United in arms, Isolated by minds.

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Over the past century the disparity between Indigenous and colonial art has become obvious through the spark in modern design and innovation. Marginalisation from world art has been apparent particularly in Australia for generations due to the isolation of our country and our cultural history. Recognition for Indigenous land and culture was stolen from Australia for years post colonisation. Over the past few years this dark chapter in Australian history has been recognised in an attempt to amend the wrong doing of successive Australian governments, and allow Indigenous culture to thrive through educating current Australians by ‘authentically re-adjust the telling of Australian history.’ However the authentic connection of post colonial and Indigenous art is fundamentally predicated on the education of Australians and understanding of Indigenous culture. 

In 2008, Kevin Rudd issued a formal apology to Australia’s Indigenous peoples. This apology was the first real call to action in changing the perspective of the Australian population and finally destroying the divide between two very different cultures. He directed the apology to the Aboriginal and Torres Strait Islander peoples for wrongs inflicted by past Australian governments and promised to lay ‘claim to a future that embraces all Australians’. His speech was made with bipartisan support in an effort to solidify the constitutional reform in recognising ‘Aboriginal and Torres Strait Islander peoples as the First Peoples of Australia, to affirm their full and equal citizenship, and to remove the last vestiges of racial discrimination from the Constitution (Dodson & Leibler, 2012).’ 

A key cultural artefact of Australian Indigenous culture is expressed through Aboriginal artwork, dreamtime stories and the recognition of the land we call home. Through this expressive form of artwork there have been many cases of misconception, lack of recognition and an absence of understanding the ontological framework of these traditional Indigenous forms of information. This essentially has caused a partial marginalisation of authentic Australian artwork due to the disparity between Indigenous and colonial art. Fundamentally, it is crucial that the “belief in the necessity of social progress” it taken seriously in bridging the gap and allowing Australian Art to be respectful, accurate and understood.

The notion of modernity in Australia may only be properly achieved with the connection of history to the present day. Australian artists hold a responsibility to accurately represent their ideas when using notions of past and present history in their work. ‘Designers must be aware of their professional and moral responsibilities. They need to understand the power they have to influence opinions.’ A great example of the progression in Australia art is through the stokes of Vincent Fantauzzo. Fantauzzo, originally born in England is now a Melbourne-based Australian portrait artist known for his award winning paintings of Heath Ledger, Brandon Walters, Matt Moran, Emma Hack, Baz Luhrmann and Asher Keddie. 

Brandon Walters

Fantauzzo’s first highlight was the Archibald prize winning portrait of Brandon Walters who played the young Aboriginal boy Nullah in Baz Luhrmann’s film Australia. This portrait represents a true focal point in the dark layers of Australian history of The stolen generation. Though the portrait is not of a child subjected to this immoral conduct of the Australian government the the time, Walters was not without education on the topic as he was raised in an Indigenous community himself and had true knowledge of his heritage. The stark contrast of light Fantauzzo uses in this portrait shows true value in depicting the ‘harsh Australian sun across his face’ while leaving the boy in the shadows adding depth to the portrait clearly indicative of the character Nullah. 

KUDDITJI KNGWARREYE (TRIPTYCH)
WENTJA NAMPITJARRI (TRIPTYCH)

Fantauzzo continued in later years to produce a series dedicated to Australian heritage of Indigenous culture. He devoted much of his time to travelling into Central Australia to face the uncanny and historically rich land of the outback. In this he decided to paint ‘en plein air’ again reiterating his passion and dedication to the accurate depiction of the outback Australian landscape. 

Through his journey he met the last of the nomads and painted large scale portraits of ‘Wentja Napaltjarri and Tommy Watson, Linda Syddick, Gloria Petyarre and Kudditji Kngwarreye as a series of triptychs’. These monochromatic portraits of the series ‘Last Contact’ focused on ‘the face and hands, a painting of their landscape displaying a sensitive and meticulous rendering of scenic detail and the third canvas would be painted by the sitter themselves in his or her own style.’ In combining his own contemporary portraiture with the original practice of indigenous art Fantauzzo succeed in merging two cultures in recognition of one Australia. In his practice Fantauzzo ensures he is in constant contact with the Indigenous community as they ‘are concurrently both the subject and producers of the story.’ He explains ‘seeing the way Indigenous artists experience their work and what it means to them and their traditions, what it means to their community and culture, it’s made me think a lot about who I am and why I paint. It has also made me think about the impact art can have on communities and how it can make a change.’ His artwork has cast a true depiction of Indigenous culture through its community – making him one of the true artistic heros’ and storytellers in the making of Modern Australia. 

It is important we as Australians recognise the importance of heritage and the true telling of History in order to understand the ways in which it has shaped our nation. Therefore, It is crucial for us as designers to be truthful through our practice to pave the way for respect, understanding and recognition of our profoundly beautiful home.

References:

Our Divine World.

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Over the past decade the technology revolution has taken the world in its palm (literally) silently stealing one of the most incredible human attributes of sensory awareness and perception of the REAL world. The human mind has a taste for pushing boundaries whether that be in science, art or engineering. As a society through the ages we have praised those that have been brave and spoken or acted against the norm. Being so interconnected in this day in age we have the greatest platform for change and social design in perfecting the human culture. We question the ways in which we conduct ourselves, our belief systems and our capacity to work as one united body rather than countries in a game of thrones. 

This new toy of ours has unlocked another world for us, in which we live through a facade of our own manipulation. We transform our being in the real world through a platform in which we advertise the success and manipulate the weak or average points of our lives to suit us.  Jameson remarks, ’What we consume is less about the thing itself then its abstract idea or image.’ The constant need to post updates, edited photographs or even unedited photographs and caption that its an unedited photograph has become an generational addiction trumping any other addiction in human history. Essentially, we have all become professional designers whether we meant to or not. As a generation we have educated ourselves through social media finding the ways to quick success, fashion, love, political standpoint, art and the rise of pop culture. 

Since its inception in 2010 instagram has seduced over 1 billion users. To clarify, that is one seventh of the worlds population. This staggering statistic has me shocked in more ways than one and left me wondering how good can something so manipulable be for an impressionable social environment and what does this mean for history and design in the real world. 

Recently I have been looking into the relationship between the facade and reality. For example the posting of photos on instagram stories. The amount of times I have been out o a walk with someone or to dinner with someone where the first thing to happen will be: 

A snap on the phone. 

