Jordan's Leading Grid Process Book by Jordan Graham

JORDAN

GRAHAM

FEATURED PHOTOGRAPHER RESEARCH

+ PIERPAOLO FERRARI MAURIZIO CATTELAN

Maurizio Cattelan is an Italian artist born in Padova, Italy. Maurizio is currently still living at the age of 57. His personal art practice has brought frequent attention to the discourse of contemporary art in modern culture. Cattelan's work has been the subject of numerous solo exhibitions, including at the Solomon R. Guggenheim Museum, New York; the Museum of Modern Art, New York; the Museum of Contemporary Art, Los Angeles; the Centre Georges Pompidou, Paris; and many more. The much younger photographer Pierpaolo Ferrari was born and raised in Milan, Italy. Ferrari achieved early success working with the agencies BBDO and Saatchi & Saatchi for clients including Nike, Sony, Campari, Heineken, MTV, and the car manufacturers Mercedes Benz, Audi and BMW. Both Italian deisgners, contemporary artist Maurizio Cattelan and photographer Pierpaolo Ferrari are the duo behind innovative agency and magazine Toiletpaper. Tolietpaper is best known for its cheeky hyperreal imagery, which has appeared in influential titles like Purple, Dazed & Confused, Vogue and Elle, breaking down the prevailing codes and photographic motifs of fashion, etc. This iconic duo first met when they created controversial photographs of supermodel Linda Evangelista for W’s November 2009 Art Issue. Inspired by the result of their collaboration, the duo founded Toiletpaper. The first issue was release in June of 2010. Then in 2012, Toiletpaper exhibited on the High Line Billboard in New York City. In the same year images taken from the first six issues were published in an anthology, together with selected narrative texts, that was reviewed in The New York Times’ Top 10 Photo Books. In June 2013, Toiletpaper images have featured on Palais de Tokyo’s front windows and a special edition of Libération. After all of this, they shot to fame when they began working with Kenzo in 2013, lending the advertising campaigns their distinctive supersaturated and surrealist flair. The first images featured model Sean O’Pry and actress Rinko Kikuchi pinned to a dissection table alongside

other pop-off-the-page bright beetles and butterflies, wearing all-over cloud and eyeball print coats to bold, graphic effect. Over the succeeding years, photos published in the magazine have been applied to a variety of products and media. Toiletpaper raunchy but iconic images have been reviewed by weekly and art magazines worldwide and appeared in special issues of magazines such as Vice and Hunger. In addition to the magazine and contemporary imagery created by the pair, Cattelan and Ferrari have diversified their creative output to include furniture, clothing, objects d’art and books. They also have a longstanding collaboration with Italian contemporary label MSGM. Kenzo and Toiletpaper have continued to collaborate on the partisan house’s campaigns for the past three seasons in addition to collaborating on a collection of T-shirts sweatshirts and iPhone cases, inspired by ancient religious sites in India, Nepal, and China. “We loved that this was something you could find across all of these different cultures, and resonated in so many different worlds,” Kenzo creative directors Carol Lim and Humberto Leon told W Magazine. “Everything around us can be infected with the Toiletpaper virus... We were trying to design an aesthetic criterion to be applied either for a party, a girlfriend or a design object, and, in part, we can affirm that we made it,” said Cattelan.

Characterized by high production value and sharp humor, the images produced by Cattelan and Ferrari are instantly recognizable and reflective of their respective positions as renowned artist and acclaimed photographer. According to an article from the 2014 online source for the Museum of Modern Art, that season the MoMA Design Store is pleased to announce the launch of an exclusive new series of artist-produced wares. To celebrate these artistic collaborations we’re going share with Inside/Out readers a behind-the-scenes look at the process of designing these exciting products, and background about the artists involved.more First up is the Seletti Wears Toiletpaper suite—dishes, mugs, and tablecloths adorned with visual puns, punchy metaphors, and avant-garde imagery—from Italian art provocateur Maurizio Cattelan and fashion photographer Pierpaolo Ferrari. The Museum of Modern Art has long supported Cattelan, a celebrated artist who is renowned for facetious sculptures and installations that poke fun at popular culture, history, and religion in a manner that is at once irreverent and bitingly critical. MoMA has many of Cattelan’s best-known pieces in its collection, and in 1998 his work was featured in the ongoing Elaine Dannheisser Projects series, which focuses on new art by rising talents. For the exhibition Cattelan presented an interpretation of

Pablo Picasso and the impact his likeness has on the public. Known for his pranks, Cattelan traumatized museumgoers by hiring an actor to don an oversized Picasso mask and walk silently around the Museum, rattling coins in a paper cup as if begging for alms. The stunt, like much of Cattelan’s work, hovered between homage, critique, and a joke at the expense of grim-faced art critics. The genesis of the Seletti Wears Toiletpaper suite came from Toiletpaper, the glossy publication founded in 2010 by Cattelan in collaboration with photographer Pierpaolo Ferrari. Toiletpaper contains no text, but combines slick photography with twisted narrative tableaux to create an explosively original journal that perfectly encapsulates Cattelan’s aberrant oeuvre. In an interview with Vogue Italia, Ferrari explained, “The magazine [is derived] from a passion/obsession that Maurizio and I have in common. Each picture springs from an idea, even a simple one, and then becomes a complex orchestration of people who build tableaux vivants. This project is also a sort of mental outburst.” The idea to bring the aesthetic of Toiletpaper to the table came from Stefano Seletti, art director of the Italian design firm founded by his family in 1964. Seletti, who has been a fan of Toiletpaper and its artful images since its debut, propositioned Cattelan and Ferrari to transform the imagery found in their magazine into a line of radical tableware. The idea dovetailed perfectly with the artists’ plan for the photographs contained in the magazine. “We think Toiletpaper is a brand that is applicable to different objects: magazines, books, plates, mugs, and tablecloths,” says Cattelan. “Pierpaolo and I are like sadistic scientists: everything around us can be infected by the ‘TP’ virus.”Following the success of the line’s worldwide premiere at Salone del Mobile in Milan and the subsequent presentation at Maison&Objet in Paris, the complete Seletti Wears Toiletpaper suite was recently launched stateside by the MoMA Design Store. Brazen and delightfully peculiar, the suite features flashy images that straddle the line between the beautiful and the grotesque. (Watch the promotional video on the product page to see just what we mean.) Matching mugs and plates in enameled tin recall the wares found in a 1950s cupboard and display a range of images from ridiculous to raunchy, including a toilet plunger, cut “ladyfingers,” bitten soap, a bird getting its wings clipped, and a gristly interpretation of the phrase ”I love you.” The trio of tablecloths feature gut-turning vignettes interspersed with some of Cattelan’s best-known motifs, from frog sandwiches and a fish filleted to reveal a bounty of gemstones to a picnic besieged by overgrown insects. Just as the artists’ work is most certainly an acquired taste, the Seletti Wears Toiletpaper line will undoubtedly flavor the conversation around your table, ensuring that your next meal is anything but bland.

For the High Line, Italian artists Maurizio Cattelan and Pierpaolo Ferrari have selected an image that at first perfectly blends in with nearby advertisements, but when viewed carefully, encourages a variety of free associations. The image depicts ten female fingers that initially appear to be detached from their hands by mysteriously popping out of a blue velvet background. Like an illusionistic trick performed by a magician, this eerie image highlights the deceptive power of photography, sketching an ambiguous visual tableau reminiscent of Surrealism. Like a Man Ray photograph, the image conjures a dreamlike atmosphere of a film noir, while at the same time it speaks of the city as a projection of dreams of opulence. You might ask youself: where are Maurizio and Pierpaolo now? Maurizio Cattelan (b. 1960, Italy) lives in Milan and New York. Recent solo exhibitions include Foundation Beyeler, Riehen, Switzerland (2013); Whitechapel Gallery, London (2012); the Menil Collection, Houson (2010); the DESTE Foundation for Contemporary Art, Athens (2009); and the Tate Modern, London (2007), among others. A major retrospective of his work was shown at the Guggenheim Museum, New York in 2011. He has participated numerous times in the Venice Biennale (1993, 1997, 1999, 2002, and 2009). Pierpaolo Ferrari (b. 1971, Italy) lives in Milan. As an advertising photographer Ferrari has worked with companies such as Nike, Audi, Mercedes, Samsung, Ray Ban, Alpha Romeo, Vespa, Campari, MTV, and the Venice Biennale, among others. In 2006, together with Federico Pele, he created the art magazine Le Dictateur. Most recently, he has been producing fashion photography with magazines such as Vogue.

MAIN IMAGES:

MORE MAIN IMAGES:

WORD LIST: 1. QUIRKY 2. FUN 3. COLORFUL 4. BRIGHT 5. RAUNCHY 6. JUXTAPOSITION 7. HUMOROUS 8. CONTROVERSIAL 9. INTRIGUING 10. PROVOKING 11. CAPTIVATING 12. ENTERTAINING 13. WHIMSICAL 14. LUDICROUS 15. SILLY 16. ODD (BALL) 17. IRREGULAR 18. PURPOSEFUL 19. ODD 20. GOOFY 21. HARMONIOUS 22. CONTRAST 23. SEXUAL 24. KINKY 25. SATIRE

26. EXOTIC 27. EROTIC 28. FLASHY 29. LOUD 30. INTENSE 31. GAY 32. FLAMBOYANT 33. SHOWY 34. PSYCHEDELIC 35. STIMULATING 36. REFRESHING 37. UNUSUAL 38. WEIRD 39. FUNKY 40. ECCENTRIC 41. PECULIAR 42. GROTESQUE 43. IMAGINATIVE 44. CONTEMPORARY 45. EDGY/EDGE 46. AVANT-GARDE 47. WITTY 48. EXTRAVAGANT 49. VIVID 50. DREAMY

KEYWORD DEFINITIONS: KINKY: INVOLVING OR GIVEN TO

UNUSUAL SEXUAL BEHAVIOR.

FLAMBOYANT: (OF A PERSON

OR THEIR BEHAVIOR) TENDING TO ATTRACT ATTENTION BECAUSE OF THEIR EXUBERANCE, CONFIDENCE, AND STYLISHNESS.

EDGY: AT THE FOREFRONT OF A TREND; EXPERIMENTAL OR AVANTGARDE. PSYCHEDELIC: RELATING TO OR DENOTING DRUGS (ESPECIALLY LSD) THAT PRODUCE HALLUCINATIONS AND APPARENT EXPANSION OF CONSCIOUSNESS. LUDICROUS : SO FOOLISH,

UNREASONABLE, OR OUT OF PLACE AS TO BE AMUSING; RIDICULOUS.

COLORFUL: HAVING MUCH OR VARIED COLOR; BRIGHT. FULL OF INTEREST; LIVELY AND EXCITING.

CALL OUTS: “EVERYTHING AROUND US CAN BE INFECTED WITH THE TOILETPAPER VIRUS... WE WERE TRYING TO DESIGN AN AESTHETIC CRITERION TO BE APPLIED EITHER FOR A PARTY, A GIRLFRIEND OR A DESIGN OBJECT, AND, IN PART, WE CAN AFFIRM THAT WE MADE IT,” SAID CATTELAN. “THE MAGAZINE [IS DERIVED] FROM A PASSION/OBSESSION THAT MAURIZIO AND I HAVE IN COMMON. EACH PICTURE SPRINGS FROM AN IDEA...” “A ‘MENTAL OUTBURST’ OF PSYCHEDELIC IMAGERY, VIBRANT VIGNETTES, AND ABSURD ILLUSTRATIONS”

WORD COMBINATIONS:

KINKY SATIRE

DREAMY FUNK

PYSCHEDELIC SURREAL

EROTIC CONTRAST

FLAMBOYANT EDGE

COLORFUL LUDICROUS

ARTICLE TITLES: 1. TWILIGHT ZONE 2. HALLUCINATIONS OF COLOR 3. EXUBERANCE 4. BITTEN SOAP 5. PYSCHEDELIC AMUSEMENT 6. FLAMBOYANT EDGE

KEY IMAGES:

The image above is my first choice for key image, as I believe it captures the essence of Cattelan and Ferrariâ&#x20AC;&#x2122;s work. Although, I am not 100% positive this image will be the perfect fit for my magazine opening spread. On that note, I will also be testing out the image photographed by the duo below. I love the popâ&#x20AC;&#x2122;s of color in this image. In addition, I think this image could possibly work better as my key image for my spread.

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HISTORICAL PHOTOGRAPHER RESEARCH

HORST P. HORST

In the history of twentieth-century fashion and portrait photography, Horst's contribution figures as one of the most artistically significant and long lasting, spanning as it did the sixty years between 1931 and 1991. During this period, his name became legendary as a one-word photographic byline, and his photographs came to be seen as synonymous with the creation of images of elegance, style and rarefied glamour.

the art patron and supporter of Surrealism. War was declared between America and Germany on 7 December 1941. Horst was called up for service, though he was not officially enrolled until July 1943. The late 1930s and early 1940s were his most productive years, during which he excelled at working with 10-x-8 inch colour transparen-

cies both for covers and for portrait and fashion sittings... As a typical example of wartime escapism, the Rita Hayworth film Cover Girl (1944) provided Horst with the opportunity to produce one of his most sumptuous film-star covers in a montage of seven different portraits of the cover girl Susann Shaw set against a silk design. His picture of Loretta Young became an almost immediate classic when it was featured in a special edition of Vogue which included masterpieces of photography selected by (classic photographer Edward) Steichen to show off the first hundred years of the medium. Pictures taken in Europe in the 1950s, away from studio interference from the new Vogue editor, had a startling plein-air quality. They ranged from Ian Fleming shot at Kitzbeuhel to an extended essay on the German conductor Herbert von Karajan in his modern sports car at his Austrian retreat... Horst's first important trip to Austria occurred in 1952, to work on a major advertising campaign with the new model Suzy Parker, who would become a major star in the 1960s before attempting a film career. In America that same year, he took his first lifestyle house and interior photographs; the sitter was Consuelo Vanderbilt, Duchess of Marlboro and now MMe. Jacques Balsan. This series, encouraged by Diana Vreeland during her time at Vogue, was to continue into the 1980s in both Vogue and House and Garden and was to be collected in the book Horst: Interiors by Barbara Plumb (1983).

Master status when the world's most famous pop goddess, Madonna, created her celebrated hymn to classic fashion photography with her single Vogue in 1990. In the video directed by David Fincher, she posed as a recreation of Horst's most iconic fashion image, a model seen from behind, wearing a partially tied, back-laced corset made by Detolle.

The 1960s started well for American Vogue with the appointment of the larger than life 'Empress of Fashion', Diana Vreeland, as Editor-in-Chief. Vreeland served from 1961 until 1971, when a change of approach was deemed necessary. Horst was assigned some of the leading players of the time and produced a number of archetypal images of this energetic decade. The 1970s remains the decade that good, timeless style overlooked, and work for Horst was necessarily sparse... However, Horst's rediscovery by a new group of 1980's style-seeking enthusiasts resulted in increasing commissions... Horst was commissioned to take nine photographs which appeared in February 1980. This was the most popular issue of Life in that year, selling 1.5 million copies. It led to a book contract and continued work with (editor James) Watters, whose encyclopaedic knowledge of early Hollywood stars made him the ideal interviewer as the two men travelled round America to produce their best-selling book Return Engagement: Faces to Remember - Then and Now (1984). Horst' career can be said to have reached Old

In his approach to portraiture, Horst set out to create a parallel aspirational universe in which his subjects became mysterious and alluring. Bruce Weber, one of many photographers influenced by Horst, artfully described his feelings about Horst's work in a 1992 television documentary: 'The elegance of his photographs ... took you to another place, very beautifully ... the untouchable quallity of the people is really interesting as it gives you something of a distance ... it's like seeing somebody from another world ... and you wonder who that person is and you really want to know that person and really want to fall inlove with that person'.

“FASHION IS AN EXPRESSION OF THE TIMES. ELEGANCE IS SOMETHING ELSE AGAIN.”

