumann
Christopher Murphy
Fehler, Belfast, N. Ireland
_______________________________
October 2014
Contents
alorenz, Vienna
BarberOsgerby
Cartlidge Levene
Experimental Jetset
Nicholas Felton
MuirMcNeil
Dieter Rams
raster-noton | archiv für ton und nichtton
Universal Everything
Jocelyn Clarke
Dublin
_______________________________
October 2014
Contents
Neue Grafik Era -
John Cage
Morton Feldman
Krzysztof Penderecki
Steve Reich
Philip Glass
Contemporary/Classical -
Alfred Schnittke
John Adams
Gavin Bryars
Tan Dun
David Lang
Contemporary/Popular -
David Bowie
Brian Eno
Radiohead/Jonny Greenwood
Mica Levi
Bjork
Aiden Grennelle
Image Now, Dublin, Ireland
_______________________________
October 2014
Contents
William Pars Graatsma
John Pawson
North - Sean Perkins
Iran do Espírito Santo
Joachim Sauter/ART+COM
Henrik Nygren
Keller Maurer
bulthaup
Plus Minus Zero
William Hall
Conor Clarke
Design Factory, Dublin, Ireland
_______________________________
October 2014
Contents
Educational Institution:
Werkplaats Typografie
Designer:
Karel Martens
Design Studio:
Cartlidge Levene
Record Company
ECM Records - Manfred Eicher
Musician
Nils Petter Molvaer
Architects
Herzog & de Meuron
David Smith
Atelier, Dublin, Ireland
_______________________________
October 2014
Contents
Design
NORM
Ludovic Balland
Bernd Kuchenbeiser
Dan Friedman
Architecture
Tado Ando
Peter Zumthor
Art & Criticism
Florian Pumhösl
Donald Judd
Liam Gillick
Education
PaTi. Paju Typography Institute
In 2004 Image Now Gallery hosted its first design exhibition:
forty-eight posters, josef müller-brockmann. Over the course of its curation
I got to know Josef’s work intimately and became intrigued by the magazine
Neue Grafik, arguably the most important design journal of its day —
or any day, for that matter. Although I rarely saw between its covers (these
were identical apart from the issue number), I dearly wanted to know more,
to pore over the issues myself. But this was impossible: published in Zürich
between 1958-65, the magazine ran for eighteen issues only, the last of
which, was produced nearly fifty years ago.
In September 2013, I was in London to attend the AGI Open conference at
the Barbican Centre, eager for insight and inspiration from the world’s
greatest graphic designers. Lars Müller gave the President’s address, warmly
welcoming members and delegates alike before coolly announcing that his
publishing house, Lars Müller Publishers, would be reproducing in facsimile
the complete set of Neue Grafik magazines. There, on screen in the
Barbican, was an image of the full set itself, a monumental tome emblazoned
with its unmistakable masthead. I was ecstatic, a state that entirely eclipsed
the rest of the conference.
The work that featured in the pages of Neue Grafik signalled something of a
‘year zero’ for graphic design. This was more than just logical progression,
this was a forceful reaction to what the editors perceived to be poor
standards of quality. Through their own tenacity and deftness, they
demonstrated that this new attitude had endless possibilities and universal
applications. The attitudes that united the magazine’s four editors (Richard
Lohse, Josef Müller-Brockmann, Hans Neuburg and Carlo Vivarelli) back in
the Fifties have been apparent in every era since: a striving for products and
communications that are pure in form and void of all decoration.
The ‘mathematical clarity’ Hans Neuburg claimed characterised their work
could be used to describe so much good design today, not in a retro way, but
in a vital, progressive way. This is just one form of design, however, and a
reaction against this form was inevitable, given that new forms will always
emerge. But what the editors of Neue Grafik believed in was more than a
movement: it was, and is, a valid form of design. And one that I expect, will
endure for centuries to come.
Two quotes come to mind that fully encapsulate the spirit of Neue Grafik:
"Quality is largely an attitude. If we insist on it every small thing, it will
permeate everything we do" Josef Müller-Brockmann.
"Design is attitude" Helmut Schmid.
As an exercise I thought it would be interesting to ask a number of the finest
designers and educators today this question:
Q: If Neue Grafik was to be re-launched today and you were guest
editor of issue 19, who’s work would grace the pages? Would any
colleges or institutions be featured? What artists, architects, musicians
or writers still fly the flag for modernism, for constructive design?
The responses have been varied, which was a surprise. I received plenty
of enthusiastic replies recommending fascinating work by characters I'd
never heard of before. But also some reactions that were dismissive of the
work as being irrelevant today, saying it should be left in the history vaults.
The design work featured in Neue Grafik, like the lessons it taught,
were both of their time and timeless.