A tag. 

A caption. 

A half decent filter…

And of course, the checking to see who’s seen it or… ‘how well its doing’. 

What has happened to the realisation of beauty through our own eyes? Why do we have the need to seek approval of things we have no connection with? Are we designers of our lives through the realisation of a pretty frame or are we simply unable to grasp more than a second of this frame without seeking out its aesthetic value.

In someways we are all ads pleasing a sector of consumers we deem appropriate to our path in life. According to Bourdieu, ‘When people wish to point out differences between ‘us’ and ‘them’ by expressing their taste, they use dualities such as authenticity, simplicity, individuality and their opposites (Ulver-Sneistrup, 2008).’ Essentially the our values are now being directed by our undying need for sense of self that is achieved in approval of others. This value of approval is solely driven by expectation of a generation thriving in the technological advances of pop culture, into the manipulation of our real lives through the virtual design offered by social media. Reiterated by Bourdieu, ‘Differentiating between ‘us’ and ‘them’ sometimes appears to be of decisive importance to people: dividing those who belong from those who do not (cf. Duedahl, 2005). Our entire society is based on rivalries between us and them.’ 

The photography series I created questions the nature of our experiences through posting on social media and the perfect shot. Through photography I have singled out the bounds of our gaze in mapping the unseen beauty of a landscape, vs the facade designed by our new found relationship with smart technology. ‘Referring to Plato, Brunius (1961) states that beauty in objects implies partaking of the truly beautiful, that is, the form or the idea of beauty.’ So the question prevails: are we really experiencing these raw moments in our lives or are we living in a void of square eyes and over saturated filters?

Similarly, Guy Debord’s ‘The Society of the Spectacle’ describes ‘the domination of social life brought about an evident degradation of being into having — human fulfillment was no longer equated with what one was, but with what one possessed.’ Fundamentally this concept of good design vs good taste is not only subject to graphic design but the design or advertising of ourselves. 

EMPIRE / Games Room
EMPIRE / The Study
EMPIRE / The Music Room

I recently had the pleasure of visiting the Rone Empire Exhibition at Burnham Beeches. Though not directly relating to pop culture or social behaviour to me  the exhibition held great power in its ability to advocate for the sensory environment. When designing the remarkable Art Deco installation Rone directed the purpose of the artwork to be a narrative specific to the individual. Using sight, sound, scent, space and texture ‘Empire invites you to step inside the photograph, hear the echo of the decaying piano and smell the dry leaves invading the hallway.’ This experience for me was inspiring and had my mind bursting with new ideas and narratives after hours roaming the haunting halls of the mansion. By allowing myself to take in every sensory artefact I became engulfed in the mystified beauty of abstract space and the reminder that it surrounds me every day. This exhibition sparked the fire for this blog as it reminded me again of the importance of being true to your own design, rather than the manipulation of your true character to abide by the new norm. 

I ask you, would you rather be a product of a technological phenomenon or be the human hand & mind that created it?

References:

Protecting Indigenous Knowledge: WE ARE ALL RESPONSIBLE.

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Lin Onus, Fish, 1991

Indigenous knowledge refers to ‘ways of knowing, seeing and thinking that are passed down orally and visually from generation to generation of Indigenous peoples’. Knowledge is seen as an important part of Indigenous culture and it serves as a way of preserving cultural history. It is crucial that design practitioners understand, acknowledge and respect the impact their design outcomes can have on the representation of Indigenous knowledge. This applies to designers of both Indigenous and non-Indigenous backgrounds. All designers must be held responsible.

When viewing the From Bark to Neonexhibition at the National Gallery of Victoria’s Ian Potter Centre, one particular image peaked my interest on both a visual and conceptual level. The image was a large-scale synthetic polymer painting entitledFish, created by Scottish-Aboriginal, artist Lin Onus from the Yorta Yorta land. Initially, I was attracted to the image because of its unbelievable level of detail and intricate use of patterns. I walked right up to the artwork for a closer inspection, so close I thought a lurking security guard might reprimand me. I was mesmerized by the interesting hybrid of abstract pattern motifs and realistic painting that seemed to merge traditional and contemporary Indigenous art styles into something I hadn’t seen before. The information on the accompanying didactic panel further engaged me.

Reading the panel from the perspective of a non-indigenous person, some of the information in the description seemed a bit peculiar to me. The synopsis spoke about the use of the crosshatching pattern motif in the artwork and how the artist received ‘permission’ to integrate it into his work. The idea of needing to seek approval for a simple configuration of lines was a foreign concept to me. Further research after visiting the exhibition clarified the cultural significance of this cross-hatching painting style, commonly referred to as rarrk in Indigenous art. During travels to Maningrida in 1986, as part of a position held in the Aboriginal Arts Board of Australia Council, Lin Onus met an artist and Murrunggun/Djinang leader named Jack Wununwun. The two artists formed a close friendship. After working in conjunction with Wununwun, who frequently used the rarrk painting style, Onus was given permission to incorporate the cross-hatching painting style into his own artistic practice. Having originated from the Yorta Yorta Indigenous community, it may have been insensitive for Onus to use the technique without approval. In addition to granting permission, Wununwun educated Onus on the history and cultural knowledge that accompanied the painting style.

Jack Wununwun, Fish Trap Story, 1985-1987

The symbolic representation of Onus’ artwork may possess some similarities to one of Wununwun’s bark paintings entitled Fish Trap Story. In this painting the fish are understood to be a metaphor for the ‘souls of unborn people’ and the fish trap a reference to the womb. Although the didactic panel for Onus’ Fishdoes not elaborate on the exact symbolic meaning of the work, I would guess that the fish pictured in both artworks would represent a similar meaning. I make this assumption based on the close association between the two artists and the similar artistic styles applied in their depictions.

