WHY DOES GRAPHIC DESIGN HAVE A LIMITED PLACE WITHIN THE EXHIBITION WORLD?

ELLA GREYSON

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CONTENTS.

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Introduction 6 - 7 Main body 8 - 9

Evolving roles in graphic design 10 - 11 Graphic Mag 12 - 13

Graphic design, exhibiting, curating conference 14 - 15 Exhibition design and British Institutions 16 - 17

Graphic Design: Now in Production 18 - 19 Tate Modern 20 - 21

Tate Liverpool versus Kemistry Gallery 22 - 23

Interviews 24 - 25 Smiling Wolf 26 - 29

Anthony Hudek 30 - 32 Catherine Ince 33 - 35

Timeline 36 - 43 Analysis 44 - 45

Geographic Maps 46 - 49 Pie Chart 50

Key and Description 51

Conclusion 52 - 55References 56 - 61

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INTRODUCTION.

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This graphic arts research project will endeavor to examine the idea behind why graphic design is unrepresented in the exhibition world in relation to galleries and museums. Rick Poynor suggests that graphic design exhibitions are particularly far and few. This essay will explore and identify the reasons and ideas behind why this may be the case. This venture into graphic design exhibitions will look closely at British graphic design exhibitions but also briefly look at other exhibitions on an international scale. This will enable the research project to additionally inform a visual mapping of the field. This research project will explore the definitions of key words and their historical context within the United Kingdom (UK), but will look briefly outside the UK to compare differences and similarities. An overview of academic opinion will be undertaken to underpin an understanding of the subject matter and contribute to the debate.

A timeline will be included within this research project, which will map three cities in the UK to identify how many graphic design exhibitions have existed at past and present. The timeline will explore the number of galleries and museums within each city and analyse the information found to show the extent to which graphic design is exhibited. As part of the research seven interviews were conducted with graphic designers, an art historian and a curator to gain the opinions on what their view was on graphic design being exhibited in museums and galleries. Their findings will be explored and analysed to give a representative view from these practitioners working in the field.

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MAIN BODY.

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Graphic design is a creative process most often involving a client and a designer and usually completed in conjunction with producers of form (i.e. printers, programmers, signmakers etc.) undertaken in order to convey a specific message (or messages) to a targeted audience. The term ‘graphic design’ can also refer to a number of artistic and professional disciplines that focus on visual communication and presentation. The field as a whole is often referred to as visual communication or communication design. Various methods are used to create and combine words, symbols and images to create visual representation of ideas and messages. A graphic designer may use typography, visual arts and page layout techniques to produce the final result. Graphic design often refers to both the process (designing) by which the communication is created and the products (designs) are generated. Taken from the Graphic Design: Now In Production exhibition catalogue (Blauvelt and Lupton et al., 2011,pp.8-11).

Poynor suggests that when an exhibition of graphic design is shown it will always be said that it does not belong in a gallery, as it is not art, whilst other commentators will suggest that there should be more graphic design in galleries. This point was mentioned in an article wrote by Rick Poynor titled ‘We need more galleries that exhibit graphic design’. This point was also highlighted during a conference at The School of Visual Arts (SVA) theatre in New York City, Counter/Point: The 2013 D-Crit Conference. The conference included a day of talks and discussions about the subjects and strategies giving shape to design criticism today (Dcrit.sva.edu, 2012).

Bryn Smith highlighted the comments Poynor made at the conference. Bryn Smith is a writer who studied journalism and new media at the University of Colorado and established her New York-based design practice in 2002 (Dcrit.sva.edu, 2012). Bryn Smith’s talk at the conference entitled ‘What we talk about when exhibiting design’, gives an insightful look into the criticisms and objections made by designers about exhibiting graphic design, and examines the tensions and objections that exist towards displaying graphic design. Designers, who have often been critical of the ways in which their work is removed from its cultural or commercial context when exhibited in museums and galleries, are now frequently engaging the exhibition space as part of a diverse practice (Dcrit.sva.edu, 2012).

Graphic designers are seemingly undertaking the roles of both the exhibitor and curator and there is now a cross over of reorienting disciplines to suite purpose. Bryn states ‘If it’s true that exhibitions are the medium through which most art becomes known, the opposite might be said for graphic design’ (Dcrit.sva.edu, 2012). Exhibitions on the subject of graphic design are known to be sparse, if it is true that graphic designers are responsible for being their own biggest critics then what is the reasoning behind this. Graphic designers should be attempting to expose the general public to the field. If graphic design exhibitions are not so widely known then it should be important in gaining awareness of this profession to help the general public gain a greater understanding of the profession.

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Evolving roles in graphic design - The role of an artist and graphic designer can change. For example, Eastside Projects in Birmingham is an artist run exhibition space which commissions and presents experimental contemporary art exhibitions and directs its attention to proposing ways in which art may be useful to society (Eastsideprojects.org, n.d.). At a recent talk in Liverpool, James Langdon one of the six founding members of Eastside Projects decided to switch roles, being educated within the arts domain but later deciding to self-educate and become a graphic designer. In contrast to this Peter Saville credited with significantly affecting the interplay between art and design (Agi-open.com, 2013). Saville’s first major show in contemporary art unveiled itself at the Migros Museum in Zurich in 2005. Saville’s reputation as a designer transformed when additionally presenting himself as an artist. Evidently pursuing multidisciplines within the creative industry is becoming more acknowledged and accepted.

British and international graphic design exhibitions - In Poynor’s article he picked out two exhibitions that made him re-think the current issue of graphic design being exhibited in museums and galleries. The Narrows, a small gallery in Melbourne Australia opened in 2006 and was founded by Warren Taylor who studied visual communication at Monash University. Poynor discusses how Taylor encourages the cross- fertilization between disciplines and endeavors to bring together the artist and designer to collaborate, a unique setting in which art and design can be shown on equal terms (Poynor, 2010). The Narrows showcases an inspiring array of designers from different parts of the world including the likes of Experimental Jet Set a Dutch design studio and Swedish designer John Melin.

Poynor quotes ‘These are inspired choices which make a valuable local contribution to the development of an informed, historically aware viewer of graphic design’ (Poynor, 2010). Comparable to The Narrows Poynor notably included a brief discussion on the Kemistry Gallery in London, England. Owned and curated by Kemistry a design and branding agency. The Kemistry Gallery is renowned for specializing in showcasing more illustrative kinds of graphic design (graphic arts). Such exhibitions have included the works of Anthony Burrill, Daniel Eatock and Zak Kyes. Daniel Eatock’s Exhibition in particular entitled ‘Editions and originals’ presented a collection of works and ideas described as a multitude of permutations (Kemistrygallery.co.uk, 2008). Eatock quotes ‘The simple notion that work made without a brief is ‘art’ and work made in response to a brief is ‘design’, does not fit, art and design cross, merge and collide challenging preconceptions from each respective discipline’ (Kemistrygallery.co.uk, 2008). Why is graphic design perceived in a different way comparable to art, this idea of client lead (not art) and self-initiated (art) is a debatable topic, which will be further discussed at a future point in this graphic arts research project.

Prem Krishnamurthy a designer and curator from the design studio Projects Projects in New York stated ‘Most graphic design is created to live in some sort of real-world context. To then take it and put it into a gallery, it’s not without interest, but this act turns graphic design into anthropological objects taken out of their original context of usage’ (Dcrit.sva.edu, 2012). Designers are especially sensitive towards the context of their work, this similarly links to what Poynor stated ‘Graphic design is not art, and cannot possibly be understood out of context’ (Poynor, 2010). Predominantly art’s main purpose lies in being exhibited in a gallery, so when the roles are reversed and graphic design is exhibited it is seemingly out of place as its main purpose is taken out of context. One could suggest that people go to art and graphic design goes to the people.

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Graphic Mag - Readingforms.com is a ‘blog shaped depository’ of links and images of graphic design exhibitions, Yotam Hadar the man behind this website is a graphic designer from Israel. Reading Forms examines the field of graphic design exhibitions, allowing the reader to comment and reblog on any particular post made. Concentrating on graphic design exhibitions specifically gives an incredible insight into what’s happening retrospectively around the world. One post in particular titled Graphic magazine # 11 – ideas of a design exhibition, was taken from Graphic the magazine published in Seoul, Korea. The magazine focuses its attention on other trends of graphic design, which differ from the mainstream (Kwangchui, 2009,pp.38-41). This particular issue based itself around showcasing twelve graphic design exhibitions from around the world. More significantly out of the twelve exhibitions documented, two of those had taken place in the UK.