MORE WORK:

SUSAN SONTAG ESSAY

ments, Department Stores, Mammals, Wonders of Nature, Methods of Transport, Works of Art, and other classified treasures from around the globe. Godard's gag vividly parodies the equivocal magic of the photographic image., Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood.

Sontag, ON PHOTOGRAPHY (1977) Humankind lingers unregenerately in Plato's cave, still reveling, its age-old habit, in mere images of the truth. But being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more images around, claiming our attention. The inventory started in 1839 and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads -- as an anthology of images. To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store. In Godard's Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King's Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that Michel-Ange and Ulysse triumphantly bring home, years later, to their wives turns out to contain only picture postcards, hundreds of them, of Monu-

To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge -- and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire. Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them. For many decades the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality -- photographs are fragile

objects, easily torn or mislaid -- and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker's film, Si j'avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served up in books. Photographs furnish evidence. Something we hear about, but doubt, seems proven when we're shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what's in the picture. Whatever the limitations (through amateurism) or pretensions (through artistry) of the individual photographer, a photograph -- any photograph -- seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something "out there," just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as souvenirs of daily life.

While a painting or a prose description can never be other than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth. Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film -the precise expression on the subject's face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity -- and ubiquity -- of the photographic record is photography's "message," its aggression.

Images which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography's glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the capture of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images. That age when taking photographs required a cumbersome and expensive contraption -- the toy of the clever, the wealthy, and the obsessed -- seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

IMPORTANT DESIGNER RESEARCH

WHO IS HERB LUBALIN? Being successful in the graphic design business or even more importantly the graphic design world does not come easy. In order to truly achieve popularity and some sort of appreciation, designers work for years endlessly. And for few designers, this hard work and time can really all pay off. In the famous American graphic designer and typographer, Herb Lubalinâ&#x20AC;&#x2122;s case, it did. In January of 1981, Herb Lubalin received the 62nd annual AIGA medal in Great Hall of the New York Chamber of Commerce. Since that day he was recognized, Lubalin has become an inspiration and been researched, studied, written about, and imitated by people all over the world.

It all started in the year 1918, on March 17th in New York City. From a very young age on, Herbert (Herb) Lubalin has been responsible for creating thousands and thousands of creative design solutions. At the age of seventeen, Lubalin entered into Cooper Union. He later graduated in 1939. Although he has some trouble finding work, he eventually began work as the art director for Reiss Advertising and, then, sent nineteen to twenty years with Sudler & Hennessey. This lead to his long career in not only graphic design, but also typography. After joining forces with Raph Ginburg in the early 1960s, the two began publishing work for Eros, Fact, and Avant Garde magazines. This is where Lubalin is most notably recognized. Through the design and publication of Avant Garde magazine, Lubalin experimented with page format, page layout, and typographic solutions within the page. The format Lubalin was working with was almost square unlike other magazine publication. This was new and exciting and caught the eye of most of the New York design scene. In addition to this, Avant Garde allowed for Lubalin to freely continue creating his own typography. The design of the logo and typeface, TIC Avant Garde, was life changing for the magazine, Lubalin, and the rest of the world. Long after Lubalin’s death in 1981, the TIC Avant Garde typeface has lived on. It has allowed for thousands of logo creations that we know today to come to life in the 1900s and early 2000s. For Lubalin, typography was the “key.” It was not just a word or application to his work. Typography was designing with letters. The words, letters, even pieces of letters, how they connect or combine was cutting edge for his time. This design through manipulation of type did so much more than just put words on a page. Lubalin gave typography excitement, meaning, color, sound, movement, character, and so much more. Herb Lubalin’s work with typography was later coined the term “typographics’ by Aaron Burns. Herb Lubalin has been thought of as moving and influential even in this day and age. Other successful designers and artists have looked up to him for decades. According to fellow graphic designer, Lou Dorfsman, Herb Lubalin can be described as “a man who ‘profoundly influenced and changed our vision and perception of letter forms, words and language.”

WHY WAS ESQUIRE MAGAZINE IMPORTANT? Recognized as one of America’s greatest magazines, Esquire Magazine was founded in October of 1933, the height of the Great Depression. This magazine is an American Men’s magazine headquartered in Chicago, founded by Arnold Gingrich, David A. Smart, and Henry L. Jackson. Esquire featured writers such as Ernest Hemingway and F. Scott Fitzgerald.

WHO IS JONATHAN HOEFLER? Jonathan Hoefler is a successful American typeface designer. He founded The Hoefler Type Foundry or Hoefler & Co. in 1989 in New York. He has created fonts for Harper’s Bazaar, The New York Times, Rolling Stones, Esquire, and Sports Illustrated, along with working with Apple. Hoefler was named one of I.D. Magazine’s 40 most influential designers in America in 1995.

WHO IS ALEXEY BRODOVITCH?

Alexey Brodovitch was a pioneer of graphic design in the twentieth century. Although he was accomplished as a photographer, graphic designer and teacher, he is most well known for his art direction of the New York’s fashion magazine Harper’s Bazaar. Brodovitch brought a radically different style of typography and experimental photography to his magazine layouts which became popular in the mid 1900s. Brodovitch brought elegance to his spreads, which combined with his innovative style, was a great mix for a fashion magazine and allowed Harper’s Bazaar to become a fashion leading magazine. Born in Ogolitchi, Russia during 1898 to aristocratic parents, Brodovitch dreamt of becoming an artist but was forced by his family into military service. He served in the Russian army during World War I and fought the Bolsheviks during the Russian Civil War. In 1920 along with his wife Nina, Brodovitch moved to Paris and settled into the Montparnasse neighborhood with other aspiring Russian artists. There Brodovitch took a job painting houses and worked to increase social contacts with other artists. He then landed a job working on the sets for the Ballets Russes, a Russian ballet company performing in Paris. This more artistic work exposed him to vanguard art movements

such as Constructivism, as well as Art Deco and popular forms of pastiche. This experience drove his interest into the areas of photography, typography and their unique combination (The Art Institute of Chicago). His first major success came after winning a poster competition at a local theater; the second place poster was created by Pablo Picasso (Flask, Dominic). Brodovitch began working as a freelance graphic designer creating posters, advertisements, and restaurant menus. Brodovitch moved to the U.S. in 1930 and established the Department of Advertising Design at the Museum School of Industrial Art in Philadelphia. His students were exposed to cutting edge design work from Europe that eventually had an impact on graphic design in the U.S. Brodovitch formed a Design Laboratory course that went on to teach and inspire numerous young artists such as Irving Penn. In 1934, Harper’s Bazaar editor Carmel Snow saw Brodovitch’s work in New York City and suggested the fashion magazine hire him as its artistic director. While working at the magazine for 15 years, he helped the magazine depart from static layouts and posed studio photographs. He used double-page spread layout design with eloquent photographs, bold typeface and clever use of white space. He took photographs to help illustrate articles. Brodovitch sought to make each monthly issue flow visually as if it were music (Encyclopedia Britannica). He used changes in size, complexity, values and colors to provide the viewer with a different viewing experience. He hoped to provide movement and energy on the printed page. During Brodovitch’s time at Harper’s Bazaar, he collaborated with many famous photographers to create cutting edge layouts with dynamic locations and experimental photographic design. During Brodovitch’s artistic career, nearly everything he worked on was successful. He left a lasting impression on nearly everyone he touched: his colleagues, co-workers and students. He was not afraid to experiment and his style complemented the cutting edge fashion style he

A lifelong New Yorker, Gail Anderson is best known for her work at Rolling Stone magazine. Anderson is devoted to her craft, most notably her passion of type. She takes pride in making typography from old to new forms. Drew Hodges, current employer at SpotCo, describes Anderson’s passion and contribution to design as having a belief in the tradition of typography and a joy to use it in a contemporary vernacular (AIGA). Anderson uses type, often times with no images, to tell a story, set the tone or evoke a time period (Step Inside Design 74). Growing up in New York City, Gail drew a lot as a kid. She was fascinated with celebrity and pop culture and made Elton John posters, and little Partridge Family and Jackson 5 magazines. She wondered who designed layouts in Tiger Beat, Spec and 16 magazines. Anderson knew she wanted to be designer at a very young age and attended the School of Visual Arts in New York. Anderson’s first job out of college was at Vintage Books followed by two years at The Boston Globe. At the Globe, Anderson learned typographic eclecticism, mixing Victorian, Deco and Futurist types into a contemporary design (AIGA). From 1987 to 2002, Anderson worked at Rolling Stone magazine as senior art director. Her pages at Rolling Stone were typographic masterpieces that not only won several awards but also inspired many graphic designers to be better typographers (Haley 106). Many described her work at the magazine as “theatrical typography” (AIGA). Anderson directed letterforms that performed drama and comedy. Her two dimensional type expressed emotion and energy. Today, Anderson teaches a class at the School of Visual Arts about choreographing typefaces. She describes creating type by making them dance to the beats and rhythms of popular and alternative music. In 2002 Anderson made a bold career change, out of creative magazine editorial design to advertising at SpotCo. This design studio and agency specializes in creating artwork and ad campaigns for Broadway. Anderson now produces advertising content for more than half of the Broadway theatres. In addition to print, Anderson now also works on web, TV and radio. Anderson has learned to be a team collaborator, working with other designers. She believes it is exceptionally enjoyable to work with other designers and art directors. As an instructor, Anderson teaches the process of design should be fun, and that you need to be willing to work outside one’s own comfort zone. Working with letterforms and words must be enjoyable. She also suggests taking risks and not being afraid to take a change on innovation. Gail Anderson is passionate about type. To her it is alive, vibrant and often sensual. Commercial fonts, lettering, old advertising posters, vintage signs, font from antique books - all spark typographic emotions (Haley 109). It is no wonder that Anderson is in charge of SpotCo’s typeface library. She even encourages her team to take out tracing paper and just start drawing to create their own. Anderson’s devotion to typography is inspirational.

WHO IS GAIL ANDERSON?

WHO IS DAVID CARSON?

David Carson is one of the most influential designers of the 1990s. His work has been imitated by graphic designers all over the world. Carson has been labeled the “Father of Grunge”, for his style has defined what grunge typography has become. This style has become the largest movement in graphic design in the most recent history. During the ‘90s, David Carson was the most famous graphic designer on the planet (Creative Review 46). No other designer provokes such extreme reactions to their work. His work is either loved or despised. Yet, Carson spends a large amount of time giving back to the field of design. He talks to students and young professionals and runs workshops all over the world; the majority of this time is unpaid. Carson has a superstar designer persona and huge ego. Grunge typography, as first introduced by Carson, is a particular art movement of messy and chaotic kind of design. This unique, as well as interesting, style utilizes words, textures and backgrounds to create visually stimulating communication (Todorova). Shiny and glossy design elements are now officially outdated (Lennartz). The grunge look emerged to reflect more realistic design of actual life. Grunge designs can use dirty stains, torn images, creased pieces of paper, dirty textures and hand drawn elements. These dirty, graffiti like urban elements, portray what is real and not what is perfect. Carson was not formally trained in design. This alone, bothers many critics. Carson graduated with a degree in sociology. He started teaching while training to be a professional surfer. With surfing being a great influence in his life, Carson started experimenting in design during the 1980s. He was motivated to design for various surfing, skateboarding and snowboarding magazines, websites and product lines for such renowned

brands like Quicksilver, Burton and Nike (Todorova). Along with his success in design, Carson was once ranked the 8th best professional surfer in the world. Carson also did a lot of design work at Beach Culture and Ray Gun magazines. Carson credits this work for allowing him to experiment and create his own style. Not all liked this style, but the message was that it was okay to experiment and trust your own instincts with unique design. Ray Gun allowed Carson to experiment with deconstructive typography designs. His work here became some of his most well known. The magazine’s content aligned with Carson’s “keeping it real” persona for he worked with music artists, pop culture and lifestyle icons. This time is noted to have been the peak of Carson’s career. Carson is quoted as saying the at the surf culture is all about “keeping it real” and with this persona, coupled with his lack of formal training, irritates his critics. Carson’s work is uncomfortable for some because it is personal and self indulgent (Creative Review 49). Critics debate that design should be led by strong concept, which Carson’s work lacks. Carson is viewed as an unacceptable role model for the design industry. Without a shadow of a doubt, Carson has become one of the most influential graphic designers of the modern era. Carson has been the subject of many TED talks, workshops, newspaper articles in The New York Times, magazine articles in Newsweek and The Guardian and books. His own book, The End of Point, has sold over 200,000 copies making it the best selling design book of all times (Creative Review 49). All in all by breaking the rules of graphic design, I admire Carson for taking risks and experimenting with his own style. He is his own person that reflects in his design style

WHO IS TIBOR KALMAN? Tibor Kalman is an influential 1980s graphic designer whose accomplishments were famous both in the field of design, as well as outside. Kalman has had a great influence on the field by sharing his innovative ideas about art and society. For decades, Kalman was the industry’s moral compass which helped shape the way a generation of designers viewed the world (AIGA.org). Kalman used his influence in visual communication to convey what he believe was immoral in society, culture and business. Kalman was the “bad boy” of the graphic design profession. He wanted designers to take responsibility for how their work influenced society. Kalman, not only called himself a designer, but also more of a social activist. He sought out ways to use his design to promote environmentalism and economic equality. He refused to work with products that were considered harmful to the environment. He never hesitated to tell his clients what he thought.

Born in Budapest in 1949, Kalman immigrated to New York in 1957 after the unsuccessful Hungarian uprising against the Communist government. He attended New York University for one year before leaving for Cuba to pick cotton with the Venceremos Brigade, which took young Americans to help support the Communists. Returning to the U.S. in 1971, Kalman learned graphic design by doing window displays for the Student Book Exchange at N.Y.U. This store was owned by Leo Riggio, who later owned Barnes & Noble and made Kalman his first creative director. Knowing little about design, Kalman hired young design students to create his ideas until his creative control. In 1979, the discount store E.J. Korvettes hired Kalman to create their signs and displays. Tired of this job, Kalman started his own design firm out of his apartment in Greenwich Village. It was called M&Co.

Kalman’s fame first came when he designed the rock group, The Talking Heads, album cover. The cover featured the four band members’ photographs digitally manipulated. The title was in upside down font. This attention allowed M&Co. to push beyond the norms of design and typography. Kalman saw himself as a social activist for whom graphic design was a way to achieve two goals: good design and social responsibility. Kalman believed design should be sued to increase public awareness of a variety of social issues (Hellman). He urged his clients to use the advertising of M&Co. to promote political and social messaging. One message that was important to him was helping the homeless. This desire came from when he was a child. He and his immigrant family came to New York and became homeless. He never forgot the time when he was an alien. M&Co. became Kalman’s soapbox for social change. Kalman gradually moved away from graphic design and became editor and creative director for various magazines, most notably Colors. This Italian and English magazine was published by the clothing company Benetton. Colors was not your typical magazine focusing on its clothing line. But rather, it was focused on sociocultural issues like racism, AIDS and even sports. Kalman claimed that Colors was aimed at an audience of flexible minds, young people between 14 – 20 years of age. Colors became an outlet for Kalman’s ideas. An issue devoted to racism had a feature titled ''How to Change Your Race'' and examined cosmetic means of altering hair, features and skin color to achieve some kind of platonic ideal. Also in that issue, ''What If. . .,'' was a collection of manipulated photographs showing famous people racially transformed: Queen Elizabeth and Arnold Schwarzenegger as black; Pope John Paul II as Asian; Spike Lee as white and Michael Jackson with a Nordic cast. ''Race is not the real issue here,'' Mr. Kalman said. ''Power and sex are the dominant forces in the world.'' (Heller). All in all, Kalman’s use of photographs, type and images were influential to sell his ideas on societal change. I respect Kalman for his desire to change the world. He was fortunate that he could use his work to propel his ideas to help shape the world.