The collaboration between Lin Onus and Jack Wununwun is a fantastic example of the positive working relationships that can be formed between two parties, when both involved understand, respect and uphold their obligations. A guide to forming these working relationships in the communication design industry has been establish by Dr. Russel Kennedy and Dr. Meghan Kelly in collaboration with Dr. Brian Martin and Jefa Greenaway, also working in conjunction with Indigenous Architecture and Design Victoria, Design Institute of Australia and Deakin University. This information is outlined in the Australian Indigenous Design Charter – Communication Design. The charter features ten key actions, which if followed, should result in steps towards a more accurate depiction of Indigenous culture in the Australian identity. The goal is for the Australian graphic design industry to move past an era of ‘inappropriate representation and misuse of Indigenous culture’, which has played a role in the oppression and discrimination of our nation’s first peoples. The information contained within the document hopes to challenge the design process and encourage designers to consider whether their work will impact on Indigenous communities. The charter is intended to:

‘facilitate accurate and respectful representation of Australian Aboriginal and Torres Strait Islander culture in design and associated media.’

The creation of design outcomes which are informed, authentic and respectful in their representation of Indigenous cultures will help avoid misconceptions of Indigenous culture.

In addition, the charter aims to advocate for better understanding and awareness of Indigenous knowledge in all the parties involved in the design process including the designers, the clients and the purchasers of design outcomes. Ultimately, the document is about assisting in the construction of ‘relationality’ between the keepers of Indigenous knowledge and those who seek to incorporate this knowledge into commercialized design outcomes. This can be achieved through:

‘respectful exchange[s], open thinking, deep listening and a genuine commitment to learning.’

The charter also stresses the importance of Indigenous participation throughout various stages of the design process, not just at the end. This involvement should be encouraged through ‘engagement methods’ including; collaboration, co-creation, permission and procurement. Through the creation of partnerships where Indigenous participants are treated as co-beneficiaries or co-authors, this document serves to safeguard Indigenous knowledge and bring an end to the exploitation of Indigenous cultures in communication design.

My experiences from viewing the From Bark to Neonexhibition and researching the Australian Indigenous Design Charter – Communication Designhave changed the way I view my obligations as a designer. I have a better understanding of my responsibility towards the protection of Indigenous knowledge and culture in my graphic design practice. It is an issue which concerns everyone involved in the design process. We must all be held accountable for our actions and we all have a role to play in the safeguarding of Indigenous culture. I will be making a simple change, and I urge you to do the same – at the start of a design project stop and ask yourself one question:

Does this project involve any aspect of Indigenous knowledge or culture?

If the answer is yes, make sure you understand which actions you need to take in order to create a design outcome which is ‘informed, authentic and respectful’ of Indigenous culture. It only takes one simple question to begin making a positive change.

References:

Articles:

Kennedy, Russel, Meghan Kelly, Brian Martin, Jefa Greenaway – Australian Indigenous Architecture and Design Victoria, Design Institute of Australia, Deakin University. “Australian Indigenous Design Charter – Communication Design: Protocols for sharing Indigenous knowledge in communication design practice”

Websites:

“Artist Profile: Jack Wunuwun”, Museum of Contemporary Art Australia, https://www.mca.com.au/artists-works/artists/jack-wunuwun/, Accessed 15/04/2019

“Artist Profile: Lin Onus”, Art Gallery NSW, https://www.artgallery.nsw.gov.au/collection/artists/onus-lin/?tab=profile, Accessed 15/04/2019

“Lin Onus”, Wikipedia, https://en.wikipedia.org/wiki/Lin_Onus, Accessed 15/04/2019

“Online Collection: Fish”, National Gallery of Victoria, https://www.ngv.vic.gov.au/explore/collection/work/70559/, Accessed 15/04/2019

Images:

Lin Onus, Fish, 1991,https://www.ngv.vic.gov.au/explore/collection/work/70559/

Jack Wununwun, Fish Trap Story, 1985-1987, https://slideplayer.com/slide/8752075/

Will You Design For Good or Evil?

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Inkahoots, Inkahoots Doco, 2014

As graphic designers, sometimes we forget to pause and contemplate the implications of our actions. The truth is we possess a great deal of power. We have the opportunity to change the way people view and form opinions towards aspects of our society. This should not be taken lightly.

This leads us to a very important choice; a choice that sometimes we provide very little consideration towards. Will I choose to use my skills as a visual communicator for the good of the community around me? Seems like a simple choice, but when the alternative is working for dominant media outlets, who have vast financial resources behind them, the decision becomes a lot less black-and-white. This scenario produces a conundrum. Should our motivation in selecting clients revolve around the community or money and is it possible to work in a way that satisfies both?

In short, the answer is yes. This is highlighted in Rick Poynor’s text: Inkahoots and Socially Concerned Design: Part 1. Poynor uses the Australian-based design studio, Inkahoots, as a case study to highlight the existence of community-oriented design studios, which are financially viable. Inkahoots works exclusively for community-minded clients, on a commission basis. The organization makes no secret of avoiding partnerships with large scale corporate clients, a philosophy summarized on their website:

‘We work mainly in the community and cultural sectors. Not because that’s where the best work is, but because we figure our environment is already cluttered with sophisticated corporate imagery that often doesn’t represent the community’s best interests.’

This is further reinforced by the language they use to describe themselves on the ‘about’ page of their website:

‘Inkahoots create for community, culture and ecology.

In Poynor’s analysis of Inkahoots, he likens the group’s radical humanist design philosophies to those outlined in the First Things FirstManifesto of 1964. The manifesto sought to change how creatives looked at the design industry, challenging them to view it from a more ethical standpoint.

In the hope of identifying the source of Inkahoots’ success, Poynor creates a timeline of the studio’s progression. He is fascinated by the fact that the studio is able to financially prosper, whilst maintaining strict ethical guidelines. In outlining the transformation of the studio, he identifies two stages in the studios twenty-nine-year history:

Stage one, consisted of the studio’s conception as a community-based poster screen-printing collective in the 1990s. An initiative created during the freedom, which followed the end of the oppressive Bjelke-Peterson era in Brisbane politics. The program, which was to some degree government funded, was used as an opportunity for the community to express their political and social views through printed art. Posters created in the collective’s first studio space, the concrete basement of the Transport Workers Union Building, touched on a variety of issues including; Indigenous land rights, sexual assault awareness and gay rights. The group’s dedication to exposing social and political issues was a characteristic, which became ingrained in fabric of Inkahoots.