The first Forms Of Inquiry: The Architecture of Critical Graphic Design curated by Zak Kyes at the Architectural Association School of Architecture (AA) in London. The exhibition presented a group of contemporary international graphic designers who base their work around critical investigation. A questioned asked to Zak Kyes in this magazine was what is your thought about the difference between curating art and design exhibitions? Zak stated ‘Exhibition-making is quite similar to an editorial process in which a narrative, thesis or argument is structured using other peoples words images and artworks’ he also stated ‘I still firmly consider my activities to be acts of graphic design, even though they sometimes take place within the territories of other disciplines’ (Kwangchui, 2009,pp.38-41).

There is always a constant pushing of discourse, within the creative realm relating around the defining roles of a graphic designer.The second On Purpose: Design Concept held at the Arnolfini gallery in Bristol. The exhibition examined the idea of conceptual design through various projects and also questioned who or what defines something as design (Arnolfini.org.uk, 2008). Furthermore relating back to what Poynor stated ‘If it’s valid to study every other kind of object or artifact in galleries, why should we exclude graphic communication?’ (Poynor, 2010). Peter Bil’ak a Czechoslovakian graphic and typeface designer, was the curator of Graphic Design in the White Cube, an exhibition held in Brno, Czech Republic in 2006. This particular exhibition ‘Recreated the context of the exhibition’ (Peterbilak.com, 2006) by commissioning nineteen designers and collectives to design posters to which were created within the confines of the exhibition space itself. Taken from the essay that accompanied the exhibition Bil’ak stated ‘Organizing graphic design exhibitions is always problematic: graphic design does not exist in a vacuum, and the walls of the exhibition space effectively isolate the work of design from the real world’ (Peterbilak.com, 2006). This exhibition highlighted the difficulty in defining a practice with evolving boundaries, relating closely to the question in answer.

Poynor mentioned that in 2010 there are still very few places that exhibit graphic design. As this research projects main investigation will be to undercover this very issue, the research done thus far makes the point that graphic design exhibitions are somewhat a phenomenon. Bryn Smith finalised her talk at the D-Crit Conference by stating ‘Surprisingly, designers are not abandoning exhibiting practice altogether, but instead are engaging it more frequently both as exhibitors and curators’ (Dcrit.sva.edu, 2012).

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According to the Oxford English Dictionary a museum is a building in which objects of historical, scientific, artistic or cultural interest are stored and exhibited in correlation to this a gallery described as a room or building for the display or sale of works of art (Oxforddictionaries.com, 2014). Taken from the book the A-Z of Visual Ideas: How to Solve any Creative Brief by John Ingledew from the chapter titled museums. John Ingledew stated ‘They are perfect places in which to immerse yourself in the lineage and descent of ideas while exploring materials, craftsmanship, materials and colour from history and around the globe’ (Ingledew, 2011,pp.124-125). Inspiration for many people within the creative industry can come from a variety of different sources, a museum or gallery can act as the perfect catalyst to that, regardless of whether the pieces themselves have any relation to what you are doing.

Graphic Design, Exhibiting, Curating Conference - ‘Graphic Design, Exhibiting, Curating’ was an international conference at the Free University of Bozen, Bolzano. It took place on June 26th 2012, the conference aimed at addressing the multifarious relationships that exist between graphic design, and the exhibition context and curatorial practice (Pro2.unibz.it, 2012). Graphic designers are not entirely alien to exhibitions, as many work in the field of exhibition design itself,re-examining their relationship with exhibition making and curating and getting involved with the context of exhibiting graphic design is becoming a more prominent thing. During the conference such questions were raised, how do acts of exhibiting and curating relate to the traditional activity of graphic design? (Pro2.unibz.it, 2012). The conference was organised in the framework of the graphic design exhibition context and curatorial practices research project composing of ten speakers. Most notably worth mentioning were Charlotte Cheetham and Prem Krishnamurthy.

Charlotte Cheetham a French independent curator in the field of graphic design, documents the crossroads where graphic design dialogues with art, editorial and curatorial activities (Manystuff.org, n.d.). In 2006 she launched the blog manystuff.org, which ‘Promotes a transversal and adventurous approach to graphic design’ (Manystuff.org, n.d.). Charlotte’s lecture titled ‘Mise-en-scene’ (the setting or surroundings of an event) attempted to answer the question, how do you display graphic design?.

Cheetham stated ‘It is the thinking process of the curator/designer/artist that leads to the mise-en-scene, that is interesting’ (Pro2.unibz.it, 2012). Prem Krishnamurthy a New York based graphic designer, founder of the design studio Projects Projects and the multidisciplinary exhibition space P!. Prem is a key example of someone who attempting to push the discourse of design by integrating different disciplines into his field of work. Prem’s description of the exhibition space ‘P! proposes an experimental space of display in which the radical possibilities of disparate disciplines, historical periods, and modes of production rub elbows’ (p-exclamation.org, n.d.). Projects Projects additionally wrote an essay on the subject of graphic design exhibitions titled ‘Close Encounters’, in which explored the issues of exhibition-making and design practice. Prem’s lecture titled Re:Models talked through a presentation of recent design and curatorial projects that Prem has been working on. Projects Projects were commissioned to develop the Graphic Design: Now in Production exhibition identity. The studio had work featured in the show itself and contributed an essay for the exhibition catalogue. The exhibition Graphic Design: Now in Production will be discussed further at a later point in this research project.

Referring to the point made in the press release for the Graphic Design, Exhibiting, Curating Conference ‘It is important to remember that museum and galleries are regarded among the most important clients to graphic designers’ (Pro2.unibz.it, 2012) this further relates to the significance of having graphic designers within the art world.

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Exhibition Design - In relation to this notion Bibliothèque, a London based design consultancy. The consultancy have an extensive experience working in the field of environmental design from the integration of exhibition graphics through to total spatial concepts (Bibliothequedesign.com, n.d.). Bibliothèque’s diversity across a range of different fields within the design discipline should be highly commended. The significance of this in relation to the question in hand relates to the idea of ‘Design for purpose’. Graphic designers are commissioned mainly for commercial works comparable to artists who work for themselves. Although it is known that artists are also commissioned for commercial works. There is a difference in opinion between graphic design and art for commercial purposes, demonstrating how there are evidently contradictions towards different disciplines within the creative industry.

British Institutions - Reiterating what Poynor said in his article, larger institutions exhibiting design like The Victoria and Albert Museum (V&A) and the Design Museum have a more dominant role to play on mapping the field of culturally related artifacts, having a greater influence over what the general public gets to see (Poynor, 2010). There is seemingly prejudice against design that sparks the question, who has control over what is being exhibited and why are certain disciplines being more acknowledge than others? this question will discussed further at a later point in this research project. This difference of opinion may relate to fact that museums and galleries exist to employ the role of acting as a visual survey of culturally related artifacts. With this is mind, graphic design should have its place within that. Bryn Smith stated ‘The museum’s primary function is ideological’ (Dcrit.sva.edu, 2012).

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Graphic Design: Now In Production - One exhibition in particular that has played a significant role in representing the discipline of graphic design is Graphic Design: Now In Production. Organized by the Smithsonian’s Cooper-Hewitt, National Design Museum and the Walker Art Centre in America, both institutions have established themselves as major voices in contemporary design discourse (Blauvelt and Lupton et al., 2011,pp.8-11). The exhibition was established by leading curators Andrew Blauvelt curator of architecture and design at the Walker Art Centre and Ellen Lupton a senior curator of contemporary design at the Cooper-Hewitt. The exhibition took place in 2012 and explored how graphic design has broadened its reach over the past decade, expanding from a specialized profession to a widely used tool (Blauvelt and Lupton et al., 2011,pp.8-11).

Graphic Design: Now In Production is the largest exhibition to date held on the subject of graphic design. Since the Cooper-Hewitt ‘Mixing Messages: Graphic Design in Contemporary Culture’ in 1996, which spanned a comprehensive overview of American graphic design. As well as the Walker Art Center’s ‘Graphic Design In America: A Visual Language History’ in 1998. This exhibition included an array of detailed essays by specialists in the field. The exhibition set to examine graphic designs role as a social force, and to survey the effect of technological advances and political change.