WHO IS NEVILLE BRODY?

Born on April 23rd in 1957 in Southgate, London, Neville Brody is one of the most influential figures of his time. And to our advantage, he is still living in London, England today. Neville Brody is an English graphic designer, typographer, and art director. Starting from a young age, Brody loved the arts, specifically painting. This later led to a complete obsession with art in his teenage years. Because of this he attended two schools of the arts, both the London College of Communication and Hornsey College of Art. These colleges of are two very powerful and prestigious design institutions in England. At this time in his life, the punk rock scene was beginning to take full effect over the whole country. By 1977, this movement or era had engulfed Brody. This is where he drew a lot of this inspiration and experimentation. According to Neville Brody himself, â&#x20AC;&#x153;Punk was probably the most influential thing to happen to me.â&#x20AC;? He has even written about this time in his life in many of this books, including his most recent book entitled Dezeen Book of Interviews.

Neville Brody is most often recognized for his work with The Face and Arena magazines. In addition, he also founded Research Studios in 1994. Today, he has Research Studios offices in not only London, but also Paris, Berlin, and Barcelona. His first largely popularized and appreciated work was as art director for The Face. Brody began changing the dynamic of editorial work. He did not want “basic” or “structural” rules to exist in the work he was putting out there. While designing for Arena magazine, Brody continued to push the boundaries of design and artist expression. His cutting-edge work has allowed him to work on several other projects outside of these. Brody has also designed covers for Cabaret Voltaire, The Bongos, and Depeche Mode. More specifically his work with Nike has also gotten him some recognition. Brody used graphic design and typography to help Nike create a new branding strategy in 1988. In 1991, he began work with the interactive magazine FUSE, in which he is still working with today. Brody’s work alongside Jon Wozencroft for the FUSE has allow him to develop more in the typographic field. This magazine has range of subjects it covers including religion, pornography, codes, runes, etc. More recently, Neville Brody launched a new look for Dom Perignon champage in February of 2007. Brody also redesigned The British Broadcasting Corporation or better known as BBC in September of 2011. In the latest addition to Arena magazine, Brody actually art directed designed the whole 32nd issue. He also created two new completely different typefaces, Buffalo and Popaganda. Lastly, Neville Brody has a current permanent collection at the MOMA, or Museum of Modern Art. In addition, he is the head of Communication Art and Design department at London’s Royal College of Art.

TITLE DEVELOPMENT

FLAMBOYANT EDGE

Photography by Maurizio Cattelan and Pierpaolo Ferrari

THE TWILIGHT ZONE

Photography by Maurizio Cattelan and Pierpaolo Ferrari

HALLUCINATIONS

Photography by Maurizio Cattelan and Pierpaolo Ferrari

FLAMBOYANT EDGE

Photography by Maurizio Cattelan and Pierpaolo Ferrari

FLAMBOYANT EDGE PHOTOGRAPHY BY MAURIZIO CATTELAN AND PIERPAOLO FERRARI

FLAMBOYANT EDGE

Photography by Maurizio Cattelan and Pierpaolo Ferrari

FLAMBOYANT EDGE

Photography by Maurizio Cattelan and Pierpaolo Ferrari

FLAMBOYANT EDGE Photography by Maurizio Cattelan and Pierpaolo Ferrari

FLAMBOYANT EDGE

Photography by Maurizio Cattelan and Pierpaolo Ferrari

F L A M B O Y A N T EDGE photography by maurizio cattelan and pierpaolo ferrari

flamboyant edge PHOTOGRAPHY BY MAURIZIO CATTELAN AND PIERPAOLO FERRARI

FLAMBOYANT EDGE PHOTOGRAPHY BY MAURIZIO CATTELAN AND PIERPAOLO FERRARI

THE TWILIGHT ZONE

photography by maurizio cattelan and pierpaolo ferrari

THE TWILIGHT ZONE Photography by Maurizio Cattelan and Pierpaolo Ferrari

THE TWILIGHT ZONE

Photography by Maurizio Cattelan and Pierpaolo Ferrari

“THE TWILIGHT ZONE” PHOTOGRAPHY BY MAURIZIO CATTELAN AND PIERPAOLO FERRARI

“the twilight zone”

PHOTOGRAPHY BY MAURIZIO CATTELAN AND PIERPAOLO FERRARI

THE TWILIGHT ZONE Photography by Maurizio Cattelan and Pierpaolo Ferrari

“THE TWILIGHT ZONE”

Photography by Maurizio Cattelan and Pierpaolo Ferrari

the twilight zone PHOTOGRAPHY BY MAURIZIO CATTELAN AND PIERPAOLO FERRARI

T HE TW I LI GH T ZO N E

Photography by Maurizio Cattelan and Pierpaolo Ferrari

THE TWILIGHT ZONE

photography by maurizio cattelan and pierpaolo ferrari

HALLUCINATIONS

Photography by Maurizio Cattelan and Pierpaolo Ferrari

HALLUCINATIONS PHOTOGRAPHY BY MAURIZIO CATTELAN AND PIERPAOLO FERRARI

HALLUCINATIONS photography by maurizio cattelan and pierpaolo ferrari

HALLUCINATIONS

Photography by Maurizio Cattelan and Pierpaolo Ferrari

HALLUCINATIONS

Photography by Maurizio Cattelan and Pierpaolo Ferrari

HALLUCINATIONS Photography by Maurizio Cattelan and Pierpaolo Ferrari

HALLUCINATIONS

Photography by Maurizio Cattelan and Pierpaolo Ferrari

HALLUCINATIONS PHOTOGRAPHY BY MAURIZIO CATTELAN AND PIERPAOLO FERRARI

“ HALLUCINATIONS “ PHOTOGRAPHY BY MAURIZIO CATTELAN AND PIERPAOLO FERRARI

TYPO GRAPHICAL SOLUTIONS

PHOTOGRAPHY BY MAURIZIO CATTELAN AND PIERPAOLO FERRARI

PHOTOGRAPHY BY CATTELAN & FERRARI

photography by maurizio cattelan and pierpaolo ferrari

Photography by Cattelan and Ferrari

Photography by Maurizio Cattelan and Pierpaolo Ferrari

PHOTOGRAPHY BY MAURIZIO CATTELAN & PIERPAOLO FERRARI

PHOTOGRAPHY BY MAURIZIO CATTELAN AND PIERPAOLO FERRARI

THETWILIGHT

PHOTOGRAPHY BY MAURIZIO CATTELAN AND PIERPAOLO FERRARI

PHOTOGRAPHY BY MAURIZIO CATTELAN & PIERPAOLO FERRARI

PHOTOGRAPHY BY MAURIZIO CATTELAN AND PIERPAOLO FERRARI

Photography by Cattelan and Ferrari

PHOTOGRAPHY BY MAURIZIO CATTELAN AND PIERPAOLO FERRARI

25 OPENING SPREAD DESIGNS

MAGAZINE NAME

MAURIZIO CATTELAN & PIERPAOLO FERRARI PHOTOGRAPHY

MAGAZINE NAME

BY JORDAN GRAHAM

MAURIZIO CATTELAN & PIERPAOLO FERRARI PHOTOGRAPHY BY JORDAN GRAHAM

“A ‘MENTAL OUTBURST’ OF PSYCHEDELIC IMAGERY, VIBRANT VIGNETTES, AND ABSURD ILLUSTRATIONS”

MAGAZINE NAME 5

Photography by Cattelan and Ferrari

by jordan graham

magazine name

“a ‘mental outburst’ of psychedelic imagery, vibrant vignettes, and absurd illustrations”

Photography by Maurizio Cattelan and Pierpaolo Ferrari

Magazine name

magazine name

flamboyant edge maurizio cattelan and pierpaolo ferrari photography

MAGAZINE NAME

BY JORDAN GRAHAM

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MAURIZIO CATTELAN & PIERPAOLO FERRARI PHOTOGRAPHY BY JORDAN GRAHAM

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PHOTOGRAPHY BY MAURIZIO CATTELAN AND PIERPAOLO FERRARI

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BY JORDAN GRAHAM

MAGAZINE NAME

PHOTOGRAPHY BY MAURIZIO CATTELAN & PIERPAOLO FERRARI

MAGAZINE NAME

BY JORDAN GRAHAM

MAGAZINE NAME

“a ‘mental outburst’ of p s y c h e d e l i c i m a g e r y, vibrant vignettes, and absurd illustrations”

M AG A Z I N E NA M E

F L A M B O YA N T

EDGE Maurizio Cattelan & P i e r p a o l o Fe r r a r i Photography

M AG A Z I N E NA M E

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“A ‘ M E N TA L O U T B U R ST ’ O F P SYC H E D E L I C I M AG E RY, V I B RA N T V I G N E T T ES, A N D A B S U R D I L LU ST RAT I O N S”

HA L L U C

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BY J O R DA N G RA H A M

M AUR I Z I O CAT T E L A N A N D P IE R PAOLO FE R RAR I P H OTOGRAP H Y

C I N A T I O N S

“A ‘MENTAL OUTBURST’ OF PSYCHEDELIC IMAGERY, VIBRANT VIGNETTES, AND ABSURD ILLUSTRATIONS”

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PHOTOGRAPHY BY CATTELAN & FERRARI MAGAZINE NAME

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PHOTOGRAPHY BY MAURIZIO CATTELAN & PIERPAOLO FERRARI

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the twilight zone PHOTOGRAPHY BY MAURIZIO CATTELAN AND PIERPAOLO FERRARI

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BY JORDAN GRAHAM

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FLAMBOYANT EDGE MAURIZIO CATTELAN AND PIERPAOLO FERRARI PHOTOGRAPHY

BY JORDAN GRAHAM

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FLAMBOYANT EDGE “A ‘MENTAL

OUTBURST’ OF

PSYCHEDELIC

IMAGERY,

VIBRANT VIGNETTES,

& ABSURD

ILLUSTRATIONS”

MAGAZINE NAME

MAURIZIO CATTELAN & PIERPAOLO FERRARI PHOTOGRAPHY

MAGAZINE NAME

THE

MAURIZIO CATTE

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TWILIGHT ONE Z “A ‘MENTAL

OUTBURST’ OF PSYCHEDELIC

IMAGERY,

VIBRANT VIGNETTES, & ABSURD ILLUSTRATIONS”

ELAN & PIERPWAOLO FERRARI PHOTOGRAPHY

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maurizio cattelan & pierpaolo ferrari photography

magazine name

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by jordan graham

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MAGAZINE NAME

“A ‘MENTAL OUTBURST’ OF PSYCHEDELIC IMAGERY, VIBRANT VIGNETTES, & ABSURD ILLUSTRATIONS”

MAGAZINE NAME

MAURIZIO CATTELAN & PIERPAOLO FERRARI PHOTOGRAPHY

H A L L U C I N AT I O N S 4

magazine name

MAURIZIO CATTELAN & PIERPAOLO FERRARI PHOTOGRAPHY

Dit, utae sedio el modia veror sitiunt od qui dempel illandanis alit essitatia volore vitatiore is enis explabo. Nam ex estioneces atem quia doluptio inis ra nosanimus, illa eumet mint autae. Et as sum, tem. Nemporum expelenime sit et volum facerum inci cum voloritas eatium nonecusam labore dolupti orporer ereratecea quae. Equossi te dit ratur aut es pro quaes remoluptat. Ugit adit pro mo tempore, cus nonsequ isseque voluptasit, ut abore doluptatem restius, essecab oresento exceaquatem aut eiure sant hiliciisim nisciis doluptusciam ipiendita ea sequiam estisci minum, quatemq uatectem enimaios andis et reperum non pelibustrum que pra inctur milit omnis cone vidusae. Obitatempos aped eos et por aceate labori tem earchillabor ariandae simint. Xero te volorrum et laciae poresti atius, iumendebit re, odi re reptatur, et magnatiunt, con pratem rae litatur? Vid esecus, a dolor simus, is est, corerum nes et est, to vellabo remperi untis et praes nisci aspeles tibusa vent labo. Officab orerro volorruntia eumquam ut et lanto tecum accae resecer untius que volor simus voles-

“A ‘MENTAL OUTBURST’ OF PSYCHEDELIC IMAGERY, VIBRANT VIGNETTES, & ABSURD ILLUSTRATIONS”

magazine name

BY JORDAN GRAHAM

HA LLU CIN A TION S

magazine name

MAURIZIO CATTELAN & PIERPAOLO FERRARI PHOTOGRAPHY

MAGAZINE NAME

H A L L U C I N HH AA LL LL UU CC I I N HH AA L L L L UU CC I I NN H A L L U C I N M A U R I Z I O C AT T E L A N & P I E R PA O L O F E R R A R I P H O T O G R A P H Y

MAGAZINE NAME

N A T I O N S N A T I O N S N A T I O N S NN AA TT I I OO NN SS N A T I O N S BY JORDAN GRAHAM

MAGAZINE NAME

“A ‘ M E N TA L OUTBURST’ OF PSYCHEDELIC IMAGERY, VIBRANT VIGNETTES, & ABSURD ILLUSTRATIONS”

THE TWILIGHT ZONE

MAGAZINE NAME

MAURIZIO CATTELAN & PIERPAOLO FERR ARI PHOTOGRAPHY

FONT STUDIES

FONT STUDIES: MIX ONE SANS AND ONE SERIF FAMILY

Caption: re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta volupt

ARTICLE TITLE

THIS IS A SUBHEAD

Ehenihic totae et, il ipis doloratiberi sed eaquati nverfer uptatem sunt ommodio conet que a aut omnisti busapero inte volum re non exerro veliqui quaecto ex eumquae errorum fuga. Nam ea conectatem. Ignis secta eaquata tectur? Ihit et qui digendi tatiusci voluptatus, quibus doluptatum quodi odiat odioriti aut endionet mod quia ipsandis mo con re parchil in prat excerunte simus sam que molorio vel enis aut ulliquaturit ventusdae. Fugia nulparum iur si comnihit prae exceaqui corem. Videro conseru mquiantium ad ut acessime ac-

INTRO TEXT 14/18PT:

CALL OUTS 24/36 pt

In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae.

BODY TEXT 8.5/12pt: Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci dolenim aiorepeliqui occupta spedipidic te vendi dem dolorepercia evenit que voluptate vellupt atibere prepel ma consedi ilit deriore perspitia quatibus mi, consequatem ipsunt ut dolorro rerionsequi sequi dus arcipsandus doluptatqui non es sum conecae qui voluptatus et lab ius dolupta tibusae magnatus mos si berunt laciis aut vel is expelent ad excest, te pre, officaborum quas velessum fuga. Sus doloreptur? Sit, optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat. Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOptatis nost, sim lam nobit, odi reprate pelitiorrum quat. Ur alibusam qui illuptas apisse liquibus autemquias vollabo repudipsam, te quid moditatia sequund itatquidus que porem et qui doluptatatem sit quia digent atus am faceatem am, od eossundamus unt rem non et porem es des quamenderem quibusdam ent offic te volut etur, tetures rem ratemo enduciis eossim volupta tiunt.

Optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone ofﬁcii strundi dello cuptat. Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOmnitiist aut es ut labor as earion necerum quuntib erferibus, sam restiis ma cores ut harciis aut doluptia qui dolorpor molupta cum eatur? Nobitas event reictotatis pedi odit laborro volore si archilla as aut voloremquias dolorem porume mi, cus volore doluptatam liqui ima as porrum etur atinctem remqui am raturem aut volende rsperferiate nobis quatet, vendendandi volorro cus audipsumquat liquiant omnisim olupta diat omnis acimint quisime cum corit hillo eum ut hiciam, non etur, oditat qui apis aut elit veria ped quaeper ioremol uptaten daecessinum, id milisqui dolorum estrum aut volupta spelecte pla sam, qui dollent paria adioribus reicipi cienimu sciandae doluptam faceat dis si il ipsapita quia delit et, conessi minullab id everiberit mo beati re volest, sandae lab imusam, est vel ipsapellat quassequi vita doloribus mo to et labo. Et ulluptatur am fugit magnihil et aces aliquam endis modis essin nimoluptatem dolorum suntur sam conecer sperum ne min reperspedit hario. Hic te explatem sinum nonsequi berrum ventur autem. Nam quas explis eiusti. In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta voluptatur? Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci Sus doloreptur?