Rick Poynor,Photographs of Inkahoots posters in original workspace, 2001

The second stage of Inkahoots involved the transformation from a screen-printing collective into a private graphic design business. Poynor attributes this change to a combination of financial insecurity and drastic changes in Brisbane’s urban visual landscape in the 1990s. Screen-printed posters, which had been a cost-effective and easy way of promoting messages had become overshadowed by professional advertising. In order to compete in the new visual landscape, clients sought a variety of graphic design services. To remain relevant, Inkahoots had to adopt new ways of working; however, the dedication to community-minded clients never wavered.

During a branding design class I undertook in 2018, I was tasked with selecting an existing organization and re-designing their brand. The aim was to update the brand’s image and ensure that it aligned with all of the core values associated with the organization. When choosing the brand for the project, I found myself following a similar method to that of how Inkahoots selects their clients; although I did not realize it at the time. My primary consideration, when selecting a brand, was that it had to be an organization that contributes to the community around it and an organization that I believe in on a personal level. However it is important to note, financial compensation for my work wasn’t a priority, because the project was for educational purposes. This is a difference between the circumstances of my project and that of Inkahoots. The circumstances in which I selected a client was hypothetical, whilst Inkahoots deals with real clients, real deadlines and real financial variables.

  • Stacked Magazines Mockup by Anthony Boyd Graphics

Liam Grant, Australian Dyslexia Association re-brand, 2018

I settled on the Australian Dyslexia Association as my hypothetical client. I identified that the organization does a lot of great work for the dyslexic community in Australia and it is a brand I can relate to on a personal level as a dyslexic myself. I noticed that the organization’s ability to generate a greater impact was being limited by a lack of awareness of the brand. Many people would not have heard of the organization and many Australians may not know what dyslexia is. This served as an interesting challenge that I aimed to solve through my brand research and finalized design outcomes. Reflecting on the end result, I think that if my brand re-design was applied to the real world, it would do an effective job of facilitating a greater awareness of dyslexia in Australia.

I challenge you, my fellow designers, to contemplate the power you have to enact change on the community around you. Look for opportunities to conduct work, where you can both positively change the community and be financially compensated for your contributions. These opportunities may seem difficult to find at times, but they are certainly out there. Use your skills as designers to work for good and not evil.

References:

Articles:

Berry, Jess. “Earthworks and Beyond.” Alternative Practices in Design: The Collective – Past, Present & Future : Symposium Proceedings 2010, 2010, 16-32.

Poynor, Rick. “Inkahoots.” Eye: The International Review of Graphic Design (Archive : 1990-2005) 12, no. 46 (2002): 46-55.

Websites:

“About”, Inkahoots, https://www.inkahoots.com.au/about, Accessed13/04/2019

“Welcome”, Inkahoots, https://www.inkahoots.com.au/about/i_80-welcome, Accessed 13/04/2019

“First Things First 1964 manifesto”, Wikipedia, https://en.wikipedia.org/wiki/First_Things_First_1964_manifesto, Accessed 14/04/2019

“The First Things First Manifesto”, Design Is History, http://www.designishistory.com/1960/first-things-first/, Accessed 14/04/2019

Images:

Inkahoots, Inkahoots Doco, 2014, https://vimeo.com/81964324

Rick Poynor, Photographs of Inkahoots posters in original workspace, 2001, https://designobserver.com/feature/inkahoots-and-socially-concerned-design-part-1/37948

Liam Grant, Australian Dyslexia Association re-brand, 2018

Social Change: Gendaishich-sha Bigakkō

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Social change can either be loud or quiet. Loud being they plea directly to the public for change. An example of this being the Tin Shed community found close to Sydney university.  A “group (who) sought to challenge traditional concepts and hierarchies within art and society.. (with)… hundreds of posters… reflecting leftist social concerns…helping politicise a generation with images ranging from commissioned advertising to self-generated works of activism”1.  However, this route did not work for all activist groups or movements. Some stat like this and then diverge to more discrete methods. These selected quiet few who just go and make the change for themselves and for others. They work within their own circle, inviting others to join if, and when, they wish. They explore through creative means to reflect on society, discuss political theories, philosophy and art. Always considering social engagement, cultural memory and ethics. Essentially the beginning of unlearning their current views. This was Gendaishich-sha Bigakkō, Tokyo.   

Back in March, I went to “MADA Art Forum Lecture: Asia Art Archive (Part 1- Japan)” by Yoshiko Shimada. The presentation was based on MUMA’s current theme ‘Shapes of Knowledge’. This specific talk was about the education of Gendaishich-sha Bigakkō (The Art School of the Society for Current Thought; 1969–75). (Link to the talk conducted in Hong Kong here). This small art school started in Tokyo, Japan by the radical publishing company “Gendaishicho¬sha”. Bigakkō was formed by director Ishii Kyoji, the editor Kawani Hiroshi, and art critic Imaizumi Yoshihiko. Established in the aftermath of Anti-Ampo movement in 1960 and  Anti-Nikkan (Yoshiko Shimada said this is what they called the movement surrounding conflict between JAPAN AND South Korea in 1964). Like Gendaishicho-sha’s publications, the school was an attempting “to destroy both communism and modernistic intentions using imagination as a weapon” (Ishii Kyoji, 1969).

Nakamura Atelier teaching his students.

Yoshiko herself was a pupil attending the school and described it as “being like the Bauhaus, but actually more like William Morris’ guilds”. They wanted to “reintroduce art as a tool quiet reflection on the internal, and for changes from within”. Yoshiko quotes Nakamura Hiroshi, a protest artist and fellow student from Bigakkō.

“[It was] a movement where political and artistic activism, thoughts and philosophy were discussed, practised and realised… At a time (when) everything seemed to be a sliding down into the bottomless void we (at Bigakko) dared to dig our heels in, stop and think inwardly.”

It was surprising an art school such as this could function at this time, but then again it may have been perfect timing considering the populations developing political and social awareness to their past situations. It was a clever transition for red faction groups to begin from radical theory lectures to art and practice. It is also understandable that this institution did not have government funding, relying mostly on the sales of their art and publication.      

Similar to our tertiary education, the students would have a morning lecture. However, instead of focusing on the past they focused on themes such as Eros, Mannerism, Alchemy, Anarchist poetry, Surrealism, Nikutai-ron (anatomy), indian symbolism and philosophy and Kaden-sho of Noh. Themes that would allow /aid students to change how they saw the world. They had Artist workshops and craft workshops dedicated to “Tewaza” hand technical skills not only because it was lacking in Japanese art academies at the time but because they wanted students to consciously go against the modernist current norms  in search of radicals, primal and energy new creation. The skills was “a tool for acquiring embodiment, to enforce understanding and realization of ideas delivered us through discipline and physical experience”.  These students learnt painting, drawing, design, wood carving, mask making, replication, performance and writing in the pursuit of discovering something more.