The main difficulty they found with the exhibition Graphic Design: Now In Production was attempting to categorize the vast amounts of material necessary to include when dealing with mapping the last decade of design. They faced the challenge of deciding where to draw the line around a field such as graphic design, at first wanting to avoid genres, thus eliminating the representational burden (Blauvelt and Lupton et al., 2011,pp.8-11). However it was in trying to help the general public understand what graphic design was, it became necessary to categorize the field into these genres such as packaging, magazines, books and film titles and so on. Accompanying the exhibition was a catalogue produced of short essays by various industry commentators, educators and designers. The exhibition gave an insight into the evolution of graphic design acting as a compendium to the field. It explored in depth the massive scope and range of the field. As stated in the Graphic Design: Now In Production catalogue ‘Graphic design touches on nearly every aspect of communication’ (Blauvelt and Lupton et al., 2011,pp.8-11). As quoted from Bryn Smith’s talk at the D-Crit ‘Graphic Design Now: In Production highlighted the prevalence of the designer’s entrepreneur and the emergence of a more introspective diverse practice’ (Dcrit.sva.edu, 2012). This exhibition created a context in which it was seemingly more accepted to exhibit graphic design as a consequence of making graphic design an accessible entry point to the general public.

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Tate Modern - The Tate Modern is the UK’s largest institution, housing Britain’s national collection of international modern art. Having surveyed the Tate’s online archive of past exhibitions it became clear that although the Tate Modern has never exhibited a solely graphic design exhibition there were some exhibitions worth highlighting in relation to the question in answer.

Firstly, the exhibition titled ‘Van Doesburg & The International Avant-Garde - Constructing A New World’. The exhibition included typography, architecture, film and paintings. Van Doesburg founder of the movement and magazine De Stijl, the artistic movement were advocators of international style of art and design based on strict geometry of horizontals and verticals (Tate.org.uk, 2010). Secondly, ‘Albers And Moholy-Nagy: From The Bauhaus To The New World’. Pioneers of modernism Josef Albers and Laszlo Moholy-Nagy both taught at the Bauhaus pushing conventions of artistic practice. The exhibition included a variety of media including graphic design. This was the first mention of graphic design noted in the exhibition archive for the Tate. Finally, the exhibition titled ‘Rodchenko And Popova Defining Constructivism’. Aleksandr Rodchenko and Liubov Popova were key figures in the constructivist movement and helped shape the future of Russian Art. The exhibition charted the evolution of the artist’s careers showcasing abstract paintings right through to graphic design. Although none of these exhibitions were solely graphic design related, the Tate’s inclusion of highlighting graphic design themes is notable.

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Tate Liverpool versus Kemistry Gallery -The poster titled ‘Elena Serrano, Day Of The Heroic Guerrilla, 1968’ has been exhibited recently at both the Kemistry Gallery in London and the Tate Liverpool. Both institutions have exhibited the work of OSPAAAL (The organization of solidarity with the people of Asia, Africa and Latin America) a Cuban political movement. These unique posters are widely considered the front-runners in propaganda art (Kemistrygallery.co.uk, 2008). The Kemistry Gallery held the exhibition ‘OSPAAAL Posters Show’ that ran between 5th December 2013 until 25th January 2014. The exhibition was a private collection of over 40 Cuban OSPAAAL posters.

The exhibition titled ‘Art Turning Left: How Values Changed Making 1789 - 2013’ at the Tate Liverpool was an exhibition that ran between the 8th November 2013 until 2nd February 2014. The exhibition examined how the production and reception of art has been influenced by left wing values, from the French revolution to the present day (Tate.org.uk, 2013). The Tate as an institution does not collect or solely exhibit graphic design and comparatively to this the Kemistry Gallery is dedicated solely to exhibiting graphic design. In this exception it is thought provoking that two completely different institutions can exhibit that same pieces of work and place them into completely different contexts.

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INTERVIEWS.

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Smiling Wolf - Design AgencySmiling Wolf is a design agency based in Liverpool with a studio in London as well. The question presented to each designer at Smiling Wolf was what do you think about graphic design being exhibited in galleries and museums?

Mike Holmes - Designer Mike does not see how graphic design exhibitions could be appealing to non-graphic designers, with the view graphic design is only graphic design because it’s doing something else. This opinion further relates to the context to which the work was created. Mike went on to make the point ‘I think graphic design is only really interesting to graphic designers and I think that’s the big problem with design’.

Heather Almond - Senior DesignerHeather started the conversation by stating ‘The sort of culture that we developed into is very much based around consumer-based culture, so the inclusion of graphic design within that is probably more important now than it ever has been. I think it is just as valid as any aspect of popular culture; it’s a window into how social ideas change and how people consume things’. Heather mentioned the work of Alan Fletcher, an important figure in design whose work spans a vast amount of time where things were changing dramatically socially, culturally and politically. Heather talked about Alan’s ability to look into how the human mind works and the way that we perceive things. An extraordinary example of this and Alan Fletchers work is the book The Art of Looking Sideways. Described as a primer in visual intelligence, an exploration of the workings of the eye, the hand, the brain and the imagination (Fletcher, 2001). Heather states ‘I think graphic design can be a really interesting insight into the way the human mind works and how crowds move through things, as a social commentary I think graphic design is really valid’.

In relation to this the next question asked to Heather was do you think it would be acceptable to see graphic design alongside other disciplines such as fine art and photography? Heather stated ‘I don’t think graphic design works when it’s for its own sake’ She believes that graphic design is more about articulating an idea that’s very specific stating ‘Its slightly different in that sense to something like a painting by Monet because by its very nature its not entirely self indulgent, and if it was entirely self indulgent it wouldn’t be achieving its task’. Again this preconception of the role of a graphic designer arises, for example the idea of a painting by Monet being self-indulgent compared to a publication designed by Smiling Wolf, its undeniable that it wouldn’t be completing its task as they started out with different purposes to begin with. Heather does not think that graphic design should sit along fine art because she does not think about graphic design in the same way. This lead onto a discussion about the Design Museum in London, Heather commented by stating ‘This is why I think the Design Museum is so important because it deals with that issue of where do you put design and catalogues it in a way that enables you to really get excited about the amazing things out there’ Heather concluded this discussion by stating ‘I think putting graphic design into context is the only way you can deal with design’.

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Lena Muesebeck – Student DesignerLena started the discussion by stating ‘I think it’s really hard to decide which things can go to in an exhibition and I’m not sure whether its always a good thing for the designer’ Lena had the view that maybe the best way of dealing with exhibiting design is by categorizing it into sections such as typography rather than an overall view of a designers work. This being a similar way to which Graphic Design: Now In Production went about exhibiting their show. Lena went on to talk about how you can now exhibit your work online, one example of this The Joy of Living a charity project ideated by design author and curator Max Fraser. Max asked nearly 100 designers to create a poster that expressed their joys of living, set with the challenge of it having to be on an A4 piece of paper (Londondesignguide.com, n.d.). The works were exhibited and sold at Somerset House in London in 2011 with a website that ran alongside the project acting as an online viewing platform to all the designers work. This idea revoked the thought, has the acceleration of digitalization of information opened up a new door to virtual exhibitions.

Michael Walsh – DesignerMichael considers the lines between graphic design and art to be very interesting, having many thoughts on graphic design being perceived as art. Michael started by discussing an article wrote by Simon Manchipp the executive creative director and co-founder of SomeOne a branding, design and advertising agency. In this interview Simon talked about how design is both commercial and artistic stating ‘We have a studio not a office’ (Blog.newspaperclub.com, 2012), he advocates that young designers should strive to be commercial artists not designers in order to give them more flexibility within their discipline, Simon quotes ‘Commercial sensibilities and artistic abilities’ (Blog.newspaperclub.com, 2012). Michael views the term commercial art as what design first started out to be, which then shifted into the term graphic designer.

Michael continued by stating ‘In terms of contemporary graphic design being hung in galleries I think its a good thing to some extent, I think it all depends on the context as well, I think the stuff you do in your own spare time I would perceive that as being art so self initiated projects’ He also went on to say ‘I view graphic design as a medium, in the same sense that photography can be used commercially as art photography, I think graphic design is kind of the same as that’ Michael went on to explain how whilst at university he found the self-initiated briefs to be most problematic stating ‘I felt like what was the purpose of this, I had to find a context to feel like I was solving a problem, so it felt like it was graphic design’. This lead onto a discussion about Glory Glory, an exhibition and book of large format typographic posters based on football chants, in aid of British Blind Sport. Curated by Nick Blakeman, Alex Brown and Craig Oldham. Michael explained its purpose was to raise money for charity; they weren’t necessarily to promote anything yet they were pieces of art in poster format using graphic design.