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Neue Grafik Issue 19
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I still have some precious issues of Neue Grafik in my library,after more than fifty years and moving from place to place.Those issues are more than a bible for me. I remeber the emotional intensity that each magazine issue evoked. Details like the comparison between Akzidenz Grotesk and Helvetica – what a good magazine it was! There is nothing comparable today, and that fact alone tells you everything about the state of graphic design. From a position of in-depth research in the 1960s to the shallownessof today’s pluralism- no directions, no ideals, no models to follow.This is the inheritance of modernism.Massimo Vignelli, New York
Neue Grafik Issue 1 The Best Recently Designed Swiss Posters 1931 - 1957
Beethoven 1955Josef Müller-Brockmann
I found the second issue of Neue Grafik in a secondhand bookstore in Osaka in 1970. It is the issue that is shown in Typography Today. I had known of Neue Grafik since my time in Basle, but the only publication the influenced my work was Typografische Monatsblätter. Neue Grafik was cleverly arranged publicity for the Zurich graphic design artists. With its consistent content and design, somewhat stiff, with texts downgraded to a gray tone, Neue Grafik breathed new life into the design scene around the world. Rather than the Wassily chair Åke Nilsson had earmarked for me, I opted after his death to take the eighteen issues of Neue Grafik. They just fit into my luggage.Helmut Schmid, Osaka
Top & middleNeue Grafik Issue 5Record sleeve designs
Karl GerstnerJosef Müller-Brockmann
BottomNeue Grafik Issue 1810 recent postersMarcel Wyss
AboveNeue Grafik Issue 6Recent New Years greetings cards
TopKarl B Graf, Zurich
Middle & BottomSiegfried Odermatt, Zurich
7. april bis 6. mai 1962im gewerbemuseum bern
ausstellung, vorträge und filme überfragen der formgebungveranstaltet von der ortsgruppe berndes schweizerischen werkbundes swb
öffnungszeitenwerktags 10–12 und 14–17 uhrsonntags 10–12 uhrmontags geschlossen
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I still have some precious issues of Neue Grafik in my library,after more than fifty years and moving from place to place.Those issues are more than a bible for me. I remeber the emotional intensity that each magazine issue evoked. Details like the comparison between Akzidenz Grotesk and Helvetica – what a good magazine it was! There is nothing comparable today, and that fact alone tells you everything about the state of graphic design. From a position of in-depth research in the 1960s to the shallownessof today’s pluralism- no directions, no ideals, no models to follow.This is the inheritance of modernism.Massimo Vignelli, New York
Neue Grafik Issue 1 The Best Recently Designed Swiss Posters 1931 - 1957G. Soland, Grammo Grafik
Firty years after publication, the influence of Neue Grafik on our visual environment is so pervasive that it is startling to see the originals. So fresh. so uncompromising, so innovative, those few issues of Neue Grafik had the same impact on contemporary graphic design that the original recordings of Robert Johnson had on contemporary music. In a world filled with echoes, this is the real thing.Michael Bierut, New York
I discovered Neue Grafik while studying at St. Martin’s school of Art in London in 1960. I stopped worrying about objectivity versus subjectivity and began to look for the most appropriate, most relevant solution. Objective typography and functional typograhy were no longer necessarily synonymous for me. I discovered the works of Milanese Sudio Boggeri, a design office run by a musician. Meeting him changed my life.Bruno Monguzzi, Meride/Ticino
AboveNeue Grafik Issue 6Recent New Years greetings cards
TopKarl B Graf, Zurich
Middle & BottomSiegfried Odermatt, Zurich
Below left and rightNeue Grafik Issue 8A student magazine Ulm 2 & 3
Middle left and rightNeue Grafik Issue 14Hotel stationery designHerbert Lindinger, Ulm
Neue Grafik Issue 16Swiss posters of the past 5 yearsRobert Büchler, Basle 1960
öffnungszeitenwerktags 10–12 und 14–17 uhrsonntags 10–12 uhrmontags geschlossen
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Buy Neue Grafikthe complete volumes here:www.newgraphicdesign-reprint.com
Image Now [email protected]
The art of the present generation, both fine and applied, is dom-inated by the desire to find new forms and ideas. This is not the result of experiment: it expresses a reaction against tradition and established conventions. A revolution can be said to have taken place in both method and approach. Applied art, as it has been practised during the past half century, has undergone a decisive change, a change which is clearly reflected in these pages where modern designs appear side by side with purely decorative work. The present publication is exclusively con-cerned with designs which are not in the first place dictated by considerations of industrial psychology, or intended to be clever, but which are undeniably contemporary in their content. What is new in this art is its almost mathematical clarity.
The modern designer is no longer the servant of industry, no longer an advertising draughtsman or an original poster artist: he acts entirely independently, planning and creating the whole work, informing it with the full weight of his personality so that very often his design determines the actual form of the product with which he has been dealing. He has learned from experi-ence and continual practice how to select and treat those attri-butes which are most sympahetic to him and which also serve the purpose of industry. He is fully responsible for his work; he identifies himself with it and endows it will all the force of which his creative imagination is capable.
LMNV
Editors and Managing editorsRichard P. Lohse, ZurichJosef Müller-Brockmann, ZurichHans Neuberg, ZurichCarlo L. Vivarelli, Zurich
An extract from the introductionNeue Grafik Issue 1, 1958
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