Font studies: mix one Sans and one Serif family

Caption: re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta volupt

article title THIS IS A SUBHEAD

INTRO TEXT 14/18PT:

CALL OUTS 24/36 pt

In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae.

BODY TEXT 8.5/12pt: Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci dolenim aiorepeliqui occupta spedipidic te vendi dem dolorepercia evenit que voluptate vellupt atibere prepel ma consedi ilit deriore perspitia quatibus mi, consequatem ipsunt ut dolorro rerionsequi sequi dus arcipsandus doluptatqui non es sum conecae qui voluptatus et lab ius dolupta tibusae magnatus mos si berunt laciis aut vel is expelent ad excest, te pre, officaborum quas velessum fuga. Sus doloreptur? Sit, optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat. Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOptatis nost, sim lam nobit, odi reprate pelitiorrum quat. Ur alibusam qui illuptas apisse liquibus autemquias vollabo repudipsam, te quid moditatia sequund itatquidus que porem et qui doluptatatem sit quia digent atus am faceatem am, od eossundamus unt rem non et porem es des quamenderem quibusdam ent offic te volut etur, tetures rem ratemo enduciis eossim volupta tiunt.

Optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat. Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOmnitiist aut es ut labor as earion necerum quuntib erferibus, sam restiis ma cores ut harciis aut doluptia qui dolorpor molupta cum eatur? Nobitas event reictotatis pedi odit laborro volore si archilla as aut voloremquias dolorem porume mi, cus volore doluptatam liqui ima as porrum etur atinctem remqui am raturem aut volende rsperferiate nobis quatet, vendendandi volorro cus audipsumquat liquiant omnisim olupta diat omnis acimint quisime cum corit hillo eum ut hiciam, non etur, oditat qui apis aut elit veria ped quaeper ioremol uptaten daecessinum, id milisqui dolorum estrum aut volupta spelecte pla sam, qui dollent paria adioribus reicipi cienimu sciandae doluptam faceat dis si il ipsapita quia delit et, conessi minullab id everiberit mo beati re volest, sandae lab imusam, est vel ipsapellat quassequi vita doloribus mo to et labo. Et ulluptatur am fugit magnihil et aces aliquam endis modis essin nimoluptatem dolorum suntur sam conecer sperum ne min reperspedit hario. Hic te explatem sinum nonsequi berrum ventur autem. Nam quas explis eiusti. In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta voluptatur? Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci Sus doloreptur?

Font studies: mix one Sans and one Serif family

Caption: re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta volupt

article title THIS IS A SUBHEAD

INTRO TEXT 14/18PT: Ehenihic

totae et, il ipis doloratiberi sed eaquati nverfer uptatem sunt ommodio conet que a aut omnisti busapero inte volum re non exerro veliqui quaecto ex eumquae errorum fuga. Nam ea conectatem. Ignis secta eaquata tectur? Ihit et qui digendi tatiusci voluptatus, quibus doluptatum quodi odiat odioriti aut endionet mod quia ipsandis mo con re parchil in prat excerunte simus sam que molorio vel enis aut ulliquaturit ventusdae. Fugia nulparum iur si comnihit prae exceaqui corem.Videro conseru mquiantium ad ut acessime accus duntibus magnati anducius vent architi rem sequi vel ea vendem explabo.

CALL OUTS 24/36 pt

In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae.

BODY TEXT 8.5/12pt: Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci dolenim aiorepeliqui occupta spedipidic te vendi dem dolorepercia evenit que voluptate vellupt atibere prepel ma consedi ilit deriore perspitia quatibus mi, consequatem ipsunt ut dolorro rerionsequi sequi dus arcipsandus doluptatqui non es sum conecae qui voluptatus et lab ius dolupta tibusae magnatus mos si berunt laciis aut vel is expelent ad excest, te pre, officaborum quas velessum fuga. Sus doloreptur? Sit, optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat. Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOptatis nost, sim lam nobit, odi reprate pelitiorrum quat. Ur alibusam qui illuptas apisse liquibus autemquias vollabo repudipsam, te quid moditatia sequund itatquidus que porem et qui doluptatatem sit quia digent atus am faceatem am, od eossundamus unt rem non et porem es des quamenderem quibusdam ent offic te volut etur, tetures rem ratemo enduciis eossim volupta tiunt.

Font studies: mix one Sans and one Serif family

Caption: re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta volupt

ar t ic l e titl e THIS IS A SUBHEAD INTRO TEXT 14/18PT: Ehenihic totae et, il ipis doloratiberi sed eaquati nverfer uptatem sunt ommodio conet que a aut omnisti busapero inte volum re non exerro veliqui quaecto ex eumquae errorum fuga. Nam ea conectatem. Ignis secta eaquata tectur? Ihit et qui digendi tatiusci voluptatus, quibus doluptatum quodi odiat odioriti aut endionet mod quia ipsandis mo con re parchil in prat excerunte simus sam que molorio vel enis aut ulliquaturit ventusdae. Fugia nulparum iur si comnihit prae exceaqui corem. Videro conseru mquiantium ad ut acessime accus duntibus magnati anducius vent architi rem sequi vel ea vendem explabo.

CALL OUTS 24/36 pt

“In re et q ue etus te s t , qui remquatur a bo . Da m f acerem q ue il i t a t i andenim q ua e et u r repe s und i p is vo l u p tiis s int ve len d i i liatiis ipici ps a e. ”

mos si berunt laciis aut vel is expelent ad excest, te pre, ofﬁcaborum quas velessum fuga. Sus doloreptur? Sit, optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone ofﬁcii strundi dello cuptat. Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOptatis nost, sim lam nobit, odi reprate pelitiorrum quat. Ur alibusam qui illuptas apisse liquibus autemquias vollabo repudipsam, te quid moditatia sequund itatquidus que porem et qui

doluptatatem sit quia digent atus am faceatem am, od eossundamus unt rem non et porem es des quamenderem quibusdam ent ofﬁc te volut etur, tetures rem ratemo enduciis eossim volupta tiunt.

Nobitas event reictotatis pedi odit laborro volore si archilla as aut voloremquias dolorem porume mi, cus volore doluptatam liqui ima as porrum etur atinctem remqui am raturem aut volende rsperferiate nobis quatet, vendendandi volorro cus audipsumquat liquiant omnisim olupta diat omnis acimint quisime cum corit hillo eum ut hiciam, non etur, oditat qui apis aut elit veria ped quaeper ioremol uptaten daecessinum, id milisqui dolorum estrum aut volupta spelecte pla sam, qui dollent paria adioribus reicipi cienimu sciandae doluptam faceat dis si il ipsapita quia delit et, conessi minullab id everiberit mo beati re volest, sandae lab imusam, est vel ipsapellat quassequi vita doloribus mo to et labo. Et ulluptatur am fugit magnihil et aces aliquam endis modis essin nimoluptatem dolorum suntur sam conecer sperum ne min reperspedit hario. Hic te explatem sinum nonsequi berrum ventur autem. Nam quas explis eiusti. In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta voluptatur? Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci Sus doloreptur?

Font studies: mix one Sans and one Serif family

Caption: re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta volupt

ARTICLE TITLE THIS IS A SUBHEAD

INTRO TEXT 14/18PT: Ehenihic totae et, il ipis doloratiberi sed eaquati nverfer uptatem sunt

ommodio conet que a aut omnisti busapero inte volum re non exerro veliqui quaecto ex eumquae errorum fuga. Nam ea conectatem. Ignis secta eaquata tectur? Ihit et qui digendi tatiusci voluptatus, quibus doluptatum quodi odiat odioriti aut endionet mod quia ipsandis mo con re parchil in prat excerunte simus sam que molorio vel enis aut ulliquaturit ventusdae. Fugia nulparum iur si comnihit prae exceaqui corem. Videro conseru mquiantium ad ut acessime accus duntibus magnati anducius vent architi rem sequi vel ea vendem.

CALL OUTS 24/36 pt

IN RE ET QUE ETUSTEST, QUI REMQUATUR ABO. DAM FACEREM QUE ILITATI ANDENIM QUAE ETUR REPE SUNDIPIS VOLUPTIIS SINT VELENDI ILIATIIS IPICIPSAE.

BODY TEXT 8.5/12pt: Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci dolenim aiorepeliqui occupta spedipidic te vendi dem dolorepercia evenit que voluptate vellupt atibere prepel ma consedi ilit deriore perspitia quatibus mi, consequatem ipsunt ut dolorro rerionsequi sequi dus arcipsandus doluptatqui non es sum conecae qui voluptatus et lab ius dolupta tibusae magnatus mos si berunt laciis aut vel is expelent ad excest, te pre, officaborum quas velessum fuga. Sus doloreptur? Sit, optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat. Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOptatis nost, sim lam nobit, odi reprate pelitiorrum quat. Ur alibusam qui illuptas apisse liquibus autemquias vollabo repudipsam, te quid moditatia sequund itatquidus que porem et qui doluptatatem sit quia digent atus am faceatem am, od eossundamus unt rem non et porem es des quamenderem quibusdam ent offic te volut etur, tetures rem ratemo enduciis eossim volupta tiunt.

FONT STUDIES: MIX ONE SANS AND ONE SERIF FAMILY

Caption: re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta volupt

ARTICLE TITLE this is a subhead

INTRO TEXT 14/18PT:

CALL OUTS 24/36 pt

IN RE ET QUE ETUSTEST, QUI REMQUATUR ABO. DAM FACEREM QUE ILITATI ANDENIM QUAE ETUR REPE SUNDIPIS VOLUPTIIS SINT VELENDI ILIATIIS IPICIPSAE.

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THREE FEATURED PHOTOGRAPHER DIRECTIONS

MAGAZINE NAME

MAURIZIO CATTELAN & PIERPAOLO FERRARI PHOTOGRAPHY

MAGAZINE NAME

BY JORDAN GRAHAM

MAGAZINE NAME

“A ‘MENTAL OUTBURST’ OF PSYCHEDELIC IMAGERY, VIBRANT VIGNETTES, AND ABSURD ILLUSTRATIONS”

MAGAZINE NAME

Maurizio Cattelan is an Italian artist born

lected narrative texts, that was reviewed in

Over the succeeding years, photos published

in Padova, Italy. Maurizio is currently still

The New York Times’ Top 10 Photo Books. In

in the magazine have been applied to a

living at the age of 57. His personal art

June 2013, Toiletpaper images have featured

variety of products and media. Toiletpaper

practice has brought frequent attention to

on Palais de Tokyo’s front windows and a spe-

raunchy but iconic images have been

the discourse of contemporary art in modern

cial edition of Libération.

reviewed by weekly and art magazines worldwide and appeared in special issues

culture. Cattelan's work has been the subject of numerous solo exhibitions, including at

After all of this, they shot to fame when they

of magazines such as Vice and Hunger. In

the Solomon R. Guggenheim Museum, New

began working with Kenzo in 2013, lending

addition to the magazine and contemporary

York; the Museum of Modern Art, New

the advertising campaigns their distinctive

imagery created by the pair, Cattelan and

York; the Museum of Contemporary Art, Los

super-saturated and surrealist flair. The first

Ferrari have diversified their creative output

Angeles; the Centre Georges Pompidou,

images featured model Sean O’Pry and ac-

to include furniture, clothing, objects d’art

Paris; and many more. The much younger

tress Rinko Kikuchi pinned to a dissection

and books. They also have a longstanding

photographer Pierpaolo Ferrari was born and

table alongside other pop-off-the-page bright

collaboration with Italian label MSGM.

raised in Milan, Italy. Ferrari achieved early

beetles and butterflies, wearing all-over cloud

success working with the agencies BBDO and

and eyeball print coats to bold,

Kenzo

Saatchi & Saatchi for clients including Nike,

graphic effect.

to collaborate on the partisan house’s

Sony, Campari, Heineken, MTV, and the car manufacturers Mercedes Benz, Audi and BMW. Both Italian deisgners, contemporary artist Maurizio

Cattelan

Pierpaolo

Ferrari

and are

the

photographer duo

behind

innovative agency and magazine Toiletpaper. Tolietpaper is best known for its cheeky hyperreal imagery, which has appeared in influential titles like Purple, Dazed & Confused, Vogue and Elle, breaking down the prevailing codes and photographic motifs of fashion, etc. This iconic duo first met when they created controversial photographs of supermodel Linda Evangelista for W’s November 2009 Art Issue. Inspired by the result of their collaboration, the duo founded Toiletpaper. The first issue was release in June of 2010. Then in 2012, Toiletpaper exhibited on the High Line Billboard in New York City. In the same year images taken from the first six issues were published in an anthology, together with se-

and

Toiletpaper

have

continued

MAGAZINE NAME

campaigns for the past three seasons in addition to collaborating on a collection of T-shirts sweatshirts and iPhone cases, inspired by ancient religious sites in India, Nepal, and China. “We loved that this was something you could find across all of these different cultures, and resonated in so many different worlds,” Kenzo creative directors Carol Lim and Humberto Leon told W Magazine. Characterized by high production value and sharp humor, the images produced by

Cattelan

and

Ferrari

are

instantly

recognizable and reflective of their respective positions as renowned artist and acclaimed photographer. According to an article from the 2014 online source for the Museum of Modern Art, that season the MoMA Design Store is pleased to announce the launch of an exclusive new series of artist-produced wares. To celebrate these artistic collaborations we’re going share with Inside/Out readers a behind-thescenes look at the process of designing these exciting products, and background about the artists involved.more First up is the Seletti Wears Toiletpaper suite—dishes, mugs, and tablecloths adorned with visual puns, punchy metaphors, and avant-garde imagery—from Italian art provocateur Maurizio Cattelan and fashion photographer Pierpaolo Ferrari. The Museum of Modern Art has long supported Cattelan, a celebrated artist who is renowned for facetious sculptures and installations that poke fun at popular culture, history, and religion in a manner that is at once irreverent and bitingly critical. MoMA has many of Cattelan’s best-known pieces in its collection, and in 1998 his work was

MAGAZINE NAME

featured in the ongoing Elaine Dannheisser Projects series, which focuses on new art by rising talents. For the exhibition Cattelan presented an interpretation of Pablo Picasso and the impact his likeness has on the public. Known for his pranks, Cattelan traumatized museumgoers by hiring an actor to don an oversized Picasso mask and walk silently around the Museum, rattling coins in a paper cup as if begging for alms. The stunt, like much of Cattelan’s work, hovered between homage, critique, and a joke at the expense of grim-faced art critics. The genesis of the Seletti Wears Toiletpaper suite came from Toiletpaper, the glossy publication founded in 2010 by Cattelan in collaboration with photographer Pierpaolo Ferrari. Toiletpaper contains no text, but combines slick photography with twisted narrative tableaux to create an explosively original journal that perfectly encapsulates Cattelan’s aberrant oeuvre. In an interview with Vogue Italia, Ferrari explained, “The magazine [is derived] from a passion/obsession that Maurizio and I have in common. Each picture springs from an idea, even a simple one, and then becomes a complex orchestration of people who build tableaux vivants. This project is also a sort of mental outburst.” The idea to bring the aesthetic of Toiletpaper to the table came from Stefano Seletti, art director of the Italian design firm founded by his family in 1964. Seletti, who has been a fan of Toiletpaper and its artful images since its debut, propositioned Cattelan and Ferrari to transform the imagery found in their magazine into a line of radical tableware.