Simon Rhodes – DirectorIn relation to the question in answer Simon started the conversation by stating ‘I think its fine its part of history and its part of culture. Graphic design can communicate politics and it helps us to understand the zeitgeist and what was happening at those times, I think its absolutely fine, it has a place’. This lead onto the question do you think graphic design has a place alongside other art forms? Simon answered by stating ‘There is a fetishisation of graphic design within our own industry, its tricky because a lot of techniques that graphic designers use are borrowed from the art world, if you want to call it the art world and the art world borrows from the graphic design world. I think the boundaries are blurred’.It is seemingly about the differences between art and design, which is indicative to this investigation about graphic design having a limited place within the exhibition world comparable to art.

The next question asked to Simon was do you believe it to be more about the context it’s in rather than the actual pieces themselves? Simon made the point of how people want to try and elevate graphic design to the status of an art form and he believes this to be wrong stating ‘There’s massive skill and there’s massive craft in it but it isn’t art, its problem solving and to loose sight of that is tricky otherwise your designing for the sake of it and design is about nothing for the sake at all, it’s about absolutely having a purpose’ Again this point of ‘design for purpose’ within its context arose again. This lead to the thought that maybe it is not about trying to give graphic design the same status as art but giving it the same recognition as a equal creative discipline comparable to art.

Simon went on to state ‘Communication in graphic design is everywhere and seen constantly, art is a more rarified thing, and that is why I get uncomfortable with the notion that you can just do a piece of graphic design and then its rightful place is within a gallery, art is more challenging, and that’s the whole purpose’. Simon continued the discussion by stating ‘Graphic design is about communicating something to somebody, that is not to say that an art piece may not communicate something to somebody but it might be about raising questions where as design often gives you answers’. This lead on to Simon stating ‘If I was making a piece of art I would be looking internally and thinking about what it is I want to express, how it will become a physical thing and what is the process. Where as with design your always looking to answer a question, a brief, a need, so it’s a different sort of view point’.

This view seems slightly contradictory as one may have the opinion that graphic designers do this very thing, art and design do share very similar processes in this respect, making the point that this may dependent on what kind of a designer you are and how you go about tackling a brief. Simon concluded this discussion by stating ‘It’s about appropriateness, making something that works for the context. But there are no two ways about it all those boundaries are blurring, they are converging, borrowing, sharing and collaborating and coming out the other side’.

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Anthony Hudek - Art HistorianAnthony Hudek is a senior lecturer in the History of Art department at Liverpool John Moores University (LJMU). He completed his undergraduate studies at Dartmouth College in the US, and his Masters and Doctoral studies at Courtauld Institute of Art in London. As well as lecturing at LJMU Anthony works in the ERC as the initiator/ and conveyor. The Exhibition Research Centre (ERC) is the first academic center devoted to the study of exhibitions (Ryan, 2013), an exhibition space within the John Lennon art and design building in Liverpool.

Following the conversation had with Anthony, the ERC has had its main focus on fine art, skimming briefly over other disciplines. Thus far the ERC have discussed exhibiting graphic design but up and until this point the ERC has not exhibited graphic design. The Exhibition Research Centres next exhibition will be a collection of graphically designed invitation cards for exhibitions. Anthony indicated that the main problem with exhibiting graphic design at the ERC was getting the project off the ground. Anthony thinks this may be to do with a lack of familiarity within the subject. With this in mind making sense of exhibiting a subject such as graphic design would not be as instinctive if your background laid in art direction or curatorial practice. One could suggest that people tend to have a greater knowledge of their own discipline thus wanting to advocate it more.

As well as his work at LJMU Anthony is associated with Occasional Papers, a non-profit publisher of books devoted to the histories of architecture, art, design, film and literature (Occasional Papers, 2013). Founded in 2008 by Anthony Hudek and his wife Sara De Bondt a graphic designer from Belgium. Sara De Bondt is the creative consultant for the ERC, Anthony mentioned how much he depends on Sara for the graphic design of an exhibition. Anthony’s role as the curator and Sara the designer, Anthony went on to state ‘Although she plays a massive role, on paper we have different roles’. Which provoked the thought, why do designers not receive the same recognition as the curator as they play an equally important role?

The first question asked to Anthony was what is your perception of graphic design being exhibited in museums and galleries? Anthony stated ‘There is the role of graphic design exhibitions in general and then there is the exhibition design itself’. Although Anthony did not seem to familiar with the existence of graphic design exhibitions, he made reference to an exhibition he curated of Sara’s work in France. The exhibition titled ‘Une Saison Graphique 2011’ showcased an array of Sara’s work. Rather than just showing the material of Sara’s work they also showed the process of how one piece of work lead to another, by taking stuff from Sara’s studio and bringing it into the gallery space.

He then spoke about his involvement in ‘About Graphic Design’, a book published by Occasional Papers written and designed By Richard Hollis. The book itself covered 40 years of Hollis’s reflections on graphic design history (Occasionalpapers.org, n.d.). Richard Hollis a seminal figure in postwar design and communication most significantly known for designing the first edition of John Berger’s book ‘Ways of Seeing’. This lead onto a discussion about an exhibition on Richard Hollis held at Gallery Libby Sellers in London, curated by Emily King, and consisting of roughly 200 items drawn from Hollis’s archive.

Anthony quoted ‘My experience of going to galleries to see graphic design is zero’ He asked the question do they occur a lot? It was necessary to give examples of museums and galleries that have exhibited graphic design in the past using the research and timeline that had been required and created previous to this discussion. Anthony stated ‘Often graphic designers have the tendencies to become artists when necessary to exhibit their work’ Anthony’s view on this portrayed his attempts to understand how graphic design could be exhibited by giving examples of designers who had switched disciplines in order to exhibit there work.

Anthony made the comment ‘Artists are immediately instructed when they make art to learn how to show it, that’s what you do as an artist. As a graphic designer your less concerned with the exhibition of it knowing it will reach people in poster and book form’. It is evidently more important for artists to exhibit their work in galleries and museums, as this appears to be the main platform to which they can showcase their work. Graphic designers work can be spread across many different platforms such as a book or poster, allowing it to be viewed in different places. Nevertheless the context to which exhibiting commercial work by a designer in comparison to a commissioned painting by an artist are two completely different things, both disciplines work for different reasons. Is the debate in hand between commercial and non-commercial design. This point may also relate to the infrastructure of how a gallery/ and museum works. Having to contend with many different disciplines, it seems likely that particular disciplines would be more in favour than others.

The next question asked to Anthony was what would you describe a curators role in comparison to the role of a graphic designer, where do the boundaries lie between who is given what job to do? He stated ‘A curator can mean many things, you could define it as an interpreter or translator of a work, I guess the graphic designer to me seems to be seemingly faithful to the original intent’. Anthony explained a show he worked in Vienna this year where he was placing historical works next to contemporary works, works that extensively had nothing to do with one another. Anthony went on to say as a curator you have that freedom. Curators seemingly have the power to go against the grain, where as designers may be criticized for making such decisions.

This lead onto the question, have you been aware of any graphic designers being interested in curatorial practice and exhibition design? Anthony made reference to Max Bill an artist and graphic designer, who played a significant role during the Swiss modernist era. He curated the exhibition titled ‘Good Design’ held in 1949 in Zurich, the exhibition included discussions on the form and content of product design. A most interesting point made by Anthony was ‘People tend to think that graphic designers becoming artists is a new thing, many years ago artists didn’t see the division between graphic design and art, institutions such as the Bauhaus in Germany merged all disciplines studying communication in the larger sense’. This point plays on the idea of a designer’s adaptability towards different roles in order to get their point of discussion across by any means necessary. There is seemingly some form of hierarchy within the arts world today, art is an elitist subject in comparison to other creative disciplines one may say that professional equality does not exist.

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Catherine Ince - CuratorCatherine Ince is a curator of exhibitions at the Barbican Centre in London, specializing in design and architecture.

Having previously emailed these questions to Catherine the Skype conversation lead with this in mind.

1. Why do you think graphic design has a limited place within the exhibition world?2. In relation to your professional background and current position at the Barbican do you believe there to be some form of hierarchy within the creative world?3. Do you think graphic design can sit alongside other art disciplines such as fine art, or do you view graphic design in a different way to that?4. Having held events and exhibitions about graphic design at the Barbican why do you think there have been so far and few comparable to other art disciplines?