Nakamura Atelier Classical Painting class

One teacher, Nakamura Atelier, would have students create classical paintings and drawn Mona Lisa replicas.

“A painting should come out of the conflict between outside the political objective and inside the personal and subjective. Establishing self as an autonomous entity independent of even the artist himself.”

Nakanishi Atelier’s the feeling of the mouth classroom exercise

Nakanishi Atelier would have students participate in a rotating drawing portrait project performance and drawing the “face” and void in the mouth. His class was establishing field of space around them and in themselves.

Students draw the 1000 yen in Akasegawa Genpei’s class

Akasegawa Genpei had students draw the 1000 yen from memory. Yoshiko Shimada had was explained by a fellow student who latter became a graphic designer that paper currency was made to be difficult to replicate to prevent counterfeit with it’s intricate geometric pattern and juxtaposing many images in a abstract state. After establishing that the students could not properly replicate the bill, Akasegawa teaches how it is the bill’s function to inactivate people’s imagination in the state. Thus there may be parts of their life where their imagination in suppressed by the state.

Kikuhata Mokuma and students creating the Yamamoto Muriel

Kikuhata Mokuma, being obsessed with “Yamamoto coalminer paintings” drawings by Sakwbei at the time, would have students replicate the drawings in a canvas mural. He saw a value in the lack of technique as it held something personal for Sakwbei. “A hand that held a pickaxe was now holding a paint brush, and painting a scene of himself holding a pickaxe.”

Matsuzawa Yutaka listening to conversation

Matsuzawa Yutaka taught “the final art thought”. He believed that the “ignorance and mistakes of the modern civilization have become increasingly evident. In the most delicate area, a brave change of the direction has been started….If this mistaken civilisation can’t turn the direction toward the Natural within the century, then humanity will be extinct by 2220”. In his classes he would teach extremist ideologies through lectures and reading material and would allow the students to share their thoughts and create the conversations about such ideas.               

After this lecture, I was questioning whether Bigakko was right to practice the way they had. In some ways it was replicating state, manipulating thought. In others it was playing with reality. However, everything this school was doing was making people think and bring their own thought to the table. They designed their exercises and projects to make their students unlearn the knowledge and past beliefs. Yes, Bigakkō practices were extreme and provocative. The range of radical assignments and exercises defined the school and impacted on contemporary Japanese art. However, Yoshiko Shimada states that “the main take away from Bigakko was to do with it’s refusal to being effective, rational, linear and compressive, and the determination to keep the idea of chaos on the contradictions and unknowable. That brings about a necessary energy to the elaborate use from existence and existing conflicts.” There are a few artists and institutions that carry the spirit of Bigakko but it took the efforts of Yoshiko Shimada, with the help of Asia Art Archive and fellow students to keep its memory alive in history. Guy Warren once explained the first Tin Sheds “…was a child of it’s time…there were student riots, unrest, dissatisfaction with the status quo all over the world…that quality doesn’t exist anymore…” Bigakkō was much the same. They decided to make their own community. Not loudly expressing the wrongs of the world but quietly educating artists through less formal ways. Start the growing seed so social change evolves over time through its pupils. A long term solution by the resistance. Do you think Bigakkō’s unorthodox practice was a good way in conducting change?

References:

Lecture:

“MADA Art Forum Lecture: Asia Art Archive (Part 1-Japan) by Yoshiko Shimada, (Wednesday 13 March, 1-2pm)

Websites:

“ANTI ACADEMY.” John Hansard Gallery. 1st of Aprilwww.anti-academy.co.uk/.

Archive, Asia Art. “Shimada Yoshiko | Gendaishicho-Sha Bigakko: Alternative Art Education in Post-1968 Japan.” Shimada Yoshiko | Gendaishicho-Sha Bigakko: Alternative Art Education in Post-1968 Japan | Asia Art Archive, 21st of March aaa.org.hk/en/programmes/programmes/shimada-yoshiko-gendaishicho-sha-bigakko-alternative-art-education-in-post-1968-japan

Monash University Museum of Art, “MADA Art Forum Lecture: Asia Art Archive: Art Schools from Asia (Part 1 – Japan).” Monash University Museum of Art. 12th of March  www.monash.edu/muma/events/2019/MADA-Art-Forum-Lecture-Asia-Art-Archive-Art-Schools-from-Asia-Part-1-Japan.

Monash University Museum of Art, “Shapes of Knowledge.” Shapes of Knowledge – Monash University Museum of Art. 12th of March http://www.monash.edu/muma/exhibitions/exhibition-archive/2019/Shapes-of-knowledge

Shimada, Yoshiko. “Gendaishicho-Sha Bigakko : Undercurrents in Japanese Art and Politics from 1960-1975.” Gendaishicho-Sha Bigakko : Undercurrents in Japanese Art and Politics from 1960-1975 – Kingston University Research Repository, Kingston University, 1 Mar. 2015. Access date: 1st of March eprints.kingston.ac.uk/34676/

Books:

Berry, Jess, “Earthworks and Beyond” chapter 11, page 182 (Week 3 reading)

Scalapino, Robert Anthony. The Japanese Communist Movement, 1920-1966. English Book Store, 1968.

Can I be your girl?

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Among all my 20 years of being on this sublime earth I have constantly noticed many things change and evolve. These changes and evolutions have been both small and large, they could of lasted for an hour or maybe an entire year. These changes can differentiate the meaning of life in vast ways amongst every person who experiences them. With such a high passion for design I chose to study a Bachelor of Communication Design at Monash University. This was not at all surprising to my family or anyone close to me as they knew that I always had a keen eye and interest in design. 

I clearly knew since I was about 6 that one day I wanted to have the skills and tools to push me to create some quality designs.

As I continue to study, a growing work load tests my tactics of trying to balance out a healthy social life, my work life but I knew this is what I love doing so I invested my spare time into starting a business. 