MAGAZINE NAME

The idea dovetailed perfectly with the

You might ask youself: where are Maurizio

artists’ plan for the photographs contained

and Pierpaolo now?

in the magazine. “We think Toiletpaper is a brand that is applicable to different objects:

Maurizio Cattelan (b. 1960, Italy) lives in

magazines,

and

Milan and New York. Recent solo exhibitions

tablecloths,” says Cattelan. “Pierpaolo and I

include Foundation Beyeler, Riehen, Switzer-

are like sadistic scientists: everything around

land (2013); Whitechapel Gallery, London

us can be infected by the ‘TP’ virus.”Following

(2012); the Menil Collection, Houson (2010);

the success of the line’s worldwide premiere

the DESTE Foundation for Contemporary Art,

at Salone del Mobile in Milan and the

Athens (2009); and the Tate Modern, London

subsequent presentation at Maison&Objet in

(2007), among others. A major retrospective

Paris, the complete Seletti Wears Toiletpaper

of his work was shown at the Guggenheim

suite was recently launched stateside by the

Museum, New York in 2011. He has partici-

MoMA Design Store.

pated numerous times in the Venice Biennale

books,

plates,

mugs,

(1993, 1997, 1999, 2002, and 2009). PierBrazen and delightfully peculiar, the suite

paolo Ferrari (b. 1971, Italy) lives in Milan.

features flashy images that straddle the line

As an advertising photographer Ferrari has

between the beautiful and the grotesque.

worked with companies such as Nike, Audi,

(Watch the promotional video on the product

Mercedes, Samsung, Ray Ban, Alpha Romeo,

page to see just what we mean.) Matching

Vespa, Campari, MTV, and the Venice Bien-

mugs and plates in enameled tin recall the

nale, among others. In 2006, together with

wares found in a 1950s cupboard and

Federico Pele, he created the art magazine

display a range of images from ridiculous

Le Dictateur. Most recently, he has been pro-

to raunchy, including a toilet plunger, cut

ducing fashion photography with magazines

“ladyfingers,” bitten soap, a bird getting its

such as Uomo Vogue.

wings clipped, and a gristly interpretation of the phrase ”I love you.” The trio of tablecloths feature gut-turning vignettes interspersed with some of Cattelan’s best-known motifs, from frog sandwiches and a fish filleted to reveal a bounty of gemstones to a picnic besieged by overgrown insects. Just as the artists’ work is most certainly an

“EVERYTHING AROUND US CAN BE INFECTED WITH THE TOILETPAPER

acquired taste, the Seletti Wears Toiletpaper line will undoubtedly flavor the conversation around your table, ensuring that your next meal is anything but bland. For the High Line, Italian artists Maurizio Cattelan and Pierpaolo Ferrari have selected an image that at first perfectly blends in with nearby advertisements, but when viewed carefully, encourages a variety of free associations. The image depicts ten female fingers that initially appear to be detached from their hands by mysteriously popping out of a blue velvet background. Like an illusionistic trick performed by a magician, this

VIRUS... WE WERE TRYING TO DESIGN AN AESTHETIC CRITERION TO BE APPLIED EITHER FOR A PARTY, A GIRLFRIEND OR A DESIGN OBJECT,

eerie image highlights the deceptive power of photography, sketching an ambiguous visual tableau reminiscent of Surrealism. Like a Man Ray photograph, the image conjures a dreamlike atmosphere of a film noir, while at the same time it speaks of the city as a projection of dreams of opulence.

AND, IN PART, WE CAN AFFIRM THAT WE MADE IT,”

MAGAZINE NAME | VOL. 1

BY JORDAN GRAHAM

MAURIZIO CATTELAN & PIERPAOLO FERRARI PHOTOGRAPHY

FLAMBOYANT EDGE

MAGAZINE NAME | VOL. 1

BY JORDAN GRAHAM

MAURIZIO C AT T E L A N & PIERPAOLO FERRARI PHOTOGRAPHY

FLAMBOYANT EDGE

This iconic duo first met when they created controversial photographs of supermodel Linda Evangelista for W’s November 2009 Art Issue. Inspired by the result of their collaboration, the duo founded Toiletpaper. The first issue was release in June of 2010. Then in 2012, Toiletpaper exhibited on the High Line Billboard in New York City. In the same year images taken from the first six issues were published in an anthology, together with selected narrative texts, that was reviewed in The New York Times’ Top 10 Photo Books. In June 2013, Toiletpaper images have featured on Palais de Tokyo’s front windows and a special edition of Libération.

MAGAZINE NAME | VOL. 1

“A ‘ M E N TA L O U T B U R S T ’ O F PSYCHEDELIC IMAGERY, VIBRANT VIGNETTES, & A B S U R D I L LU S T R AT I O N S ”

FLAMBOYANT EDGE

MAGAZINE NAME | VOL. 1

Over the succeeding years, photos published in the magazine have been applied to a variety of products and media. Toiletpaper raunchy but iconic images have been reviewed by weekly and art magazines worldwide and appeared in special issues of magazines such as Vice and Hunger. In addition to the magazine and contemporary imagery created by the pair, Cattelan and Ferrari have diversified their creative output to include furniture, clothing, objects d’art and books. They also have a longstanding collaboration with Italian label MSGM.

Kenzo and Toiletpaper have continued to collaborate on the partisan house’s campaigns for the past three seasons in addition to collaborating on a collection of T-shirts sweatshirts and iPhone cases, inspired by ancient religious sites in India, Nepal, and China. “We loved that this was something you could find across all of these different cultures, and resonated in so many different worlds,” Kenzo creative directors Carol Lim and Humberto Leon told W Magazine.

According to an article from the 2014 online source for the Museum of Modern Art, that season the MoMA Design Store is pleased to announce the launch of an exclusive new series of artist-produced wares. To celebrate these artistic collaborations we’re going share with Inside/Out readers a behind-the-scenes look at the process of designing these exciting products, and background about the artists involved.more First up is the Seletti Wears Toiletpaper suite—dishes, mugs, and tablecloths adorned with visual puns, punchy metaphors, and avant-garde imagery—

The genesis of the Seletti Wears Toiletpaper suite came from

from Italian art provocateur Maurizio Cattelan and fashion

Toiletpaper, the glossy publication founded in 2010 by Cattelan

photographer Pierpaolo Ferrari.

in collaboration with photographer Pierpaolo Ferrari. Toiletpaper contains no text, but combines slick photography with twisted

The Museum of Modern Art has long supported Cattelan, a

narrative tableaux to create an explosively original journal that

celebrated artist who is renowned for facetious sculptures and

perfectly encapsulates Cattelan’s aberrant oeuvre.

installations that poke fun at popular culture, history, and religion

In an interview with Vogue Italia, Ferrari explained, “The magazine

in a manner that is at once irreverent and bitingly critical. MoMA

[is derived] from a passion/obsession that Maurizio and I have in

has many of Cattelan’s best-known pieces in its collection, and

common. Each picture springs from an idea, even a simple one,

in 1998 his work was featured in the ongoing Elaine Dannheisser

and then becomes a complex orchestration of people who build

Projects series, which focuses on new art by rising talents. For

tableaux vivants. This project is also a sort of mental outburst.”

the exhibition Cattelan presented an interpretation of Pablo Picasso and the impact his likeness has on the public. Known for

The idea to bring the aesthetic of Toiletpaper to the table came

his pranks, Cattelan traumatized museumgoers by hiring an actor

from Stefano Seletti, art director of the Italian design firm founded

to don an oversized Picasso mask and walk silently around the

by his family in 1964. Seletti, who has been a fan of Toiletpaper

Museum, rattling coins in a paper cup as if begging for alms. The

and its artful images since its debut, propositioned Cattelan and

stunt, like much of Cattelan’s work, hovered between homage,

Ferrari to transform the imagery found in their magazine into a

critique, and a joke at the expense of grim-faced art critics.

line of radical tableware.

FLAMBOYANT EDGE

For the High Line, Italian artists Maurizio Cattelan and Pierpaolo Ferrari have selected an image that at first The idea dovetailed perfectly with the artists’ plan for

perfectly blends in with nearby advertisements, but when

the photographs contained in the magazine. “We think

viewed carefully, encourages a variety of free associations.

Toiletpaper is a brand that is applicable to different objects:

The image depicts ten female fingers that initially appear

magazines, books, plates, mugs, and tablecloths,” says

to be detached from their hands by mysteriously popping

Cattelan. “Pierpaolo and I are like sadistic scientists:

out of a blue velvet background. Like an illusionistic trick

everything around us can be infected by the ‘TP’

performed by a magician, this eerie image highlights the

virus.”Following the success of the line’s worldwide

deceptive power of photography, sketching an ambiguous

premiere at Salone del Mobile in Milan and the subsequent

visual tableau reminiscent of Surrealism. Like a Man Ray

presentation at Maison&Objet in Paris, the complete Seletti

photograph, the image conjures a dreamlike atmosphere

Wears Toiletpaper suite was recently launched stateside by

of a film noir, while at the same time it speaks of the city as

the MoMA Design Store.

a projection of dreams of opulence.

Brazen and delightfully peculiar, the suite features flashy

You might ask youself: where are Maurizio and Pierpaolo

images that straddle the line between the beautiful and the

now? Maurizio Cattelan (b. 1960, Italy) lives in Milan and

grotesque. (Watch the promotional video on the product

New York. Recent solo exhibitions include Foundation

page to see just what we mean.) Matching mugs and plates

Beyeler, Riehen, Switzerland (2013); Whitechapel Gallery,

in enameled tin recall the wares found in a 1950s cupboard

London (2012); the Menil Collection, Houson (2010); the

and display a range of images from ridiculous to raunchy,

DESTE Foundation for Contemporary Art, Athens (2009);

including a toilet plunger, cut “ladyfingers,” bitten soap, a

and the Tate Modern, London (2007), among others. A major

bird getting its wings clipped, and a gristly interpretation

retrospective of his work was shown at the Guggenheim

of the phrase ”I love you.” The trio of tablecloths feature

Museum, New York in 2011. He has participated numerous

gut-turning vignettes interspersed with some of Cattelan’s

times in the Venice Biennale (1993, 1997, 1999, 2002, and

best-known motifs, from frog sandwiches and a fish filleted

2009). Pierpaolo Ferrari (b. 1971, Italy) lives in Milan. As

to reveal a bounty of gemstones to a picnic besieged by

an advertising photographer Ferrari has worked with

overgrown insects.

companies such as Nike, Audi, Mercedes, Samsung, Ray

Just as the artists’ work is most certainly an acquired taste,

Ban, Alpha Romeo, Vespa, Campari, MTV, and the Venice

the Seletti Wears Toiletpaper line will undoubtedly flavor

Biennale, among others. In 2006, together with Federico

the conversation around your table, ensuring that your next

Pele, he created the art magazine Le Dictateur. Most

meal is anything but bland.

recently, he has been producing fashion photography with magazines such as Uomo Vogue.

MAGAZINE NAME | VOL. 1

FLAMBOYANT EDGE

h a

u c

maurizio cattelan & pierpaolo ferrari photography

magazine name

i n

n t

by jordan graham

magazine name

Over the succeeding years, photos published in the aurizio Cattelan is an Italian artist

magazine have been applied to a variety of products

born in Padova, Italy. Maurizio is currently still living at

and media. Toiletpaper raunchy but iconic images

the age of 57. His personal art practice has brought

have been reviewed by weekly and art magazines

frequent attention to the discourse of contemporary art

worldwide and appeared in special issues of

in modern culture. Cattelan's work has been the subject

magazines such as Vice and Hunger. In addition to

of numerous solo exhibitions, including at the Solomon

the magazine and contemporary imagery created

R. Guggenheim Museum, New York; the Museum of

by the pair, Cattelan and Ferrari have diversified

Modern Art, New York; the Museum of Contemporary Art,

their creative output to include furniture, clothing,

Los Angeles; the Centre Georges Pompidou, Paris; and many more. The much younger photographer Pierpaolo Ferrari was born and raised in Milan, Italy. Ferrari achieved early success working with the agencies BBDO and Saatchi & Saatchi for clients including Nike, Sony, Campari, Heineken, MTV, and the car manufacturers Mercedes Benz, Audi and BMW.

magazine name

objects d’art and books. They also have a longstanding collaboration with Italian label MSGM.

different cultures, and resonated in so many different

adorned with visual puns, punchy metaphors, and

worlds,” Kenzo creative directors Carol Lim and

avant-garde imagery—from Italian art provocateur

Humberto Leon told W Magazine.

Maurizio Cattelan and fashion photographer Pierpaolo Ferrari.

Characterized by high production value and sharp humor, the images produced by Cattelan and

The Museum of Modern Art has long supported

Ferrari are instantly recognizable and reflective of

Cattelan, a celebrated artist who is renowned for

their respective positions as renowned artist and

facetious sculptures and installations that poke fun at

acclaimed photographer.

popular culture, history, and religion in a manner that is at once irreverent and bitingly critical. MoMA has many of Cattelan’s best-known pieces in its collection, and in 1998 his work was featured in the ongoing Elaine Dannheisser Projects series, which focuses on new art by rising talents. For the exhibition Cattelan presented an interpretation of Pablo Picasso and the impact his likeness has on the public. Known for his pranks, Cattelan traumatized museumgoers by hiring an actor to don an oversized Picasso mask and walk silently around the Museum, rattling coins in a paper cup as if begging for alms. The stunt, like much of Cattelan’s work, hovered between homage, critique, and a joke at the expense of grim-faced art critics.

The genesis of the Seletti Wears Toiletpaper suite came from Toiletpaper, the glossy publication founded in 2010 by Cattelan in collaboration with photographer Pierpaolo Ferrari. Toiletpaper contains no text, but combines slick photography with twisted narrative tableaux to create an explosively original journal that perfectly encapsulates Cattelan’s aberrant oeuvre.

“a ‘mental outburst’ of According to an article from the 2014 online source for

psychedelic

the Museum of Modern Art, that season the MoMA Design Store is pleased to announce the launch of an exclusive new series of artist-produced wares. To celebrate these

i m a g e r y,

artistic collaborations we’re going share with Inside/ Out readers a behind-the-scenes look at the process of designing these exciting products, and background

vibrant vignettes,

about the artists involved.more First up is the Seletti Wears Toiletpaper suite—dishes, mugs, and tablecloths

& absurd illustrations”

magazine name

i w

magazine name

t i

o In an interview with Vogue Italia, Ferrari explained, “The magazine [is derived] from a passion/obsession that Maurizio and I have in common. Each picture springs from an idea, even a simple one, and then becomes a complex orchestration of people who build tableaux vivants. This project is also a sort of mental outburst.”

Brazen and delightfully peculiar, the suite features flashy images that straddle the line between the beautiful and the grotesque. (Watch the promotional video on the product page to see just what we mean.) Matching mugs and plates in enameled tin recall the wares found in a 1950s cupboard and display a range of images from ridiculous to raunchy, including a toilet plunger, cut “ladyfingers,” bitten soap, a bird getting its wings clipped, and a gristly interpretation of the phrase ”I love you.” The trio of tablecloths feature gut-turning vignettes interspersed with some of Cattelan’s best-known motifs, from frog sandwiches and a fish filleted to reveal a bounty of gemstones to a picnic besieged by overgrown insects.

magazine name

Just as the artists’ work is most certainly

You might ask youself: where are

an acquired taste, the Seletti Wears

Maurizio and Pierpaolo now?

Toiletpaper line will undoubtedly flavor

Maurizio Cattelan (b. 1960, Italy) lives

the conversation around your table,

in Milan and New York. Recent solo ex-

ensuring that your next meal is anything

hibitions include Foundation Beyeler,

but bland.