Catherine begun the conversation by stating ‘Graphic design history is a much younger field than art history, it has not as much breadth and has been analysed in that way for such a long time. The knock on effect of that is that there are fewer institutions around the country that deal with design’. Firstly this point consolidates the reasoning behind the question in answer.

Catherine continued the discussion by talking about the difficulties in defining the boundaries of things, a perspective similar to others interviewed for this research project. Catherine also made the point of where do you start and stop with what you consider to be graphic design, this a whole question in itself. Could the defining of the discipline to others outside of the graphic design world be the reasoning behind why it is not given as much exposure. Catherine mentioned how the Barbican has only exhibited one straightforward graphic design retrospective, making the point that Communicate 2004 - 2005 has been the only show that has been a full survey of graphic design. Thus far Communicate has been the largest UK show dedicated solely to graphic design. The Barbican has exhibited graphic design in the past but it has been part of thematic show. The Bauhaus exhibition that Catherine organized in 2012 included graphic design as part of representing the output of the Bauhaus school.

Catherine stated ‘Some exhibitions may feature graphic design when they are thematic surveys that aren’t looking at individual designers or a individual practice’ A statement that is true to the majority of exhibitions chosen to be excluded from the timeline for this reason. This lead onto a discussion about the exhibition ‘Glam! The Performance of Style’ that ran between the 8th Feb until the 12th May 2013 at the Tate Liverpool. Catherine stated ‘This was a missed opportunity’, the exhibition included ephemera books, records, posters all of which had been designed by someone yet none of it was deemed worthy of having a proper caption. Stating ‘Those hierarchies between the fine art object that gets more space and its own caption and interpretation against the ephemera’ Catherine made the point ‘It should have had the same importance as the other pieces on show but it didn’t’. This relates to the reasoning behind why graphic design has a limited place within the exhibition world, as it is shown that particular institutions such as the Tate whose collections are primarily fine art based are only going half the way with displaying graphic design in its complete entirety. This also relates to the discussion had previously about the Tate Modern.

Catherine made another interesting point ‘The landscape changes the will of a certain few individuals, the head of an institution, or a person within that institution that has a particular interest in the subject’. With regards to institutions such as the Kemistry Gallery and KK Outlet the point Catherine made is true to that, as they exist with the knowledge of being apart of the design world themselves, again relating to the question in answer. Although the territories are expanding towards different creative disciplines Catherine feels it will be a long time before such traditional institutions have a curator of graphic design stating ‘It is the hierarchy in traditional museum contexts that are well preserved’.

Counterpoint to this Catherine talked briefly about the V&A most recently renamed the museum of art and design. The V&A holds the word and image collection, this point demonstrating how traditional institutions are slowly beginning to see the importance in holding a multifarious array of creative disciplines.

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Catherine went on to talk about a recent trip she took visiting colleagues in New York at The Museum Of Modern Art (MOMA). MOMA hold a design and architecture department and collect graphic design. Catherine made the point ‘In the hierarchal structure at MOMA these disciplines are not as important, fine art and sculpture are at the top of the tree, they hold all the power, that’s what patrons support and that’s what they want to see and those objects are much more financially lucrative’ This provoked the question of whether graphic design having a limited place within the exhibition world lies down to money and how these institutions receive their funding. The discussion lead to Catherine making the point of how depressing it was that we still have to argue that certain disciplines are more worthy of investigation than others.

This lead to another question asked to Catherine why do you think graphic design is not as popular? Catherine stated ‘I’m not sure whether its to do with graphic design not been as popular, in terms of the Design Museum it is popular as the graphic design community turns out for itself’ This point relates to the discussion had with Mike from Smiling Wolf ‘I think graphic design is only really interesting to graphic designers and I think that’s the big problem with design’. Catherine went on to say that in relation to the Barbican they have to embrace a multitude of disciplines but the problem may lay in not having the expertise in house, again relating to the conversation had with Anthony Hudek.

In relation to the question in answer it may all lay down to graphic designs suitability to a particular institution. Catherine stated ‘It’s a constant balance and battle between revealing things that are not so well known but also making sure we can get enough audience through the door’.It is seemingly a catch 22 if institutions are unwilling to advocate graphic design for the reasoning of they don’t collect graphic design, they don’t have the inside knowledge on the discipline and it not as financially lucrative then how are the public supposed to gain a greater understating of the discipline, again this relates to the difficulties had with equality within the art and exhibition world.

Catherine went onto make another thought-provoking statement ‘For design interested institutions its just about getting the right mix across your program over a number of years, where as fine art driven institutions aren’t quite there yet with seeing it as a discipline that either they collect or want to represent as fully in their exhibitions’. This lead onto a discussion about Emily King, a graphic design historian who writes for Frieze magazine, Emily is one of the few people curating graphic design exhibitions. It is worth noting that independent curators whose passion is graphic design is something you don’t come across to often, yet it is great that people are out there attempting to give graphic design a platform.

Another question asked to Catherine was whether there was anyone at the Barbican with the background of a graphic designer who has gone into curatorial practice. Catherine stated ‘Largely our curatorial team comes from the root of art history which is very typical’, again relating to the conversation had with Anthony Hudek. Catherine went onto make the statement ‘One of the most enjoyable parts is working with graphic designers to make a book or to create an identity for an exhibition. We like to work with different designers for each project so that everything has a unique image. Its a really nice part of the commissioning process of making a exhibition, that element has become more recognized, almost to the point where those practices maybe in combination with a 3D designer or architect are part of the exhibition itself’. This idea of connecting with the subject matter through the use of graphic design is equally important and again relates to the idea of ‘design for purpose’ as it relies on the fact that this is the role and purpose of the profession which makes it different to art.

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TIMELINE.

Key:

Title of the exhibitionInstitutionCityDate and year of the exhibition C: curatorD: designer / agency - exhibition design Brief description of the exhibition

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1959As part of the E.C. Gregory exhibition, examples of graphic design produced by Messrs Lund Humphries under the direction of E.C. Gregory including early examples of work of MCKnight Kauffer ICALondon9 Jul - 15 Jul 1959

+E.C. Gregory was one of the founding members of the ICA, He was the chairman of art publishers Percy Lund, Humphries & Cowho specialised in illustrated art books. Edward MCKnight Kauffer was a highly influential 20th century poster artist and graphic designer.

1960Henrion: Designing Things And Symbols ICALondon4 Feb - 19 Mar 1960

+An exhibition displaying the works of a design consultant, Henri Kay Henrion’s a german graphic designer.

1974Wilp: Homage To The Void ICALondon3 May - 26 May 1974

+The work of Charles Wilp a German advertising designer.

1978Fit To Be A Typographer (Part Of Design Applied) ICALondon7 Oct - 28 Oct 1978

+An exhibition of the society of typographic designers showcasing 50 years of typographic design.

The Private And Public Art Of Lou Klein (Part Of Design Applied) ICALondon3 Nov - 25 Nov 1978

+The works of Lou Klein, former head of graphics at the royal college of art, showing differences in response when solving commissioned design problems, and when working on personal projects.

Realising Design (Part Of Design Applied) ICALondon1 Dec 1978 - 7 Jan 1979

+A thematic exhibition by archetype visual studies in London. Showcasing design case histories from selected design groups, graphic designers, and illustrators; though the processes of how ideas and solutions are developed.

1990Graphic Design In America: A Visual Language History Design MuseumLondon1990

+A touring exhibition from the Walker Art Centre in America.

Design In The Public Service: The Dutch PTT 1920 - 1990 Design MuseumLondon1990

+An exhibition that archived the graphic design history of the Netherlands post, telegram and telephone services (PTT).

Abram Games - 60 Years Of Design Design MuseumLondon1990

+An exhibition of the work of Abram Games a British graphic designer of the 20th century.

Hans Schleger Design Museum London1990

+An exhibition of the work of the 20th century modernist designer Hans Schleger.

FHK HENRION 1914 - 1990 Design MuseumLondon1990

+An exhibition of the work of graphic designer Henri Kay Henrion who was the art director at the ICA in London during the 1950’s.

1993Malcom Garrett - Ulterior Motifs Design MuseumLondon1993

+An exhibition of the work of Malcom Garrett a British graphic designer.

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199450 Years Of Poster Design - G&B Arts Design MuseumLondon1994

+A collection of screen printed posters designed by Alan Fletcher for G&B Arts printing company.

2000Brand NewV&ALondon19 Oct 2000 - 14 Jan 2001

+An exhibition about commercial brands and our relationship to them.