My design business, Meraki. Although very small at the moment this business is something I put my heart and soul into and no matter what size it becomes I will always be proud of the hard work I have placed into it. I named it Meraki as the word literally means putting your heart and soul into work! I began to create animations that I could share with the world. This led to illustrations, calligraphy and wax seal work. 

But I always had this annoying thought in the back of my head : is this what everyone likes? Is my style something that other people can appreciate and understand?

My Design : Jupiter
My Design : Bikini Girl

Now this is a tough question to answer especially when its my own work. With these thoughts circling in my mind 24/7 my business began to dwindle as I was constantly worried what everyone else would think of it. 

This is such a vicious cycle you can get stuck into. Criticising your own work, even though no one should even have to validate it for you. It took a while but I finally got out of this cycle. I began to create illustrations and art work daily. This daily dose of creativity helped me conquer the fear of my work might not be good enough and that no matter what people think I know someone out there will appreciate my style. 

I finally accepted it. 

This confidence boost helped create many jobs opportunities, I ended up getting some of my work out there for more people to see.

I like to think my style has and will continue to grow and change as I gain more experience being apart of the design world.

At the moment I would describe my style as pretty simplistic. I use both bold and pastel colours in my work. Very little detail. I want to highlight detail in some shadows and highlights creating more impact on whoever is looking at them. I use colours to define the difference between this detail rather than incorporating lots of black lines. 

To me, my pieces of work are pretty okay. Not the best in the whole entire world but good enough to sit and be proud of what I have done. 

My Design : Day Dreamer

Referring back to the ‘Good Taste vs Good Design’ reading by Despina Christoforidou, I think that this applies to so many aspects including that of my business and my style in the design realm. 

Take a moment to think about what you classify as good taste.

Now take a moment to think about what you classify as good design.

That mental note you just made for both of the questions remember it as I might challenge your own perception of this. 

To me both these qualities attain a personal touch but also have universal rules and qualities about them. Let me explain.

The artwork I produce could be defined as good taste. Where as Picasso’s work would be labelled as good design (let’s face it and good taste too).

Picasso’s work has been celebrated for generations. For decades people have aspired to have as much fame and fortune form their work as he now has. This quality and standard Picasso has held will most likely continue to be held for future generations. In comparison my work is currently only limited to this time in the world. My work being classified as ‘good taste’ can only be measured now and might be considered irrelevant in the future. Hence the difference between the two. 

However I would love my work to become that recognised in the world. I also know that seeking that kind of validation isn’t necessarily needed for a successful career. 

Meraki is a passion project. My passion project.

Whether this is loved or hated by people of this lifetime or by people in the future. I am happy with what I have achieved. I will continue use my current platform to help make a world a better place. 

That is my main aim.

Create change.

Maybe I will be your design girl. Maybe I won’t.

I am happy being my own design girl for now. 

Lets see where this takes me. 

Hopefully I will see you there.

Bonnie & who?

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A couple of years ago whilst I was scrolling through my instagram discover page I quickly noticed some really really good design work, I clicked on it, admired it for a minute or two and then continued to look through the very appealing account. I was in utter love with the colour palettes from each and every design, the way it was drawn and the way the artist has incorporated colour in ways that I hadn’t seen before. 

Studio Bon : Poppy Series
Studio Bon : Balenciaga

I delved a bit deeper into her account and found her website. I noticed the URL ‘www.studiobon.co.nz’. I was almost shocked that someone from New Zealand had made such trendy work and managed to capture such creative and expressive ideas. 

NZ has similarities to AU. We are both on our own islands and lead our own lives. We don’t have to fit in with countries or continents surrounding us, we don’t have to worry about invasions occurring from any which way. I still wonder that without the growth of social media how the hell us aussie’s and kiwi’s would have kept up with the trends of the design world. As we are so isolated. So lonely.

This took me a bit by surprise when I came across this on Bonnie’s website. I was thrilled to know that social media can genuinely spread and share trends all over the design world. 

Her style is something that I genuinely can’t go past, it is so capturing.  

The colour choice in each piece are bold and bright yet so subtle as the tonal variations add emphasis to the detail of her work. Along with these colour choices each piece has an organic feel. Being hand drawn and original gives an aesthetic that is smooth and well blended.

Bonnie has worked on multiple jobs and not all were posters. Bonnie made the design for ‘Innocent Packaging’ which was a project giving artist’s the opportunity to design cups that were inspired by plants, highlighting the idea behind the cups as they were made 100% from plants. 

Studio Bon : Innocent Packaging

As well as a magazine issues by MissFQ Wellness. 

You can see her unique style coming out in each and every piece of work. Colours being used as shadows and highlights on faces are something not many people have yet ventured to do. This technique is one of the reasons I think Studio Bon should be recognised globally. The talent of her work is not sparse, it is pouring out of every piece! Bonnie shows a different style of visual design. A style to be reckoned with. A style many people can be inspired by. 

Bonnie’s designs for inanimate objects such as skin care products, alcohol and glass objects are so incredible. The attention to detail for shadows and highlights on each area of the products takes so much discipline and knowledge of how light hits and gets reflected on objects. 

Studio Bon
Studio Bon

Knowledge like this takes a lot of practice, patience and time to acquire. I wouldn’t be able to do this as not many new and upcoming artists could say they could. Specialising in areas like this is the key to a successful career both nationally and globally. 

Social media is such a gods send when it comes to us as designers. We can see what people best react to. We see what is working and what is not. The game has been changed and will continue to keep changing as technology further develops.

Studio Bon is not the only girl in NZ who see’s the growing market for these trends. With an open mind everyone can. Bonnie is a designers I think everyone can appreciate and love, although isn’t forgotten in this world, she hasn’t actually been “discovered” yet. By this I mean her work is yet to be appreciated amongst the mainstream design scene. Hence why I am so eager to showcase her art. 

Everyone has many inspirations for their designs and many people who they look up to. Bonnie is one for me and has been for a few years now. I wanted you to be able to understand her work and appreciate what it takes to put your own twist and style into your pieces. I also wanted to draw attention to how insanely helpful social media is for our careers and how as designers we are beginning to need it in order to break that glass ceiling of undiscovered to then reach known, appreciated and understood. 

Does Collective Authorship really work?