Riehen, Switzerland (2013); Whitechapel Gallery, London (2012); the Menil Collec-

For the High Line, Italian artists Maurizio

tion, Houson (2010); the DESTE Founda-

Cattelan and Pierpaolo Ferrari have

tion for Contemporary Art, Athens (2009);

selected an image that at first perfectly

and the Tate Modern, London (2007),

blends in with nearby advertisements,

among others. A major retrospective of

but when viewed carefully, encourages

his work was shown at the Guggenheim

a variety of free associations. The image

Museum, New York in 2011. He has par-

depicts ten female fingers that initially

ticipated numerous times in the Venice

appear to be detached from their hands

Biennale (1993, 1997, 1999, 2002, and

by mysteriously popping out of a blue

2009). Pierpaolo Ferrari (b. 1971, Italy)

velvet background. Like an illusionistic

lives in Milan. As an advertising photog-

trick performed by a magician, this eerie

rapher Ferrari has worked with compa-

image highlights the deceptive power of

nies such as Nike, Audi, Mercedes, Sam-

photography, sketching an ambiguous

sung, Ray Ban, Alpha Romeo, Vespa,

visual tableau reminiscent of Surrealism.

Campari, MTV, and the Venice Biennale,

Like a Man Ray photograph, the image

among others. In 2006, together with

conjures a dreamlike atmosphere of a

Federico Pele, he created the art mag-

film noir, while at the same time it speaks

azine Le Dictateur. Most recently, he has

of the city as a projection of dreams of

been producing fashion photography

opulence.

with magazines such as Uomo Vogue.

“everything around us can be infected with t h e t o i l e t p a p e r v i r u s . . .”

magazine name

4 MAGAZINE NAME

FLAMBOYANT EDGE “A ‘MENTAL

OUTBURST’ OF PSYCHEDELIC

IMAGERY,

VIBRANT VIGNETTES,

& ABSURD

ILLUSTRATIONS”

MAGAZINE NAME

BY JORDAN GRAHAM

MAURIZIO CATTELAN & PIERPAOLO FERRARI PHOTOGRAPHY

After all of this, they shot to fame when they began working with Kenzo in 2013, lending the advertising campaigns their distinctive super-saturated and surrealist flair. The first images featured model Sean O’Pry and actress Rinko Kikuchi pinned to a dissection table alongside other pop-off-the-page bright beetles and butterflies, wearing all-over cloud and eyeball print coats to bold, graphic effect. Over the succeeding years, photos published in the magazine have been applied to a variety of products and media. Toiletpaper raunchy but iconic images have been reviewed by weekly and art magazines worldwide and appeared in special issues of magazines such as Vice and Hunger. In addition to the magazine and contemporary imagery created by the pair, Cattelan and Ferrari have diversified their creative output to include furniture, clothing, objects d’art and books. They also have a longstanding collaboration with Italian contemporary label MSGM.

“THE MAGAZINE [IS DERIVED] FROM A PASSION/OBSESSION THAT MAURIZIO AND I HAVE IN COMMON. EACH PICTURE SPRINGS

”

FROM AN IDEA...

MAGAZINE NAME

The Museum of Modern Art has long supported Cattelan, a celebrated artist who is renowned for facetious sculptures and installations that poke fun at popular culture, history, and religion in a manner that is at once irreverent and bitingly critical. MoMA has many of Cattelan’s best-known pieces in its collection, and in 1998 his work was featured in the ongoing Elaine Dannheisser Projects series, which focuses on new art by rising talents. For the exhibition Cattelan presented an interpretation of Pablo Picasso and the impact his likeness has on the public. Known for his pranks, Cattelan traumatized museumgoers by hiring an actor to don an oversized Picasso mask and walk silently around the Museum, rattling coins in a paper cup as if begging for alms. The stunt, like much of Cattelan’s work, hovered between homage, critique, and a joke at the expense of grim-faced art critics. The genesis of the Seletti Wears Toiletpaper suite came from Toiletpaper, the glossy publication founded in 2010 by Cattelan in collaboration with photographer Pierpaolo Ferrari. Toiletpaper contains no text, but combines slick photography with twisted narrative tableaux to create an explosively original journal that perfectly encapsulates Cattelan’s aberrant oeuvre. In an interview with Vogue Italia, Ferrari explained, “The magazine [is derived] from a passion/obsession that Maurizio and I have in common. Each picture springs from an idea, even a simple one, and then becomes a complex orchestration of people who build tableaux vivants. This project is also a sort of mental outburst.”

The idea to bring the aesthetic of Toiletpaper to the table came from Stefano Seletti, art director of the Italian design firm founded by his family in 1964. Seletti, who has been a fan of Toiletpaper and its artful images since its debut, propositioned Cattelan and Ferrari to transform the imagery found in their magazine into a line of radical tableware. The idea dovetailed perfectly with the artists’ plan for the photographs contained in the magazine. “We think Toiletpaper is a brand that is applicable to different objects: magazines, books, plates, mugs, and tablecloths,” says Cattelan. “Pierpaolo and I are like sadistic scientists: everything around us can be infected by the ‘TP’ virus.”Following the success of the line’s worldwide premiere at Salone del Mobile in Milan and the subsequent presentation at Maison & Objet in Paris, the complete Seletti Wears Toiletpaper suite was recently launched stateside by the MoMA Design Store. Brazen and delightfully peculiar, the suite features flashy images that straddle the line between the beautiful and the grotesque. (Watch the promotional video on the product page to see just what we mean.) Matching mugs and plates in enameled tin recall the wares found in a 1950s cupboard and display a range of images from ridiculous to raunchy, including a toilet plunger, cut “ladyfingers,” bitten soap, a bird getting its wings clipped, and a gristly interpretation of the phrase ”I love you.” The trio of tablecloths feature gutturning vignettes interspersed with some of Cattelan’s best-known motifs, from frog sandwiches and a fish filleted to reveal a bounty of gemstones to a picnic besieged by overgrown insects.

Just as the artists’ work is most certainly an acquired taste, the Seletti Wears Toiletpaper line will undoubtedly flavor the conversation around your table, ensuring that your next meal is anything but bland.

MAGAZINE NAME

“EVERYTHING AROUND US CAN BE INFECTED WITH THE TOILETPAPER

MAGAZINE NAME

VIRUS... “

MAGAZINE NAME

MAGAZINE COVER RESEARCH

10 MAGAZINE COVERS

edge*

maurizio cattelan & pierpaolo ferrari horst p. horst susan sontag

volume 39 fall 2017

edge /c u r v e

volume 01 / fall 2017 maurizio cattelan & pierpaolo ferrari horst p. horst susan sontag

MAURIZIO CATTELAN + PIERPAOLO FERRARI HORST P. HORST SUSAN SONTAG

FALL 2017

VOLUME 01

E D C U

G R

E V

+ E

e g

d c

+ r

v e

VOLUME VOLUME01 01//FALL FALL2017 2017 MAURIZIO MAURIZIO CATTELAN CATTELAN ++PIERPAOLO PIERPAOLOFERRARI FERRARI HORST HORSTP.P.HORST HORST SUSAN SUSANSONTAG SONTAG

DGE/CURV

volume 39 fall 2017

EDGE/CURVE maurizio cattelan & pierpaolo ferrari, horst p. horst, susan sontag

VOL. 01 EDGE & CURVE

EDGE

volume 1

+curve

maurizio cattelan + pierpaolo ferrari horst p. horst susan sontag

MAURIZIO

CATTELAN

PIERPAOLO FERRARI , HORST P. HORST , SUSAN SONTAG

EDGE+ CURVE

v0l. 01

edge* MAURIZIO CATTELAN + PIERPAOLO FERRARI

VOLUME 01 FALL 2017

SUSAN SONTAG

HORST P. HORST

VOLUME 01 FALL 2017

EDGE+ CURVE

MAURIZIO CATTELAN + PIERPAOLO FERRARI HORST P. HORST SUSAN SONTAG

REFINED FEATURED PHOTOGRAPHER ARTCLE

EDGE/CURVE

a l n a

c i s

t io

EDGE/CURVE

Pierpaolo Ferrari

was born and raised in Milan, Italy. Ferrari achieved early success working with the agencies BBDO and Saatchi & Saatchi for clients including Nike, Sony, Campari, Heineken, MTV, and the car manufacturers Mercedes Benz, Audi and BMW.

EDGE/CURVE

“a

‘mental

outburst’ of psychedelic i m a g e r y, vibrant vignettes, & absurd illustrations

”

EDGE/CURVE

Both Italian deisgners, contemporary artist Maurizio

ing with Kenzo in 2013, lending the advertising campaigns

Cattelan and photographer Pierpaolo Ferrari are the duo

their distinctive super-saturated and surrealist flair. The first

behind innovative agency and magazine Toiletpaper.

images featured model Sean O’Pry and actress Rinko Ki-

Tolietpaper is best known for its cheeky hyperreal imagery,

kuchi pinned to a dissection table alongside other pop-

which has appeared in influential titles like Purple, Dazed

off-the-page bright beetles and butterflies, wearing all-

& Confused, Vogue and Elle, breaking down the prevailing

over cloud and eyeball print coats to bold, graphic effect.

codes and photographic motifs of fashion, etc.

Over the succeeding years, photos published in the magazine have been applied to a variety of products and

This iconic duo first met when they created controversial

media. Toiletpaper raunchy but iconic images have been

photographs of supermodel Linda Evangelista for W’s No-

reviewed by weekly and art magazines worldwide and

vember 2009 Art Issue. Inspired by the result of their col-

appeared in special issues of magazines such as Vice

laboration, the duo founded Toiletpaper. The first issue was

and Hunger. In addition to the magazine and contem-

release in June of 2010. Then in 2012, Toiletpaper exhibited

porary imagery created by the pair, Cattelan and Ferrari

on the High Line Billboard in New York City. In the same

have diversified their creative output to include furniture,

year images taken from the first six issues were published

clothing, objects d’art and books. They also have a long-

in an anthology, together with selected narrative texts,

standing collaboration with Italian label MSGM.

that was reviewed in The New York Times’ Top 10 Photo Books. In June 2013, Toiletpaper images have featured on

Kenzo and Toiletpaper have continued to collaborate

Palais de Tokyo’s front windows and a special edition of

on the partisan house’s campaigns for the past three

Libération.

seasons in addition to collaborating on a collection of T-shirts sweatshirts and iPhone cases, inspired by ancient

After all of this, they shot to fame when they began work-

religious sites in India, Nepal, and China. “We loved that

EDGE/CURVE

t this was something you could find across all of these different cultures, and resonated in so many different worlds,” Kenzo creative directors Carol Lim and Humberto Leon told W Magazine. Characterized by high production value and sharp humor, the images produced by Cattelan and Ferrari are instantly recognizable and reflective of their respective positions as renowned artist and acclaimed photographer. According to an article from the 2014 online source for the Museum of Modern Art, that season the MoMA Design Store is pleased to announce the launch of an exclusive new series of artist-produced wares. To celebrate these artistic collaborations we’re going share with Inside/ Out readers a behind-the-scenes look at the process of designing these exciting products, and background about the artists involved.more First up is the Seletti Wears Toiletpaper suite—dishes, mugs, and tablecloths adorned with visual puns, punchy metaphors, and avant-garde imagery—from Italian art provocateur Maurizio Cattelan and fashion photographer Pierpaolo Ferrari. The Museum of Modern Art has long supported Cattelan, a celebrated artist who is renowned for facetious sculptures and installations that poke fun at popular culture, history, and religion in a manner that is at once irreverent and bitingly critical. MoMA has many of Cattelan’s best-known pieces in its collection, and in 1998 his work was featured in the ongoing Elaine Dannheisser Projects series, which focuses on new art by rising talents. For the exhibition Cattelan presented an interpretation of Pablo Picasso and the impact his likeness has on the public. Known for his pranks, Cattelan traumatized museumgoers by hiring an actor to don an oversized Picasso mask and walk silently around the Museum, rattling coins in a paper cup as if begging for alms. The stunt, like much of Cattelan’s work, hovered between homage, critique, and a joke at the expense of grim-faced art critics. The genesis of the Seletti Wears Toiletpaper suite came from Toiletpaper, the glossy publication founded in 2010 by Cattelan in collaboration with photographer Pierpaolo Ferrari. Toiletpaper contains no text, but combines slick

i w

EDGE/CURVE

t h

z o

EDGE/CURVE

photography with twisted narrative tableaux to create

viewed carefully, encourages a variety of free associations.

an explosively original journal that perfectly encapsulates

The image depicts ten female fingers that initially appear

Cattelan’s aberrant oeuvre.

to be detached from their hands by mysteriously popping out of a blue velvet background. Like an illusionistic trick

In an interview with Vogue Italia, Ferrari explained, “The

performed by a magician, this eerie image highlights

magazine [is derived] from a passion/obsession that

the deceptive power of photography, sketching an

Maurizio and I have in common. Each picture springs

ambiguous visual tableau reminiscent of Surrealism. Like

from an idea, even a simple one, and then becomes a

a Man Ray photograph, the image conjures a dreamlike

complex orchestration of people who build tableaux

atmosphere of a film noir, while at the same time it speaks

vivants. This project is also a sort of mental outburst.”

of the city as a projection of dreams of opulence.

The idea to bring the aesthetic of Toiletpaper to the

You might ask youself: where are Maurizio and Pierpaolo

table came from Stefano Seletti, art director of the Italian

now? Maurizio Cattelan (b. 1960, Italy) lives in Milan and

design firm founded by his family in 1964. Seletti, who has

New York. Recent solo exhibitions include Foundation

been a fan of Toiletpaper and its artful images since its

Beyeler, Riehen, Switzerland (2013); Whitechapel Gallery,

debut, propositioned Cattelan and Ferrari to transform

London (2012); the Menil Collection, Houson (2010);

the imagery found in their magazine into a line of radical

the DESTE Foundation for Contemporary Art, Athens

tableware.

(2009); and the Tate Modern, London (2007), among others. A major retrospective of his work was shown at

The idea dovetailed perfectly with the artists’ plan

the Guggenheim Museum, New York in 2011. He has

for the photographs contained in the magazine.

participated numerous times in the Venice Biennale (1993,

“We think Toiletpaper is a brand that is applicable to

1997, 1999, 2002, and 2009). Pierpaolo Ferrari (b. 1971, Italy)

different objects: magazines, books, plates, mugs, and

lives in Milan. As an advertising photographer Ferrari has

tablecloths,” says Cattelan. “Pierpaolo and I are like

worked with companies such as Nike, Audi, Mercedes,

sadistic scientists: everything around us can be infected

Samsung, Ray Ban, Alpha Romeo, Vespa, Campari, MTV,

by the ‘TP’ virus.”Following the success of the line’s

and the Venice Biennale, among others. In 2006, together

worldwide premiere at Salone del Mobile in Milan and

with Federico Pele, he created the art magazine Le

the subsequent presentation at Maison&Objet in Paris,

Dictateur. Most recently, he has been producing fashion

the complete Seletti Wears Toiletpaper suite was recently

photography with magazines such as Uomo Vogue.

launched stateside by the MoMA Design Store. Brazen and delightfully peculiar, the suite features flashy images that straddle the line between the beautiful and the grotesque. (Watch the promotional video on the product page to see just what we mean.) Matching mugs and plates in enameled tin recall the wares found in a 1950s cupboard and display a range of images from ridiculous to raunchy, including a toilet plunger, cut “ladyfingers,” bitten soap, a bird getting its wings clipped, and a gristly interpretation of the phrase ”I love you.” The trio of tablecloths feature gut-turning vignettes interspersed with some of Cattelan’s best-known motifs, from frog sandwiches and a fish filleted to reveal a bounty

“ ever ything

of gemstones to a picnic besieged by overgrown insects. Just as the artists’ work is most certainly an acquired taste, the Seletti Wears Toiletpaper line will undoubtedly flavor

around

the conversation around your table, ensuring that your next meal is anything but bland. For the High Line, Italian artists Maurizio Cattelan and

us can be

Pierpaolo Ferrari have selected an image that at first perfectly blends in with nearby advertisements, but when

infected with the toiletpaper virus...