2001Then Hacienda NowRichard Goodall Gallery - High Street Manchester18 May - 28 May 2001

+An exhibition of Fac 51 the Hacienda artwork: classic & modern, and the launch of the website.

Tim Isherwood - New Typographic Works Tim IsherwoodCornerhouseManchester16 Nov - 3 Dec 2001

+A exhibition of screenprints from an ongoing study by designer Tim Isherwood, detailing the style and appearance of shop signage.

2002Rewind: 40 Years Of Design & Advertising From The D&AD Awards V&ALondon7 Nov 2002 - 2 Feb 2003

+An exhibition celebrating the most famous examples of design and advertising from the D&AD.

2003The Peter Saville Show Design Museum London23 May - 14 Sep 2003

C: Graphic Thought Facility

+A retrospective of Peter Saville’s work.

Abram Games: Maximum Meaning, Minimum Means Design MuseumLondon18 Oct - 30 Nov 2003

+A retrospective of Abram Games work.

2004The Peter Saville Show CornerhouseManchester23 Jan - 18 Apr 2004

+A retrospective of Peter Saville’s work.

Saul BassDesign Museum London17 Jul - 10 Oct 2004

+A retrospective of Saul Bass’s Work, an American mid-20th century graphic designer and award winning filmmaker.

Communicate: British Independent Graphic Design Since The Sixties - The Emergence Of British Graphic DesignBarbicanLondon16 Sep 2004 - 23 Jan 2005

C: Rick Poynor

+An exhibition that charted the emergence of independent British graphic design over the last forty years examining graphic designs influence on contemporary culture, publishing and the music industry. The exhibition included the work of designers such as Alan Fletcher, Peter Saville, Neville Brody and Ken Garland.

26 Letters: Illuminating The Alphabet British LibraryLondon30 Sep 2004 - 30 Jan 2005

+A collaborative project between 26 graphic designers (from the International Society of Typographic Designers) and 26 writers (from the professional writers’ association). Exploring the DNA of language they were asked to create a poster using one letter from the alphabet. The exhibition included the work of Alan Fletcher and writer James Jauncey.

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Nima Falatoori & Simon Svard - Limited Edition Kemistry GalleryLondon3 Nov - 30 Dec 2004

+A collaborative project by the work of design director Nima Falatoori from Studio NMO and Simon Svard from the design studio THISISANICEDAY.

2006Zak Kyes - All That Is Solid Melts Into The Air Kemistry GalleryLondon16 Feb - 21 Mar 2006

+A solo exhibition of Zak Kyes work.

Experimental Jetset - Ten Years Of Posters Kemistry GalleryLondon4 Apr - 30 May 2006

+A collection of selected posters created over a ten year period by Experimental Jetset the Dutch graphic design unit.

D&AD Exhibition: The Best Advertising And Design In The World UrbisManchester27 May - 2 Jul 2006

C: Scott Burnham

Alan Fletcher: 50 Years Of Graphic Work (And Play) Design MuseumLondon11 Nov 2006 - 18 Feb 2007

+A retrospective of Alan Fletcher’s work.

2007Robert Brownjohn Design Museum London3 Feb - 4 Mar 2007

+A retrospective of Robert Brownjohn’s work, a graphic designer and film maker from the 1960’s.

Zero/Hans Schleger - A Life Of Design V&ALondon22 Mar - 15 Jul 2007

+An exhibition documenting and celebrating the life of designer Hans Schleger.

Jonathan Barnbrook - Friendly Fire Design MuseumLondon19 Jun - 10 Oct 2007

+This exhibition traced Barnbrook’s career path drawing work from his own archive.

Print RunKemistry Gallery London8 Jun - 21 Jun 2007

+A group show print run for charity featuring a selection of graphic designers work.

50 Years Of Helvetica Design Museum London17 Jul - 2 Sep 2007

+A display in the Design Museum cafe, a visual diary of 50 separate events in relation to the typeface Helvetica created by 50 leading graphic artists and designers.

Hacienda 25 The Exhibition: Fac 491 UrbisManchester19 Jul 2007 - 24 Feb 2008

+An exhibition showcasing the Hacienda’s iconic birthday posters designed by Peter Saville, which were instrumental to shaping the clubs identity.

Paper Movies: Graphic Design & Photography At Harper’s Bazaar & Vogue, 1934 - 1963V&ALondon2 Aug - 18 Nov 2007

+A display of works exploring Russian designers Alexey Brodovitch and Alexander Liberman during their time as art directors at Harpers Bazaar and Vogue.

Forms Of Inquiry: The Architecture Of Critical Graphic Design AA GalleryLondon6 Oct - 1 Nov 2007

C: Zak Kyes

+An exhibition highlighting architecture as seen through the practise of graphic design.

D&AD: The Best Advertising And Design In The World UrbisManchester25 Oct 2007 - Feb 2008

Daniel Eatock - Editions & Originals Kemistry GalleryLondon16 Nov 2007 - 12 Jan 2008

+A collection of works and ideas by designer Daniel Eatock.

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2008Sanderson Bob - Put Yet Complex Kemistry GalleryLondon14 Feb - 22 Mar 2008

+This exhibition featured a collection of works exploring the studio Sanderson Bob’s interest in lines, colour, perspective, movement and the edges of things.

Fac Off: The Central Station Design Retrospective Richard Goodall Gallery - High StreetManchester16 May - 21 Jun 2008

+A retrospective of work from the Manchester based design company Central Station.

Retrospective - One Kemistry Gallery London8 Aug - 6 Sep 2008

+A exhibition showcasing the breadth of graphic design. Previous exhibitors at Kemistry were asked to create pieces to celebrate Kemistry and its four years exhibiting graphic design and illustration.

2009Typographical Tart Cards KK OutletLondon22 Jun - 29 Jun 2009

+In connection with Wallpaper* magazines first ever sex issue, KK Outlet presented an exhibition of type tart cards including designs from Anthony Burrill, Neville Brody and Noma Bar.

Anthony Burrill - In A New Place Kemistry GalleryLondon24 Jul - 5 Sep 2009

+Graphic designer and illustrator Anthony Burrill’s exhibition explored industrial processes and materials with large scale laser–cut perspex pieces as well as digital prints.

Faber & Faber: Eighty Years Of Book Cover Design, 1929-2009 V&ALondon3 Aug - 6 Dec 2009

+Taken from the archive of independent publishers Faber & Faber, this exhibition displayed an array of book cover designs over the last 80 years.

Typographica Kemistry Gallery London1 Sep - 31 Oct 2009

C: Rick Poynor

+An exhibition of the design journal Typographica founded by British graphic designer Herbert Spencer.

Digital PioneersV&ALondon7 Dec 2009 - 21 Apr 2010

+An exhibition displaying an overview of the first decade of the computers history in art and design.

2010Alan Fletcher: 50 Years Of Graphic Work (And Play) Cube GalleryManchester22 Jan - 3 Apr 2010

C: Peter Saville

+A retrospective of Alan Fletcher’s work.

Homework: Modern Polish Poster Design Kemistry GalleryLondon5 Mar - 17 Apr 2010

+A collection of posters by Warsaw-based studio Homework.

The Daily GorillaKK OutletLondon7 May - 29 May 2010

+An exhibition showcasing Dutch design collective Gorilla’s visual responses to the front page of the Dutch daily newspaper, De Volkskrant.

Zero Per Zero: Station Kemistry Gallery London30 Apr - 19 Jun 2010

+An exhibition presenting South Korean design studio Zero Per Zero’s city railway system series, including hand drawn maps, LED display panels and paintings.

The Handwritten Letter Project KK OutletLondon5 Aug 2010 - 27 May 2011

C: Craig Oldham

+A project by British graphic designer Craig Oldham. The exhibition held a collection of hand written letters by designers, design studios and creative thinkers who were asked to share their thoughts in handwritten form on their own letterhead.

Gastrotypographicalassemblage: The Designs Of Lou Dorfsman Kemistry GalleryLondon17 Sep - 30 Oct 2010

+An exhibition celebrating the work of legendary designer Lou Dorfsman, art director for the CBS network.

Underground Journeys: Charles Holden’s Designs For London Transport V&ALondon2 Oct 2010 - 13 Feb 2011

+A display of designs by Charles Holden and his architectural practise for the London Transport.

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Isotype: International Picture Language V&ALondon2 Oct 2010 - 13 Feb 2011

+This display traced the story of Isotype (International System Of Typographic Picture Education) over four decades.