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Monash University has it’s own art gallery called the Monash University Museum of Art (MUMA) which often holds many interesting exhibitions. From February 9th to April 13th, 2019 MUMA is holding an exhibition called Shapes of Knowledge. The exhibition consists of eight projects from artists, collectives and organisations from around the world as well Australia. These projects reflect on the different ways knowledge is produced and shared, responding to a wider discussion regarding pedagogy and how contemporary art can explore this idea. 

When I visited the exhibition as a person who loves learning I found all the projects to be quite interesting but I was particularly drawn to the Site for Unlearning project. This project is a collaboration between the Vienna/Utrecht based artist Annette Krauss and the Casco Art Institute in the Netherlands. I was drawn to the simplistic but eye catching layout of the project and the invitation to interact within the various elements of the project. The Site for Unlearning was set up with groups of posters attached to the walls at different points and levels.

Each poster described a different step to the unlearning process that Krauss and Casco explored as part of the project. The posters had a perforated edge which allowed you to tear away a poster to take home with you, inviting you to take on the unlearning process in you own life. The typography used through out the project displayed a nice balance of a refined, minimalistic typeface with hints of a hand generated type vibe. This can be seen in the inconsistency some characters displayed like the ‘i’ which has serifs while the rest of the characters are san serif, the exaggerated slant of the ’s’ and the interesting shapes of the ‘g’. The way the type was laid out on the wall was also interesting. They played around with the orientation, placement, spacing and angles of the type. By doing this the Site for Unlearning injected a sense of looseness and fun into what could have been a very dry, information heavy project. It also helped that you could take the information home in the form of posters, taking away the stress of retaining all the information presented to you. The fun, loose treatment of type was also translated to the posters. 

The Site for Unlearning explores how can we unlearn the internalised social norms regarding productivity and why certain tasks are seen as being not as productive as others. Some of these tasks that we shy away from in fear of not being productive are tasks like cleaning, cooking, hosting, “non-public administrative and organisational tasks” as well as tasks regarding self-care. A big question the Site for Unlearning tackled in response to this was “how can we unlearn this form of valuing productivity and how can be value reproductive labour as an essential part of productivity”. They broke up this process into little steps that were on the posters that you could take withyou. While reading the steps of the unlearning process I found myself connecting it to some of the principles held by the Australian poster collective Earthworks. In particular the steps 3 and 6.2 of the unlearning process. Step 3 talked about how every Monday the Casco team would clean their working space together, dividing up the tasks equally, finishing the task together and feeling “collectively responsible” for their space. This communal approach to a task reminded me of how Earthworks worked on all their posters together as a collective, due to their anti-authoritarian attitudes as well as the team based nature of screen printing. Also one of Earthworks principles was to challenge the idea of the artist as genius in favour of a collaborative approach. The idea of collective authorship was also explored by Krauss and Casco in step 6.2 of the unlearning process. Step 6.2 discussed how Casco is dedicated to making acknowledgements, credits and colophons through out their work, in order to strive for collective authorship and “inclusion forms of attribution.” In this approach it highlights were Earthworks sometimes went wrong in their approach to collective authorship. In their approach instead of acknowledging each contributor to the project they would “sign” their work with the Earthworks logo. Putting everyone under the one name which worked in some cases but in others it was clear within the style of the posters that certain members had more say in the process then others. This created a tensions within the group that may have been elevated if instead of erasing authorship all together they aimed for inclusive authorship. Acknowledgement over erasure may help collective members feel like they’re a part of the process as opposed to being pushed aside if they had a smaller but still important role in the project. 

Both the Site for Unlearning and Earthworks explore how we can effectively work in collaboration as collectives as opposed to individuals. As well as how that effects social norms regarding authorship, equality and division of labour. 

References:


Australia’s first independent book designer but no one’s heard of her.

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Alison Forbes is not only Australia’s first full-time independent book designer but also the most awarded one. Her career spanned more then five decades and hundreds of titles. Forbes’ career also paralleled a formative time in Australian publishing. 

Forbes was born in Melbourne in 1933 and underwent her design education at Melbourne Technical College (now RMIT) in the 1950’s. Forbes graduated in 1953, gaining her first job at The Herald as an illustrator while undertaking freelance work in her free time. At 23, Forbes was the first staff designer at Melbourne University Press. After gaining some industry experience she set off for London in 1963. While in London Forbes worked for two firms, the Associated Book Publishers and the Rupert Hart-Davis. In 1967 Forbes returned to Australia and began her own independent practice specifically focusing on book design. She was inspired to pursue book design after Frank Eyre came to her university in her third year and gave a talk about book design and the publishing world. She worked in this area for five decades with no interest in shifting to commercial graphic design or advertising. 

Through out her career Forbes worked with many important figures within Australian publishing such as Frank Eyre, Andrew Fabinyi (Cheshire), Gwyn James (Melbourne University Press), Max Harris (Sun Books) Lloyd O’Neil, Sam Ure Smith and Ken Wilder (William Collins). A few of the books she’s designed include Picnic at Hanging Rock by Joan Lindsey (Penguin), The Land that Waited with Max Harris (Lansdowne), John Cotton’s Birds of the Port Phillip District of New South Wales, 1843-1849 by Allan McEvey (Collins), I Can Jump Puddles by Alan Marshall (Puffin), The Art of the First Fleet & other Early Australian Drawings by Bernard Smith (Yale University Press), Robin Boyd: A Life by Geoffrey Serle (Miegunyah Press) and many others. 

Forbes has won nearly every award the Australian book design and publishing industry has to offer. Some of the awards she has won include the Award of Honour from the Australian Book Publishers Association”for her continued and outstanding contribution to Australian book design and production,” the 1968 Transfield Design Award for The Land that Waited with Max Harris, the book of the Year in 1974-75 from the Australian Publishers Association for John Cotton’s Birds of the Port Phillip District of NSW, 1843-1848 as well as awards from the Australian Commercial and Industrial Artists Association (ACIAA). 

Despite this apparent career success and quality of work Forbes was only inducted into the Australian Graphic Design Association (AGDA) Hall of Fame in 2016 and the Australian Book Design Hall of Fame in 2018. Also she is fairly unknown and is not often mentioned when discussing Australian design. Jane Connory also found this interesting in her article Plotting the Historical Pipeline of Women in Graphic Design (2017) when looking at the AGDA Hall of Fame alongside statistics she had found dating from the 1970’s to the 2000’s. These statistics found that consistently 50% or more of Australian graphic design graduates were women. Therefore posing the question of why aren’t there more women represented by the design associations and in the industry as a whole. 