”

EDGE/CURVE

h a

u l c

EDGE/CURVE

a t

n o

THREE HISTORICAL PHOTOGRAPHER DIRECTIONS

EDGE/CURVE

r o

t p .

r Horst P. Horst's

contribution figures as

elegance, style and rarefied glamour.

be seen as synonymous with the creation of images of

word photographic byline, and his photographs came to

During this period, his name became legendary as a one-

spanning as it did the sixty years between 1931 and 1991.

one of the most artistically significant and long lasting,

photography,

In the history of twentieth-century fashion and portrait

EDGE/CURVE

jordan

graham

EDGE/CURVE

Born on 14 August 1906, Horst Paul Albert Bohrmann

As a typical example of wartime escapism, the Rita

was the second son of a prosperous middle class

Hayworth film Cover Girl (1944) provided Horst with the

Protestant shop owner, Max Bohrmann and his wife, Klara

opportunity to produce one of his most sumptuous film-

Schoenbrodt.

star covers in a montage of seven different portraits of the cover girl Susann Shaw set against a silk design. His

The first pictures that carried a Horst credit line appeared

picture of Loretta Young became an almost immediate

in the December 1931 issue of French Vogue. It was a full-

classic when it was featured in a special edition of Vogue

page advertisement showing a model in black velvet

which included masterpieces of photography selected

holding a Klytia scent bottle in one hand with the other

by (classic photographer Edward) Steichen to show off

hand raised elegantly above it... Horst's real breakthrough

the first hundred years of the medium.

as a published fashion and portrait photographer was in the pages of British Vogue... starting with the 30 March

Pictures taken in Europe in the 1950s, away from studio

1932 issue showing three fashion studies and a full-page

interference from the new Vogue editor, had a startling

portrait of the daughter of Sir James Dunn, the art patron

plein-air quality. They ranged from Ian Fleming shot

and supporter of Surrealism.

at Kitzbeuhel to an extended essay on the German conductor Herbert von Karajan in his modern sports

War was declared between America and Germany on 7

car at his Austrian retreat... Horst's first important trip to

December 1941. Horst was called up for service, though

Austria occurred in 1952, to work on a major advertising

he was not officially enrolled until July 1943. The late 1930s

campaign with the new model Suzy Parker, who would

and early 1940s were his most productive years, during

become a major star in the 1960s before attempting a film

which he excelled at working with 10-x-8 inch colour

career. In America that same year, he took his first lifestyle

transparencies both for covers and for portrait and

house and interior photographs; the sitter was Consuelo

fashion sittings...

Vanderbilt, Duchess of Marlboro and now MMe. Jacques

â&#x20AC;&#x153; fashion is an expression of the times. elegance is something else...

â&#x20AC;?

EDGE/CURVE

Balsan. This series, encouraged by Diana Vreeland during her time at Vogue, was to continue into the 1980s in both Vogue and House and Garden and was to be collected in the book Horst: Interiors by Barbara Plumb (1983). The 1960s started well for American Vogue with the appointment of the larger than life 'Empress of Fashion', Diana Vreeland, as Editor-in-Chief. Vreeland served from 1961 until 1971, when a change of approach was deemed necessary. Horst was assigned some of the leading players of the time and produced a number of archetypal images of this energetic decade. The 1970s remains the decade that good, timeless style overlooked, and work for Horst was necessarily sparse... However, Horst's rediscovery by a new group of 1980's styleseeking enthusiasts resulted in increasing commissions... Horst was commissioned to take nine photographs which appeared in February 1980. This was the most popular issue of Life in that year, selling 1.5 million copies. It led to

a book contract and continued work with (editor James) Watters, whose encyclopaedic knowledge of early Hollywood stars made him the ideal interviewer as the two men travelled round America to produce their bestselling book Return Engagement: Faces to Remember Then and Now (1984). Horst’ career can be said to have reached Old Master status when the world’s most famous pop goddess, Madonna, created her celebrated hymn to classic fashion photography with her single Vogue in 1990. In the video directed by David Fincher, she posed as a recreation of Horst’s most iconic fashion image, a model seen from behind, wearing a partially tied, back-laced corset made by Detolle.

EDGE/CURVE

In his approach to portraiture, Horst set out to create a parallel aspirational universe in which his subjects became mysterious and alluring. Bruce Weber, one of many photographers influenced by Horst, artfully described his feelings about Horst’s work in a 1992 television documentary: ‘The elegance of his photographs ... took you to another place, very beautifully ... the untouchable quallity of the people is really interesting as it gives you something of a distance ... it’s like seeing somebody from another world ... and you wonder who that person is and you really want to know that person and really want to fall inlove with that person’.

EDGE/CURVE

e l

e g

n a c

EDGE/CURVE

“ I don’t think photography has anything remotely to do with the brain. It has to do with eye appeal.

”

EDGE/CURVE

h o

P. Horst's contribution

rarefied glamour.

with the creation of images of elegance, style and

his photographs came to be seen as synonymous

legendary as a one-word photographic byline, and

1931 and 1991. During this period, his name became

long lasting, spanning as it did the sixty years between

figures as one of the most artistically significant and

portrait photography, Horst

In the history of twentieth-century fashion and

graham

jordan

by EDGE/CURVE 14

EDGE/CURVE

Born on 14 August 1906, Horst Paul Albert Bohrmann

picture of Loretta Young became an almost immediate

was the second son of a prosperous middle class

classic when it was featured in a special edition of Vogue

Protestant shop owner, Max Bohrmann and his wife, Klara

which included masterpieces of photography selected

Schoenbrodt.

by (classic photographer Edward) Steichen to show off the first hundred years of the medium.

The first pictures that carried a Horst credit line appeared in the December 1931 issue of French Vogue. It was a full-

Pictures taken in Europe in the 1950s, away from studio

page advertisement showing a model in black velvet

interference from the new Vogue editor, had a startling

holding a Klytia scent bottle in one hand with the other

plein-air quality. They ranged from Ian Fleming shot

hand raised elegantly above it... Horst's real breakthrough

at Kitzbeuhel to an extended essay on the German

as a published fashion and portrait photographer was in

conductor Herbert von Karajan in his modern sports

the pages of British Vogue... starting with the 30 March

car at his Austrian retreat... Horst's first important trip to

1932 issue showing three fashion studies and a full-page

Austria occurred in 1952, to work on a major advertising

portrait of the daughter of Sir James Dunn, the art patron

campaign with the new model Suzy Parker, who would

and supporter of Surrealism.

become a major star in the 1960s before attempting a film career. In America that same year, he took his first lifestyle

War was declared between America and Germany on 7

house and interior photographs; the sitter was Consuelo

December 1941. Horst was called up for service, though

Vanderbilt, Duchess of Marlboro and now MMe. Jacques

he was not officially enrolled until July 1943. The late 1930s

Balsan. This series, encouraged by Diana Vreeland during

and early 1940s were his most productive years, during

her time at Vogue, was to continue into the 1980s in both

which he excelled at working with 10-x-8 inch colour

Vogue and House and Garden and was to be collected

transparencies both for covers and for portrait and

in the book Horst: Interiors by Barbara Plumb (1983).

fashion sittings... The 1960s started well for American Vogue with the As a typical example of wartime escapism, the Rita

appointment of the larger than life ‘Empress of Fashion’,

Hayworth film Cover Girl (1944) provided Horst with the

Diana Vreeland, as Editor-in-Chief. Vreeland served

opportunity to produce one of his most sumptuous film-

from 1961 until 1971, when a change of approach was

star covers in a montage of seven different portraits of

deemed necessary. Horst was assigned some of the

the cover girl Susann Shaw set against a silk design. His

leading players of the time and produced a number of archetypal images of this energetic decade. The 1970s remains the decade that good, timeless style overlooked, and work for Horst was necessarily sparse... However, Horst’s rediscovery by a new group of 1980’s style-seeking enthusiasts resulted in increasing commissions...

EDGE/CURVE

l e

n a

c e

EDGE/CURVE

Horst was commissioned to take nine photographs which

recreation of Horst’s most iconic fashion image, a model

appeared in February 1980. This was the most popular

seen from behind, wearing a partially tied, back-laced

issue of Life in that year, selling 1.5 million copies. It led to

corset made by Detolle.

a book contract and continued work with (editor James) Watters, whose encyclopaedic knowledge of early

In his approach to portraiture, Horst set out to create a

Hollywood stars made him the ideal interviewer as the

parallel aspirational universe in which his subjects became

two men travelled round America to produce their best-

mysterious and alluring. Bruce Weber, one of many

selling book Return Engagement: Faces to Remember -

photographers influenced by Horst, artfully described

Then and Now (1984).

his feelings about Horst’s work in a 1992 television documentary: ‘The elegance of his photographs ... took

Horst’ career can be said to have reached Old Master

you to another place, very beautifully ... the untouchable

status when the world’s most famous pop goddess,

quallity of the people is really interesting as it gives you

Madonna, created her celebrated hymn to classic

something of a distance ... it’s like seeing somebody from

fashion photography with her single Vogue in 1990. In

another world ... and you wonder who that person is and

the video directed by David Fincher, she posed as a

you really want to know that person and really want to fall inlove with that person’.

EDGE/CURVE

“ I don’t think photography has anything remotely to do with the brain. It has to do with eye appeal.

”

EDGE/CURVE

r o

EDGE/CURVE

h p t

. by jordan graham

In the history of twentieth-century fashion and portrait photography,

Horst P. Horst's contribution figures as

one of the most artistically significant and long lasting, spanning as it did the sixty years between 1931 and 1991. During this period, his name became legendary as a oneword photographic byline, and his photographs came to be seen as synonymous with the creation of images of elegance, style and rarefied glamour.

EDGE/CURVE

Born on 14 August 1906, Horst Paul Albert Bohrmann was the second son of a prosperous middle class Protestant shop owner, Max Bohrmann and his wife, Klara Schoenbrodt. The first pictures that carried a Horst credit line appeared in the December 1931 issue of French Vogue. It was a fullpage advertisement showing a model in black velvet holding a Klytia scent bottle in one hand with the other hand raised elegantly above it... Horst's real breakthrough as a published fashion and portrait photographer was in the pages of British Vogue... starting with the 30 March 1932 issue showing three fashion studies and a full-page portrait of the daughter of Sir James Dunn, the art patron and supporter of Surrealism. War was declared between America and Germany on 7 December 1941. Horst was called up for service, though he was not officially enrolled until July 1943. The late 1930s and early 1940s were his most productive years, during which he excelled at working with 10-x-8 inch colour transparencies both for covers and for portrait and fashion sittings...

EDGE/CURVE

“ fashion is an expression of the times. elegance is something else again.

”

EDGE/CURVE

e l e

n a

EDGE/CURVE

As a typical example of wartime escapism, the Rita Hayworth film Cover Girl (1944) provided Horst with the opportunity to produce one of his most sumptuous filmstar covers in a montage of seven different portraits of the cover girl Susann Shaw set against a silk design. His picture of Loretta Young became an almost immediate classic when it was featured in a special edition of Vogue which included masterpieces of photography selected by (classic photographer Edward) Steichen to show off the first hundred years of the medium. Pictures taken in Europe in the 1950s, away from studio interference from the new Vogue editor, had a startling plein-air quality. They ranged from Ian Fleming shot at Kitzbeuhel to an extended essay on the German conductor Herbert von Karajan in his modern sports car at his Austrian retreat... Horst's first important trip to Austria occurred in 1952, to work on a major advertising campaign with the new model Suzy Parker, who would become a major star in the 1960s before attempting a film career. In America that same year, he took his first lifestyle house and interior photographs; the sitter was Consuelo Vanderbilt, Duchess of Marlboro and now MMe. Jacques Balsan. This series, encouraged by Diana Vreeland during her time at Vogue, was to continue into the 1980s in both Vogue and House and Garden and was to be collected in the book Horst: Interiors by Barbara Plumb (1983). The 1960s started well for American Vogue with the appointment of the larger than life 'Empress of Fashion', Diana Vreeland, as Editor-in-Chief. Vreeland served from 1961 until 1971, when a change of approach was deemed necessary. Horst was assigned some of the leading players of the time and produced a number of archetypal images of this energetic decade.

EDGE/CURVE

“ I don’t think photography has anything remotely to do with the brain. It has to do with eye appeal.

”

EDGE/CURVE

The 1970s remains the decade that good, timeless style overlooked, and work for Horst was necessarily sparse... However, Horst's rediscovery by a new group of 1980's styleseeking enthusiasts resulted in increasing commissions... Horst was commissioned to take nine photographs which appeared in February 1980. This was the most popular issue of Life in that year, selling 1.5 million copies. It led to a book contract and continued work with (editor James) Watters, whose encyclopaedic knowledge of early Hollywood stars made him the ideal interviewer as the two men travelled round America to produce their bestselling book Return Engagement: Faces to Remember Then and Now (1984). Horst’ career can be said to have reached Old Master status when the world’s most famous pop goddess, Madonna, created her celebrated hymn to classic fashion photography with her single Vogue in 1990. In the video directed by David Fincher, she posed as a recreation of Horst’s most iconic fashion image, a model seen from behind, wearing a partially tied, back-laced corset made by Detolle. In his approach to portraiture, Horst set out to create a parallel aspirational universe in which his subjects became mysterious and alluring. Bruce Weber, one of many photographers influenced by Horst, artfully described his feelings about Horst’s work in a 1992 television documentary: ‘The elegance of his photographs ... took you to another place, very beautifully ... the untouchable quallity of the people is really interesting as it gives you something of a distance ... it’s like seeing somebody from another world ... and you wonder who that person is and you really want to know that person and really want to fall inlove with that person’.

THREE REFINED MAGAZINE COVERS

edge*

volume 3 spring 2017

featuring: maurizio cattelan & pierpaolo ferrari horst p. horst susan sontag

volume 03 spring 2017

e d g e/ cur ve

featuring: maurizio cattelan + pierpaolo ferrari horst p. horst susan sontag

VOLUME 03 / SPRING 2017

“HALLUCINATIONS” FT. MAURIZIO CATTELAN + PIERPAOLO FERRARI

“ARTICLE NAME” FT. HORST P. HORST

“ON PHOTOGRAPHY” BY SUSAN SONTAG

REFINED HISTORICAL PHOTOGRAPHER ARTCLE

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Susann Shaw, 1943

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t r ho s

o s h r t by

In the history of twentieth-century fashion and portrait

jordan

as one of the most artistically significant and long lasting,

graham

photography,

HORST P. HORST'S

contribution figures

spanning as it did the sixty years between 1931 and 1991. During this period, his name became legendary as a oneword photographic byline, and his photographs came to be seen as synonymous with the creation of images of elegance, style and rarefied glamour.

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Lisa Fonssagrives-Penn with Harp, 1939

American Vogue Cover, 15 May 1941, 1941

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â&#x20AC;&#x153; fashion is an expression of Born on 14 August 1906, Horst Paul Albert Bohrmann was the second son of a prosperous middle class Protestant shop owner, Max Bohrmann and his wife, Klara Schoenbrodt. The first pictures that carried a Horst credit line appeared in the December 1931 issue of French Vogue. It was a fullpage advertisement showing a model in black velvet holding a Klytia scent bottle in one hand with the other hand raised elegantly above it... Horst's real breakthrough as a published fashion and portrait photographer was in the pages of British Vogue... starting with the 30 March 1932 issue showing three fashion studies and a full-page portrait of the daughter of Sir James Dunn, the art patron and supporter of Surrealism. War was declared between America and Germany on 7 December 1941. Horst was called up for service, though he was not officially enrolled until July 1943. The late 1930s and early 1940s were his most productive years, during which he excelled at working with 10-x-8 inch colour transparencies both for covers and for portrait and fashion sittings... As a typical example of wartime escapism, the Rita Hayworth film Cover Girl (1944) provided Horst with the opportunity to produce one of his most sumptuous filmstar covers in a montage of seven different portraits of the cover girl Susann Shaw set against a silk design. His picture of Loretta Young became an almost immediate classic when it was featured in a special edition of Vogue which included masterpieces of photography selected by (classic photographer Edward) Steichen to show off the first hundred years of the medium. Pictures taken in Europe in the 1950s, away from studio interference from the new Vogue editor, had a startling plein-air quality. They ranged from Ian Fleming shot at Kitzbeuhel to an extended essay on the German conductor Herbert von Karajan in his modern sports car at his Austrian retreat... Horst's first important trip to Austria occurred in 1952, to work on a major advertising campaign with the new model Suzy Parker, who would become a major star in the 1960s before attempting a film career. In America that same year, he took his first lifestyle house and interior photographs; the sitter was Consuelo Vanderbilt, Duchess of Marlboro and now MMe. Jacques Balsan. This series, encouraged by Diana Vreeland during her time at Vogue, was to continue into the 1980s in both Vogue and House and Garden and was to be collected in the book Horst: Interiors by Barbara Plumb (1983).

the times. elegance is something else again.

