Tuesday, July 22, 2008

The New New Alphabet

The New New Alphabet is typeface devised by Ryan Gander and produced by graphic designer Rasmus Spanggaard Troelsen. The typeface is an addition to famed Dutch designer Wim Crouwel’s typeface New Alphabet Three (1967), based on a dot-matrix system and intended to be easily read by computers:


Perhaps its best known usage is in this Joy Division album cover.


The New New Alphabet was made with the intension of being printed over Crouwel’s original version, with the purpose of making it more legible, but in turn less stylised.

It's available (for mac) to download from the following link:

www.thenewnewalphabet.info/newnewalphabet.zip

Crouwel on his "New Alphabet"


Monday, July 14, 2008

Standard Sizes in Time Out New York

Standard Sizes, my curated group exhibition at Andrew Kreps, was reviewed in last week's issue of Time Out New York. The show is on view until July 18th.


Sunday, July 06, 2008

Frederick Kiesler: Co-Realities is an Artforum Critics Pick

Frederick Kiesler
THE DRAWING CENTER
35 Wooster Street
April 18–July 24

In looping curves and obsessive scribbles, the visionary architect Frederick Kiesler’s fluid line skitters from sheets creased with folds to lined notebook paper to thin cardboard, mapping a deliberate course between touch and vision, between the body and the outside world. Frameless and exhibited on a sinuous table designed specially by nARCHITECTURE, Kiesler’s drawings are presented as a stream of the interconnectedness, or “correalism,” that preoccupied the antifunctionalist architect. “Drafting is grafting vision on paper. . . . Blindfolded skating rather than designing,” Kiesler wrote in an article for Art News in 1960. In fact, texture, not structure, is Kiesler’s principle concern, and in this show one finds bleeding ink blotches drawn in loose spirals, dry tempera brushed in thick calligraphic ellipses, egg shapes outlined in sweeping gestures, and womblike forms traced and retraced so many times as to cause undulations in their paper support.

Kiesler’s drawings do not suggest specific models for utopian living but rather probe what it means “to dwell” or, in Heidegger’s phrase, “the manner in which we are on the earth.” Studies of human perception, plans for fantastic vision machines, and diagrams detailing the birth of new objects displayed alongside exhibition designs for Peggy Guggenheim's Art of This Century gallery and renderings of Kiesler’s famous, though never realized, Endless House attest to the artist’s desire to track the process by which man and his art come into being, determined not by teleological functionalism but by the nature of the human spirit.

— Emily Verla Bovino