In her research Connory found that women were often underrepresented in the industry due to social attitudes and gender expectations regarding women. Connory interviewed a number of female Australian design practitioners and one interviewee Lynda Warner said that when she started out as a graphic designer 35 years ago, the design industry was seen as a “male trade” at a time where “a woman’s dream was generally secretarial stuff or dress making.” Another design practitioner Rosanna Di Risio who graduated from the Phillip Institute in 1980 found that in her university experience “only one or two women were actually vocal and behaved like there were no gender difference in the space.” This explains the attitudes that led to AGDA having no women present at their first meeting in 1989 at the Mildura Design Conference and why in 2014 the Communications Council salary survey found that only 13.5% of senior creative positions were held by women in the Australian advertising industry. However this doesn’t necessarily mean women didn’t have opinions regarding design and that their careers weren’t shaping the face of Australian design. This can be seen through Alison Forbes career. 

Forbes’ book designs grace many bookshelves across Australia and display a sophistication and skill that I believe have shaped the book designs we see today. I particularly felt this when I saw Forbes design for Saturday Afternoon by Neilma Sidney.

Saturday Afternoon book cover by Alison Forbes (1956)

This book cover displays a strong illustrative approach that I often see replicated in the vector illustrations that are used on book covers today. The bold orange window shutters create a frame and contrast for the title of the book and create a sense of hierarchy within the design. The use of a minimal colour palette allows Forbes to focus on line, shape and type. It allows the cover to be eye catching without being overwhelming. The illustration of a desk with a typewriter looking out onto a scene of various possible landscapes evokes the daydream vibe of a Saturday afternoon while suggesting the sense of adventure the imagination can bring. Through this composition Forbes has gives the viewer a distinct impression of what the book could possibly contain while keeping the element of mystery there. This is a balance that is a constant struggle within book design. Overall the design felt very modern, despite the very 50’s colour palette. The skill Forbes presents in her work marks her as an undoubted pioneer in Australian book design. Max Harris who collaborated with Forbes on The Land that Waited, said “the meticulous Alison Forbes hasn’t lost her advanced and distinctive sense of the highest design principles.” And it couldn’t be more true. Even though Forbes wasn’t acknowledged as early as she should I’m glad that with her being in the AGDA Hall of Fame and the Australian Book Design Hall of Fame she will begin to receive the recognition she deserves. 

Reference List: 

Silent yet Loud. Gentle but Powerful.

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Visionary Artist creates an impact through the power of image making.

In the article Allies and Decoloniality: A Review of the Intersectional Perspectives on Design, Politics and Power Symposium, writer Onafuwa calls upon designers to ‘challenge oppressive power’ and ‘explore different perspectives.’

Art and design is a powerful platform for expressing thoughts and feelings. It is predominantly used as a tool for advocacy or simply to educate and inform. This form of communication can be utilised to provoke responses to the public, whether emotionally or physically. Among those who encapsulate and fully embrace this form and the role of image making is renowned Filipino artist, Nemesio Miranda Jr. Acknowledged but not always recognised, Miranda plays a pinnacle role in Filipino art and history.

The Context: Philippines and Politics

If you think that politics in the Philippines only just raised the alarm bells due to President Duterte, think again! The Philippines has a long history of oppressive power, having gone two colonisation periods: The Spanish and the American. Of course, as any colonial legacy portrays, the nation experiences hardships and injustices which still surface in today’s society.

Nemiranda

Born in 1949 in Angono Rizal (East from Manila), artist Miranda or also known as ‘Nemiranda’ would’ve encountered the few hardships along with the nation. His involvement in the People Power demonstrations largely influenced the mural I encountered as a child as well as his thirty-piece EDSA People Power Series.

EDSA Shrine Murals

I first encountered his works as a child whenever I come to the EDSA Shrine, The Shrine of Mary, Queen of Peace. Mesmerised for what was, truly engaging, informative and patriotic mural, he remained anonymous to me for about 10-15 years. And yes, it was not until I came about writing this blog did I got to know him! Suggested by its name, the church was built on the very spot where the uprising People Power Revolution happened, that is, the demonstrations to free the nation from the dictatorship of President Ferdinand Marcos in 1986.


Image 1:  The EDSA Shrine, located in central Manila

Human Cordon and People Power

Miranda – Human Cordon ( A reflection of EDSA People Power I)

Among the thirty-piece series of paintings is the oil on canvas, Human Cordon (A reflection of EDSA People Power I). Here we see a Filipino family within the demonstrations: their arms linked, unified by one voice, one thought, one flag and its colours: yellow, blue, white, and red. The approach of his painting is silent but is also loud with its thought-provoking messages on family, freedom and hardships. His gentle approach is conveyed through the subtle planting of the mother’s kiss. Yet this symbolises so much more. It conveys a powerful impact, provoking an imagery on the future of the country. The Human Cordon exemplifies his values to “create art that speaks and educates the layman, not just the privilege few”.

Marawi: Acknowledging Individuals

Miranda- The Human Shield

These ideas are further exemplified through his recent works on presenting political issues in Marawi. His mix-media paintings convey anonymous soldiers and their sacrifices to do their duty. The Human Shield depicts a group of Filipino-Muslims, protecting themselves, an uncommon perspective especially from a predominantly Catholic Country.

To conclude, art and design image making provides a platform to hear voices. Nemiranda’s politically engaged works documents the history of the Philippines as well as convey rarely explored perspectives.

Click here to know more about Miranda’s life.

References:

Traverler on Foot. Accessed 11 April 2019. https://traveleronfoot.wordpress.com/tag/nemesio-miranda-jr/.

Nemi Miranda Jr. Agono Ateliers Association. Accessed 11 April 2019. http://www.ateliers.johnnysoriano.com/nemi01.html.

Lara Boquien. Davao Art Philippines. Accessed 12 April 2019https://davaoart.ph/f/a-city-rises-from-the-rubble.

Francis T Wakefield. “ Renowned artist opens exhibit honoring Filipino soldiers,” Manila Bulletin. Accessed 12 April 2019. https://news.mb.com.ph/2019/03/12/renowned-artist-opens-exhibit-honoring-filipino-soldiers/.