Abram Games: Maximum Meaning, Minimum Means Sheffield Hallam University (SIA)Sheffield13 Oct - 12 Nov 2010

+This exhibition brought together a collection of original artwork, posters, film and objects from Abram Games archive.

Reverting To Type Standpoint Gallery London10 Dec - 24 Dec 2010

C:Graham Bignell D:Richard Ardagh

+An exhibition of contemporary letterpress, featuring the work of leading practitioners from around the world.

2011Reverting To Type Standpoint Gallery London4 Jan - 22 Jan 2011

C:Graham Bignell D:Richard Ardagh

+An exhibition of contemporary letterpress, featuring the work of leading practitioners from around the world.

Shape My Language Design Museum London28 Jan - 6 Mar 2011

+An Installation piece by renowned typeface designer Bruno Maag.

Joy Of Living - The Visions Of A Healthy Future Somerset HouseLondon15 Mar - 21 Mar 2011

+An exhibition of posters by 100 UK designers for charity, the exhibition was also published online.

Wim Crouwel A Graphic Odyssey Design MuseumLondon30 Mar - 03 Jul 2011

+A retrospective of Dutch graphic designer Wim Crouwel’s work spanning over 60 years. Crouwel was regarded as one of the leading graphic designers of the 20th century.

40/04 - Questioning Print Kemistry GalleryLondon2 Jun - 11 Jun 2011

+A exhibition by design studio 40/40 exploring digital print within contemporary art and design practise.

Clear Your Head Every Day Outline EditionsLondon10 Jun - 16 Jul 2011

+An exhibition of prints and artworks by graphic designer Anthony Burrill.

Mind Over Matter: Alan Fletcher’s The Art Of Looking Sideways Kemistry GalleryLondon25 Aug - 1 Oct 2011

+An exhibiting displaying a collection of original works and notes from Alan Fletcher’s archive.

2012Out Of PrintSheffield Hallam University (SIA) Sheffield9 Jan - 19 Feb 2012

+A collection of bookbinding and letterpress works from the crafts council collection, selected by graphic designer Malcom Garrett.

Richard Hollis Gallery Libby Sellers London23 Mar - 28 Apr 2012

C: Emily KingD: Sara De Bondt and Simon Jones

+A collection of over 200 items drawn from Hollis’ archive.

Ken Garland - Galy Tots Kemistry Gallery LondonUntil 21 Apr 2012

+A collection of work highlighting toy makers Galt branding and catalogues conceptualised by Ken Garland a British graphic designer.

Malcom Garrett Exhibition - The World Of Tomorrow The Holden GalleryManchester29 Jun - 13 Jul 2012

+A extensive collection of books, memorabilia and graphic ephemera from designer Malcom Garrett.

Wallpaper* - Handmade Covers KK OutletLondon5 Jul - 24 Jul 2012

+Wallpaper* has commissioned dozens of designers such asBibliotheque and Anthony Burrill to create a series of covers for the magazines August Handmade issue. The exhibition showcased Thirty cover artworks from the magazine.

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Anthony Burrill - Mesa & Cadeira - How To Say The Most With The least Kemistry GalleryLondon5 Jul - 28 Jul 2012

+A group project set about solving the brief ‘how to say the most with the least’ organised by the company Mesa & Cadeira who set up design related learning workshops. Concluding with the results of a large scale text instillation.

Bruno Munari: My Futurist PastEstorick Collection Of Modern Italian Art London19 Sep - 23 Dec 2012

+An exploration of Bruno Munari’s work, a 20th century Italian designer.

TDR Car Booty AffairA Month Of Sundays Gallery Sheffield6 Oct - 3 Nov 2012

+A sale of artefacts available to buy from the archives of the The Designers Republic (TDR), showcasing work dating back from 1986 giving an unusual retrospective of the studios work. This exhibition was a one off show at A Month Of Sundays.

Mapping America KK OutletLondon6 Nov - 24 Nov 2012

+An exhibition of infographics that related to the 2012 U.S elections.

Pencil To Pixel Metropolitan Wharf London16 Nov - 23 Nov 2012

+Pencil to pixel was an exhibition held by Monotype the type foundry, showcasing selected pieces of work from Monotypes own archive. The Monotype magazine was also on show as well as font samples and type pieces.

Logo R.I.P - The Stone Twins KK OutletLondon26 Nov - 1 Dec 2012

+Logo R.I.P is a book that commemorates dead logos designed and thought of by the Stone Twins a Amsterdam-based creative partnership. The exhibition was a presentation of the book as well as some of the Stone Twins work.

84 Projects From Yokoland Kemistry GalleryLondon29 Nov 2012 - 19 Jan 2013

+An exhibition that showcased the design studio Yokoland’s last ten years of work.

M/M (Paris) Carpetalogue, 1992 -2012 Gallery Libby SellersLondon10 Oct - 15 Dec 2012

C: Emily KingD: Graphic Thought Facility

+An exhibition of rugs designed by M/M (Paris) the art and design partnership. Commissioned from M/M (Paris) to celebrate their 20th anniversary and the publication of a monograph of their work.

2013BCNMCR2022NQManchester21 Feb 2013 (for two weeks)

C: Dave Sedgwick

+A collection of prints and showcase of work featured by five of Barcelona’s best design and creative agencies.

Posters From The Icograda Archive London College Of Communication London31 Aug - 13 Sep 2013

+A collection of 45 posters from the Icograda (International Council Of Communication Design) archive, selected by 15 contemporary graphic designers.

The Hand Written Letter Project 2022NQManchester8 Nov - 16 Nov 2013

C: Craig Oldham

+A project by British graphic designer Craig Oldham. The exhibition held a collection of hand written letters by designers, design studios and creative thinkers who were asked to share their thoughts in handwritten form on their own letterhead.

Anthony Burrill - I Like It. What Is It? KK OutletLondon8 Nov - 27 Nov 2013

+An exhibition showcasing the work from Anthony Burrill’s poster book ‘I Like It. What Is It?’.

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44

ANALYSIS.

45

The aim of this timeline will be to catalog the information as an ambiguous survey of 20th and 21st century graphic design exhibitions within the UK. Thus gaining more insight into the subject matter in order to realize whether the question in answer is valid. It was necessary to examine all the different institutions that have exhibited graphic design at past and present. Comparing the cities Sheffield, Manchester and London as a range of proportionally sized cities (small, medium and large). It became an extremely challenging task mapping this field, as it was vital to locate all the museums and galleries within each city. It quickly became obvious that the majority of museums and galleries did not exhibit graphic design at all which helped narrow down the search.

As a starting point it was a case of using the museum and galleries online archive to filter through what exhibitions were related to the question in answer going from the first exhibition ever exhibited at that particular institution whether it was related to graphic design or not. The majority of this information had to be taken from other sources, as not all the information was made available for public viewing. Having set some guidelines to which the decision of including and excluding particular exhibitions were made, it was these categories used to catalog the information needed.

The categories were:

1. An exhibition that was solely about graphic design 2. An exhibition that included elements of graphic design3. A combination of graphic design and other creative disciplines4. A artist whose work depicted similar themes relating to graphic design 5. A exhibition that was related to graphic design in some way

It was at a later point that the decision was made to exclude any exhibition that were not solely about graphic design from the list, in order to gain insight into the subject matter as a whole retrospective. It was these stages took to gathering all the information needed for the timeline. From that point the basis was created to be able to analysis the information found. Using the information gathered it was then a case of analyzing the information gathered. This involved categorizing the information from the timeline into a series of pie charts that illustrated the analytical points that were required for this investigation.

A geographic map was created revealing the location of each institution, the number of institutions within each city and number of exhibitions exhibited at each institution. As expected the larger cities held the most institutions comparatively to the smallest holding the least.

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2

1

8

LONDON.

47

11

7

1772

1

1

1

1

1

15

48

22

3

12

1

MANCHESTER.

49

2

1

SHEFFIELD.

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International designersBritish designers

Larger Institutions in totalSmaller Institutions in total

One off showsMore than once

20th century designers21st century designers

About one designerInvolved more than one designer

Exhibitions at larger institutionsExhibitions at smaller institutions

In the 21st centuryIn the 20th century

LondonSheffieldManchester

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London.Architectural Association School Of ArchitectureThe Architectural Association School Of Architecture (AA) is the oldest independent school of architecture in the UK. Set up in 1847 the school plays host to an extensive range of programmes including exhibitions, lectures and symposiums.

