Tom Strong Principal/Designer StrongCohen Design New Haven, Connecticut I came to New Haven in 1960 and never left. My classmate and business partner, Marjorie Cohen Gorden, and I started StrongCohen 42 years ago, and we can still hear the echo of our teachers’ words.
< Norman Ives gave this project to pick several letters and play with them so they remained readable and yet became new symbols. My handmade, silkscreened book shows the letters B, N, X, and P with single full-page forms and multiples across a two-page spread.
If 9-point doesn’t work, try 8. A blank sheet of paper is beautiful; most anything you put on it is apt to spoil it. Be careful. Books should lie open regardless of size. Don’t lead Garamond. A mark should be simple enough to be drawn in the sand with a stick. — Alvin Eisenman -----------Stare. It is the way to educate your eye, and more. Stare, pry, listen, and eavesdrop. Die knowing something. You are not here long. — Walker Evans -----------Make it strong and simple. — Herbert Matter ------------
Color everywhere is no color at all. Using bold caps is like wearing a belt and suspenders. Modern typography activates the margins of the page. The function of the designer is to attract the bee to the pollen. — Paul Rand -----------Make it smart and beautiful. — Joel Katz Tom and I went to Yale together, 147 although he was the year ahead of me. We each had a room in the Beta Theta Pi fraternity house directly behind the Yale Daily News and next door to the Art and Architecture building. We have remained friends ever since. He and Marjorie Cohen have had a wonderful design practice for the last 40-plus years on Chapel Street in New Haven. –TM
Photos: Harald Sund, Illustrations: Victor Lazzaro
Champion Paper I had always been intrigued and inspired by the so-called “last great race on earth,” the Iditarod Sled Dog Race. For Christmas 1983 I purchased a book for my father on this incredible event. I called David Brown at home and proposed that Champion Paper send a photographer to Alaska to cover the next race. Harald Sund was hired to shoot the race from the ground and the air. After covering the entire event over 14 days, he was at the finish line when Dean Osmar won for the first time. Harald sent me thousands of slides filled with stunning images. The following year the finished promotion was featured in Graphis magazine’s annual year-end photography book. The brochure was mailed to designers, marketing executives, print buyers, and paper specifiers in a gift box with a Yukonstyle Henley shirt.
Champion Paper Each year, Champion held a major management meeting in a different city around the U.S., including Chicago, New York, and San Francisco. I would design a logotype for each, and this one for Boston in 1984 was one of my favorites. The design features an early negative version of the corporate symbol designed by John Massey. It was used on press folders, letterheads, badges, and meeting signage and graphics.
Mary Bennett, curator and artist for the center’s exhibition
women’s health issues. Eventually the vandal was caught and
Insight Out: Reversing Vandalism, wrote in her catalogue introduction, “At the beginning of 2001, San Francisco Public Library staff began finding books, that had been carved with a sharp instrument, hidden under shelving units. Many of these volumes, eventually numbering over 600, were related to issues of gay, lesbian, bisexual, and transgendered individuals, as well as topics including AIDS, mixed parentage, and
convicted of one count of felony vandalism with a hate-crime enhancement.” Mary secured 44 of those saved books, which she gave to Santa Fe artists to transform into works of art and statements against hate crimes. The covers of this 96-page catalogue feature photographs of the evidence box labels created by the San Francisco Police Department.
Catalogue Photography: James Hart
IDEA Early to Late Modernism Proto Modern Photography Alvin Langdon Coburn Pierre Dubreuil Limitations of the Medium Bernard Shea Horne Gertrude Käsebier Joan Myers Alfred Stieglitz E. Weyhe Clarence H. White Modern Form in Architecture, Landscape & Portraiture Ansel Adams Lewis Baltz Irene Bayer-Hecht Bernd & Hilla Becher Harry Callahan John Candelario Paul Caponigro Henri Cartier-Bresson Walter Chappell William Clift Boris Ignatovich Margarethe Mather Nicholas Nixon Eliot Porter Aaron Siskind Alfred Stieglitz Edward Weston Willard Van Dyke Minor White Georgii Zelma
New Mexico Museum of Fine Art Catalogue (above) for the Laurent Millet exhibit, Theatre of
Memory. Steve Yates writes in his essay, “Millet assembles sculptural installations, which he then photographs in situ. The camera is positioned to be site-specific. The artist photographs these large constructions with a self-made camera obscura or a wooden, nineteenth-century, 8- by 10-inch camera.” Cover (opposite) for the exhibition catalogue Idea Photographic:
After Modernism. The show offered a rare overview of the evolution of photographic ideas from modernism into the new century. As Steve Yates comments in his catalogue essay: “…The concepts and themes found throughout the history of modern photography are examined, time and again, as they evolve, taking different turns and finding new directions.”
