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Jack Self: What is design?
In the sixth and final Paul Rand Lecture of the Spring 2022 semester in Graphic Design, London-based architect Jack Self shares the structures that make up his interdisciplinary practices in curation, exhibition design, spatial strategy, brand consultancy, communications, publishing, editing, writing and creative direction.
The Director of REAL and Editor-in-Chief of Real Review, Self's work is dedicated to promoting democracy, inclusivity and equalities of many kinds. Over the last decade, Jack has built expertise in: domestic design and housing; the history of communitarian life; new environmental standards and the circular economy; and alternative models of finance and ownership (Jack coined the phrase "form follows finance").
His work has been shown widely, including at the Maxxi in Rome, Tate Britain, ICA and Design Museum. Self's writing has appeared in The Guardian, eflux, 032c, Financial Times, the BBC and CNN. His first book "Real Estates: Life Without Debt" (2014) is now in its third printing. His other books include "Home Economics: New Models of Domestic Life" (2016), "Mies in London" (2018), "Symbolic Exchange" (2017) and "Kommunen in der Neuen Welt: Utopian Communes in America 1740-1972" (2021).
The Director of REAL and Editor-in-Chief of Real Review, Self's work is dedicated to promoting democracy, inclusivity and equalities of many kinds. Over the last decade, Jack has built expertise in: domestic design and housing; the history of communitarian life; new environmental standards and the circular economy; and alternative models of finance and ownership (Jack coined the phrase "form follows finance").
His work has been shown widely, including at the Maxxi in Rome, Tate Britain, ICA and Design Museum. Self's writing has appeared in The Guardian, eflux, 032c, Financial Times, the BBC and CNN. His first book "Real Estates: Life Without Debt" (2014) is now in its third printing. His other books include "Home Economics: New Models of Domestic Life" (2016), "Mies in London" (2018), "Symbolic Exchange" (2017) and "Kommunen in der Neuen Welt: Utopian Communes in America 1740-1972" (2021).
Gina Osterloh: Representation & identity, illusion & the Real
Gina Osterloh's photography, video, performance art, and steel sculptures with text activate issues inherent to photography. While the printed image comprises the majority of Osterloh’s oeuvre– her art practice activates photographic conditions including replica, representation, flatness and volume, presence and absence, illusion and the Real, desire and repulsion. Her work urgently ask us to pause – as we participate in a world of image text militarization, globally in an unconscious weaponized state of keloid.
Osterloh’s photography and live performances present mark-making, the tracing of her own silhouette, or her body bound in reflective tape– in a quest to interrogate the boundaries of a body and notions of identity. Osterloh’s printed photographs depict large scale photo tableaux environments, meticulously constructed self-portraits, as well as drawing on photo backdrop paper, that expand our understanding of portraiture and what photography can be. Symbolic themes and formal elements such as the void, orifice, and the grid, in addition to a heightened awareness of color and repetitive pattern appear throughout Osterloh’s works. Osterloh cites her experiences as a mixed-race Filipina-German American woman in Ohio as a set of formative experiences that led her to photography, larger questions of perception, and how a viewer perceives difference.
Osterloh’s photography and live performances present mark-making, the tracing of her own silhouette, or her body bound in reflective tape– in a quest to interrogate the boundaries of a body and notions of identity. Osterloh’s printed photographs depict large scale photo tableaux environments, meticulously constructed self-portraits, as well as drawing on photo backdrop paper, that expand our understanding of portraiture and what photography can be. Symbolic themes and formal elements such as the void, orifice, and the grid, in addition to a heightened awareness of color and repetitive pattern appear throughout Osterloh’s works. Osterloh cites her experiences as a mixed-race Filipina-German American woman in Ohio as a set of formative experiences that led her to photography, larger questions of perception, and how a viewer perceives difference.
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