BarbicanThe Barbican Centre is a world-class arts and learning organisation. Opened in 1982 by Queen Elizabeth II the centre hosts all major art forms including film, music, theatre, dance and visual arts.

Design MuseumFormally known as the Boilerhouse Project that occupied a dilapidated space in the basement of the V&A. It was only until 1987 that the Boilerhouse Project metamorphosed itself to become the Design Museum relocating to the building Butlers Wharf. The Design Museum was the first museum dedicated solely to the promotion and examination of contemporary design in every form.

Gallery Libby SellersGallery Libby Sellers opened in 2007, with ambitions to sell and support design in a curated environment.

ICAThe Institute Of Contemporary Arts (ICA) supports radical art and culture through a vibrant programme of exhibitions, films, events, talks and debates (Ica.org.uk, n.d.). Founded in 1946 by a group of artists including Roland Penrose, Peter Watson and Herbert Read.

KemistryKemistry Gallery is a independent design gallery, and is the only UK gallery dedicated to exhibiting the work of graphic designers. The gallery was founded in 2004 by the design and brand agency Kemistry.

KK OutletKK Outlet is a multifunctional office combining the communications agency KesselsKramer with a gallery and bookshop.

Standpoint GalleryStandpoint Gallery is a vibrant platform for the development of emerging and mid-career artists, running exhibitions, residencies and awards (Twitter.com, n.d.).

Somerset HouseSomerset House is a listed neo-classical building in London. In 1997 the Somerset House Trust was established to conserve and develop the building allowing the space for open-air concerts and films, contemporary art and design exhibitions.

Outline EditionsOutline Editions is a London based graphic arts and illustration collective, providing pop up spaces for artists to exhibit their work.

Estorick Collection Of Modern Italian ArtThe Estorick Collection Of Modern Italian Art is a museum and gallery devoted to modern Italian art. It was in 1994 that a Georgian house in Islington, London was bought to house the collection.

Metropolitan WharfMetropolitan Wharf is an iconic Grade II listed Victorian riverside warehouse space. Recently restored to provide office, gallery and apartment space.

British LibraryThe British Library is the national library of the UK, holding over 150 million items drawn from all over the world. In addition to the extensive collection of books and manuscripts the British Library holds events and art exhibitions.

London College Of CommunicationThe London College of Communication is a constituent college of the University of the Arts London (ULA) (University Of Arts London, 2014). The University’s Archives and Special Collections Centre (ASCC) hold a remarkable range of archives and collections reflective of the historical development of art and design.

V&AFounded in 1852 the Victoria and Albert Museum (V&A) is the worlds largest museum of art and design, housing a collection of over 4.5 million objects.

Manchester.CornerhouseCornerhouse is Manchester’s international centre for contemporary visual arts and independent film, it opened in 1985 and has been at the forefront of Manchester’s vibrant cultural scene.

Richard Goodall Gallery - High StreetThe Richard Goodall Gallery exhibits contemporary fine art, photography and poster art, it was founded in 2002 with two separate locations Manchester on High street and Thomas street.

UrbisUrbis opened in 2002 as an exhibition and museum venue, hosting exhibitions on popular cultural themes. It closed in 2010 to become the National Football Museum due to funding.

Cube GalleryThe Cube Gallery (Centre For The Urban Built Environment) is a architectural and design centre that opened its doors in 1998. It was host to regular exhibitions featuring photography and architectural models. In 2013 it closed its doors due to cuts made by Salford University.

The Holden GalleryThe Holden Gallery has a distinguished history dating back over 100 years ago. It has an ongoing program of exhibitions held within Manchester Metropolitan University.

2022NQ2022NQ is a café bar, gallery and events space, it opened in 2012 in Manchester’s northern quarter.

Sheffield.Sheffield Hallam University (SIA)Sheffield Institute Of Arts (SIA) run by Sheffield Hallam University is a gallery space that showcases creative practice, offering a program of changing exhibitions.

A Month Of Sundays GalleryA Month Of Sundays opened in 2010, it is a gallery run by Pete McKee a local Sheffield artist. The gallery plays host to exhibiting his own work as well as special exhibitions from other artists.

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CONCLUSION.

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The aim of this research project has been to explore and identify the reasons why graphic design has a limited place within the exhibition world in comparison to other creative disciplines.

Throughout this research project I have sought information from a multitude of sources within the UK and internationally. Accessing the opinions of practitioners in the creative field to actively seek thoughts and opinions on the question in hand.

The majority of views and opinions on the subject in hand are mixed, yet my view lies closely to the point ‘People go to art and graphic design goes to the people’. I believe this to be one of the main reasons why graphic design will continue to be overlooked unless the perception of the discipline changes.

Catherine Ince made the extremely significant point ‘Graphic design history is a much younger field than art history, it has not as much breath and has been analysed in that way for such a long time. The knock on effect of that is that there are fewer institutions around the country that deal with design’. This statement sums up one of the main reasons why graphic design has a limited place within the exhibition world.

Having mapped graphic design exhibitions within three cities in Britain, and explored graphic design exhibitions internationally has hopefully given a thorough picture of 20th and 21st century graphic design exhibitions. In its entirety there have been 81 exhibitions between 1959 and 2013 that were exclusively about graphic design, taken from 23 institutions between each city. The information gained has counteracted the question in answer by displaying the extent to which graphic design has been exhibited over a span of fifty-four years. Demonstrating that graphic design exhibitions do exist.

The timeline indicates a growing number of graphic design exhibitions each year and how there are a greater number of smaller institutions rather than larger ones dealing with exhibiting graphic design. This shows that graphic design exhibitions are increasing in popularity within the exhibition world.

I have attempted to gather as much information on graphic design exhibitions as possible, but it is not exhaustive. What I have found is that the criticisms and objections made about graphic design exhibitions are seemingly between, designers and designers, designers and curators and design and the public.

I have found that the main reasons why graphic design has a limited place within the exhibition world, is that there is not the expertise in house to deal with exhibiting graphic design. There is a hierarchy within the creative industry where particular disciplines hold more power over others.

I hold my reservations, as I am unsure whether graphic design having a limited place within the exhibition world is to do with what the public wants to see or the people making the decisions at the top. I think this is an underlying problem with practitioners choosing to exhibit a diverse range of disciplines in the 21st century.

The roles and purpose of a graphic designer is different to that of an artist, although the boundaries of disciplines are blurring I do not think the hierarchies within the creative world are likely to change anytime soon, thus changing the perception people have on graphic design being exhibited.

Having taken into account the barriers graphic designers face with exhibiting graphic design. I am concluding this research project with a few questions to be considered. 1.What is the future of graphic design being exhibited in galleries and museums?

2.What is the general publics perception of what a museum and gallery should and should not contain?

With the view that graphic design acts as a social documentation of time, past, present and future, I believe that graphic design should have its place within the exhibition world for this very reason alone.

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IMAGES.1. Photograph of the Kemistry Gallery, London

2. Exhibition programme, Editions and Originals - Daniel Eatock at the Kemistry Gallery

3. Cover issue Graphic Magazine # 11, ideas of design exhibition

4. Photographs of P! exhibition space

5. Bibliotheque exhibition design for Super Contemporary an exhibition on at the Design Museum in 2009

6. Projects Projects identity and exhibition design for Graphic Design: Now In Production

7. Photograph of the Tate Modern, London

8. OSPAAAL poster titled Day of the Heroic Guerrilla

9. M/M (Paris) The Carpetalogue, 1992 - 2012 exhibition at Gallery Libby Sellers in 2012

10. Alan Fletcher: Fifty years of graphic work (and play) exhibition at the design museum in 2006

11. Alan Fletchers, 26 Letters: Illuminating the Alphabet

12. Glory Glory book design

13. Occasional Papers,Writing About Graphic Design book by Richard Hollis

14. Sara de Bondt, Re-Titled

15. Sara de Bondt exhibition space during ‘Une Saison Graphique 2011’

16. Communicate: Independent British graphic design since the sixties exhibition catalogue

17. Richard Hollis exhibition at Gallery Libby Sellers in 2012

18. Craig Oldham’s hand written letter project -KK outlet -Daniel Eatock

19. Exhibition programme, Ten Years Of Posters - Experimental Jetset at the Kemistry Gallery

20. Exhibition programme, Gastrotypographicalassemblage: The Designs of Lou Dorfsman at the Kemistry Gallery

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With thanks to Anthony Hudek, Catherine Ince and Smiling Wolf