Photography: (left) Laurent Millet
Santa Fe, NM
Beyond Realism Berenice Abbott Van Deren Coke Mario Giacomelli Ralph Gibson Vadim Guschin George Hugnet Dora Maar Frederick Sommer Josef Sudek Maurice Tabard Val Telberg Edmund Teske UMBO Jo Whaley Cultural Landscape Robert Adams Max Alpert Margaret Bourke-White Manuel Alvarez Bravo Marilyn Bridges Larry Clark John Collier, Jr. Linda Connor Roy DeCarava Jack Delano Miguel Gandert Mark Markov Grinberg Emmet Gowin Yakov Khalip Dorothea Lange Michael Lebron Russell Lee Danny Lyon Aleksandras Macijauskas Raul Martinez Yevgenni Mokhorev Wright Morris Igor Mukhin Edward Ranney Adrienne Salinger August Sander W. Eugene Smith Paul Strand Postmodern Appropriation Jim Stone Adams Stieglitz Strand
Photogram Aesthetic Thomas Barrow Jayne Hinds Bidaut Floris Neusüss Susan Rankaitis Man Ray Franz Roh Ralph Steiner Constructed to Be Photographed Francis Bruguière Sarah Charlesworth Robert H. Cumming Jaromír Funke Laura Gilpin Barbara Kasten Nicolai Kulebiaken Ted Kuykendall Patrick Nagatani Sergei Osmachkin Gerhard Richter Joel-Peter Witkin Self as Subject & Simulacra Dieter Appelt Karl Baden Ilse Bing Lee Friedlander Judith Golden Florence Henri Paula Hocks Valentina Kalugina Gustav Klutsis Joan Lyons Arnulf Rainier Lorna Simpson
After Modernism From the Avant-Garde Rudolph Baranik Mieczyslaw Berman Alexander Lavrentiev Nicholai Lavrentiev Alexander Rodchenko Varvara Rodchenko Varvara Stepanova Beyond the Medium Michael Berman Christian Boltanski Vladimir Brylyakov Valery & Natasha Cherkashin Gilbert & George Betty Hahn Robert Heinecken Douglas Huebler Jungjin Lee Victor Masayesva, Jr. Laurent Millet Galina Moskaleva Celia Alvarez Muñoz Robert Rauschenberg Holly Roberts James Rosenquist Michal Rovner Andy Warhol Feminism as Ethos Eleanor Antin Mary Beth Edelson Eunice Golden Ana Mendieta Meridel Rubenstein May Stevens
The Phillips Collection
Washington, DC The Phillips Collection in Washington, D.C., is home to one of the most impressive and exquisite collections of Impressionist and modern American and European art in the world. The museum was created by visionary art collector Duncan Phillips when he opened his home to the public in 1921. Between 2004 and 2005, Context Design completed an update of the museumâ€™s logotype and implemented its use on items from signage to stationery. We then designed and helped launch a new members magazine called Quarterly and produced all fund-raising, exhibition, marketing, and press materials.
Santa Fe Gallery Association
Santa Fe, NM
The Santa Fe Gallery Associationâ€™s primary mission is to support the artistic and cultural heritage of Santa Fe and its member galleries and art dealers. The group strives to improve business conditions while providing a forum for communications between members, the community, and governing bodies. Context Design was retained to design a new logotype that would reflect the diversity of work shown and represented by the 200-plus member galleries, from contemporary to classic, realistic to abstract, and serious to whimsical.