â&#x20AC;?

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Vogue Studio Fashion, 1950

“ I don’t think photography has anything remotely to do with the brain. Gabriel, 1965

It has to do with eye appeal.

”

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Muriel Maxwell, Hat by Lilly Dache, Jewellery by Trabert and Hoeffer-Mauboussin, 1940

Vogue March 15, 1952, 1952

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e l

e g

n a c

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Veruschka von Lehndorf in Hawaii 1965

THREE SUSAN SONTAG ARTICLE DIRECTIONS

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HUMANKIND lingers unregenerately in Plato's cave, still reveling, its age-old habit, in mere images of the truth. But being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more images around, claiming our attention. The inventory started in 1839 and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads — as an anthology of images. TO COLLECT PHOTOGRAPHS is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store. In Godard's Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King's Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that Michel-Ange and Ulysse triumphantly bring home, years later, to their wives turns out to

AN EXCERPT FROM PLATO’S CAVE BY SUSAN SONTAGE

contain only picture postcards, hundreds of them, of Monuments, Department Stores, Mammals, Wonders of Nature, Methods of Transport, Works of Art, and other classified treasures from around the globe. Godard's gag vividly parodies the equivocal magic of the photographic image., Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood. TO PHOTOGRAPH is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge — and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire. PHOTOGRAPHS, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops al-

EDGE+CURVE

phabetize them; museums exhibit them; publishers compile them. FOR MANY DECADES, the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality — photographs are fragile objects, easily torn or mislaid — and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker's film, Si j'avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served up in books. PHOTOGRAPHS furnish evidence. Something we hear about, but doubt, seems proven when we're shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs be-

came a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what's in the picture. Whatever the limitations (through amateurism) or pretensions (through artistry) of the individual photographer, a photograph — any photograph — seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something "out there," just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as souvenirs of daily life. WHILE A PAINTING or a prose description can never be other than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth. Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film — the precise expression on the subject's face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which THE CAMERA DOES INDEED CAPTURE REALITY, NOT JUST INTERPRET IT, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do

not lessen the didacticism of the whole enterprise. This very passivity — and ubiquity — of the photographic record is photography's "message," its aggression. IMAGES WHICH IDEALIZE (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography's glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the capture of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images. THAT AGE when taking photographs required a cumbersome and expensive contraption — the toy of the clever, the wealthy, and the obsessed — seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

Peter Hujar, Susan Sontag, 1975

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g ap h r an excerpt from “plato’s cave” by susan sontage

EDGE/CURVE

h y

Humankind lingers unregenerately in Plato's cave, still reveling, its age-old habit, in mere images of the truth. But being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more images around, claiming our attention. The inventory started in 1839 and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our headsâ&#x20AC;&#x201D;as an anthology of images. To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store. In Godard's Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King's Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that Michel-Ange and Ulysse triumphantly bring home, years later, to their wives turns out to contain only picture postcards, hundreds of them, of Monuments, Department Stores, Mammals, Wonders of Nature, Methods of Transport, Works of Art, and other classified treasures from around the globe. Godard's gag vividly parodies the equivocal magic of the photographic image., Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood.

To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledgeâ&#x20AC;&#x201D;and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire.

Nueva York, 1933

EDGE/CURVE

Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them. For many decades the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality—photographs are fragile objects, easily torn or mislaid—and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker’s film, Si j’avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served up in books. Photographs furnish evidence. Something we hear about, but doubt, seems proven when we’re shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what’s in the picture. Whatever the limitations

EDGE/CURVE

“ the camera does indeed (through amateurism) or pretensions (through artistry) of the individual photographer, a photograph—any photograph—seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something “out there,” just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as souvenirs of daily life. While a painting or a prose description can never be other than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth. Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film—the precise expression on the subject’s face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity— and ubiquity—of the photographic record is photography’s “message,” its aggression. Images which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography’s glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs

c a p t u r e r e a l i t y, not just interpret it...

was a vast departure from the aims of painters. From its start, photography implied the capture of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images. That age when taking photographs required a cumbersome and expensive contraption—the toy of the clever, the wealthy, and the obsessed—seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

”

EDGE/CURVE

n an excerpt from â&#x20AC;&#x153;platoâ&#x20AC;&#x2122;s caveâ&#x20AC;? by susan sontage

h o

EDGE/CURVE

r g

h y

EDGE/CURVE

â&#x20AC;&#x153;the

a c mera

To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store. In Godard's Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King's Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that Michel-Ange and Ulysse triumphantly bring home, years later, to their wives turns out to contain only picture postcards, hundreds of them, of Monuments, Department Stores, Mammals, Wonders of Nature, Methods of Transport, Works of Art, and other classified treasures from around the globe. Godard's gag vividly parodies the equivocal magic of the photographic image., Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood. To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge -- and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire. Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them.

does indeed capture r e a l i t y, not just interpret it...â&#x20AC;?

For many decades the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality -- photographs are fragile objects, easily torn or mislaid -- and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker's film, Si j'avais quatre dromadaires, a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served up in books.

Photographs furnish evidence. Something we hear about, but doubt, seems proven when we're shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what's in the picture. Whatever the limitations (through amateurism) or pretensions (through artistry) of the individual photographer, a photograph -- any photograph -- seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something "out there," just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as souvenirs of life.

While a painting or a prose description can never be other than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth. Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film -- the precise expression on the subject's face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity -- and ubiquity -- of the photographic record is photography's "message," its aggression.

Images which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography's glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the capture of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images. That age when taking photographs required a cumbersome and expensive contraption -- the toy of the clever, the wealthy, and the obsessed -seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

FINAL MAGAZINE DESIGN

volume 03 spring 2017

featuring: susan sontag, maurizio cattelan + pierpaolo ferrari, horst p. horst

susan sontag maurizio cattelan + pierpaolo ferrari horst p. horst

edge + cur ve

n o p

h o t o g

r a

edge + cur ve

an excerpt from “plato’s cave” by susan sontage

h y

Susan Sontag by Jill Krementz November 18, 1974.

edge + cur ve

“the

To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store. In Godard's Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King's Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that Michel-Ange and Ulysse triumphantly bring home, years later, to their wives turns out to contain only picture postcards, hundreds of them, of Monuments, Department Stores, Mammals, Wonders of Nature, Methods of Transport, Works of Art, and other classified treasures from around the globe. Godard's gag vividly parodies the equivocal magic of the photographic image., Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood. To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge — and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire. Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them.

a c mera s doe

indeed capture a r e l i t y, not just interpret it...”

For many decades the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality — photographs are fragile objects, easily torn or mislaid—and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to

begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker's film, Si j'avais quatre dromadaires, a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served up in books. Photographs furnish evidence. Something we hear about, but doubt, seems proven when we're shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what's in the picture. Whatever the limitations (through amateurism) or pretensions (through artistry) of the individual photographer, a photograph—any photograph—seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi

of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something "out there," just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as souvenirs of life. While a painting or a prose description can never be other than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth. Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film—the precise expression on the subject's face that supported their own notions about poverty, light, dignity, texture, exploita-

tion, and geometry. In deciding how pictures should look in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity—and ubiquity—of the photographic record is photography's "message," its aggression. Images which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography's glorious first two de-

cades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the capture of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images. That age when taking photographs required a cumbersome and expensive contraption—the toy of the clever, the wealthy, and the obsessed—seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

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Tolietpaper Magazine

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maurizio cattelan + pierpaolo ferrari photography

b y Maurizio Cattelan is an Italian artist born in Padova, jordan graham

Italy. Maurizio is currently still living at the age of 57. His personal art practice has brought frequent attention to the discourse of contemporary art in modern culture. Cattelanâ&#x20AC;&#x2122;s work has been the subject of numerous solo exhibitions, including at the Solomon R. Guggenheim Museum, New York; the Museum of Modern Art, New York; the Museum of Contemporary Art, Los Angeles; the Centre Georges Pompidou, Paris; and many more.

The much younger photographer Pierpaolo Ferrari was born and raised in Milan, Italy. Ferrari achieved early success working with the agencies BBDO and Saatchi & Saatchi for clients including Nike, Sony, Campari, Heineken, MTV, and the car manufacturers Mercedes Benz, Audi, Sony, and BMW.

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“ a ‘mental outburst’ of psychedelic i m a g e r y, vibrant vignettes, & absurd illustrations

”

Tolietpaper Magazine

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Tolietpaper Magazine

Both Italian deisgners, contemporary artist Maurizio Cattelan and photographer Pierpaolo Ferrari are the duo behind innovative agency and magazine Toiletpaper. Tolietpaper is best known for its cheeky hyperreal imagery, which has appeared in influential titles like Purple, Dazed & Confused, Vogue and Elle, breaking down the prevailing codes and photographic motifs of fashion, etc. This iconic duo first met when they created controversial photographs of supermodel Linda Evangelista for W’s November 2009 Art Issue. Inspired by the result of their collaboration, the duo founded Toiletpaper. The first issue was release in June of 2010. Then in 2012, Toiletpaper exhibited on the High Line Billboard in New York City. In the same year images taken from the first six issues were published in an anthology, together with selected narrative texts, that was reviewed in The New York Times’ Top 10 Photo Books. In June 2013, Toiletpaper images have featured on Palais de Tokyo’s front windows. In addition, they were featured in a special edition of Libération.

Tolietpaper Magazine

After all of this, they shot to fame when they began working with Kenzo in 2013, lending the advertising campaigns their distinctive super-saturated and surrealist flair. The first images featured model Sean O’Pry and actress Rinko Kikuchi pinned to a dissection table alongside other popoff-the-page bright beetles and butterflies, wearing allover cloud and eyeball print coats to bold, graphic effect. Over the succeeding years, photos published in the magazine have been applied to a variety of products and media. Toiletpaper raunchy but iconic images have been reviewed by weekly and art magazines worldwide and appeared in special issues of magazines such as Vice and Hunger. In addition to the magazine and contemporary imagery created by the pair, Cattelan and Ferrari have diversified their creative output to include furniture, clothing, objects d’art and books. They also have a longstanding collaboration with Italian label MSGM.

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Kenzo and Toiletpaper have continued to collaborate on the partisan house’s campaigns for the past three seasons in addition to collaborating on a collection of T-shirts, sweatshirts, and iPhone cases, inspired by ancient religious sites in India, Nepal, and China. “We loved that this was something you could find across all of these different cultures, and resonated in so many different worlds,” Kenzo creative directors Carol Lim and Humberto Leon told W Magazine. Characterized by high production value and sharp humor, the images produced by Cattelan and Ferrari are instantly recognizable and reflective of their respective positions as renowned artist and acclaimed photographer. According to an article from the 2014 online source for the Museum of Modern Art, that season the MoMA Design Store is pleased to announce the launch of an exclusive new series of artist-produced wares. To celebrate these artistic collaborations we’re going share with Inside/Out readers a behind-the-scenes look at the process of designing these exciting products, and background about the artists involved.more First up is the Seletti Wears Toiletpaper suite—dishes, mugs, and tablecloths adorned with visual puns, punchy metaphors, and avant-garde imagery—from Italian art provocateur Maurizio Cattelan and fashion photographer Pierpaolo Ferrari.

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Tolietpaper Magazine

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Tolietpaper Magazine

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In an interview with Vogue Italia, Ferrari explained, “The magazine [is derived] from a passion/obsession that Maurizio and I have in common. Each picture springs from an idea, even a simple one, and then becomes a complex orchestration of people who build tableaux vivants. This project is also a sort of mental outburst.” The idea to bring the aesthetic of Toiletpaper to the table came from Stefano Seletti. He was the art director of the Italian design firm founded by his family in 1964. Seletti, who has been a fan of Toiletpaper and its artful images since its debut, propositioned Cattelan and Ferrari to transform the imagery found in their magazine into a line of radical tableware. The idea dovetailed perfectly with the artists’ plan for the photographs contained in the magazine. “We think Toiletpaper is a brand that is applicable to different objects: magazines, books, plates, mugs, and tablecloths,” says Cattelan. “Pierpaolo and I are like sadistic scientists: everything around us can be infected by the ‘TP’ virus.”Following the success of the line’s worldwide premiere at Salone del Mobile in Milan and the subsequent presentation at Maison&Objet in Paris, the complete Seletti Wears Toiletpaper suite was recently launched stateside by the MoMA Design Store. Brazen and delightfully peculiar, the suite features flashy images that straddle the line between the beautiful and the grotesque. (Watch the promotional video on the product page to see just what we mean.) Matching mugs and plates in enameled tin recall the wares found in a 1950s cupboard and display a range of images from ridiculous to raunchy, including a toilet plunger, cut “ladyfingers,” bitten soap, a bird getting its wings clipped, and a gristly interpretation of the phrase ”I love you.” The trio of tablecloths feature gut-turning vignettes interspersed with some of Cattelan’s best-known motifs, from frog sandwiches and a fish filleted to reveal a bounty of gemstones to a picnic besieged by overgrown insects. Just as the artists’ work is most certainly an acquired taste, the Seletti Wears Toiletpaper line will undoubtedly flavor the conversation around your table, ensuring that your next meal is anything but bland. For the High Line, Italian artists Maurizio Cattelan and Pierpaolo Ferrari have selected an image that at first perfectly blends in with nearby advertisements, but when viewed carefully, encourages a variety of free associations. The image depicts ten female fingers that initially appear to be detached from their hands by mysteriously popping

out of a blue velvet background. Like an illusionistic trick performed by a magician, this eerie image highlights the deceptive power of photography, sketching an ambiguous visual tableau reminiscent of Surrealism. Like a Man Ray photograph, the image conjures a dreamlike atmosphere of a film noir, while at the same time it speaks of the city as a projection of dreams of opulence. You might ask youself: where are Maurizio and Pierpaolo now? Maurizio Cattelan (b. 1960, Italy) lives in Milan and New York. Recent solo exhibitions include Foundation Beyeler, Riehen, Switzerland (2013); Whitechapel Gallery, London (2012); the Menil Collection, Houson (2010); the DESTE Foundation for Contemporary Art, Athens (2009); and the Tate Modern, London (2007), among others. A major retrospective of his work was shown at the Guggenheim Museum, New York in 2011. He has participated numerous times in the Venice Biennale (1993, 1997, 1999, 2002, and 2009). Pierpaolo Ferrari (b. 1971, Italy) lives in Milan. As an advertising photographer Ferrari has worked with companies such as Nike, Audi, Mercedes, Samsung, Ray Ban, Alpha Romeo, Vespa, Campari, MTV, and the Venice Biennale, among others. In 2006, together with Federico Pele, he created the art magazine Le Dictateur. Most recently, he has been producing fashion photography with magazines such as Uomo Vogue.

“ ever ything around us can be infected with the toiletpaper virus...

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Tolietpaper Magazine

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Susann Shaw, 1943

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t r ho s

o s h r t by jordan graham

In the history of twentieth-century fashion and portrait photography, HORST P. HORST'S contribution figures as one of the most artistically significant and long lasting, spanning as it did the sixty years between 1931 and 1991. During this period, his name became legendary as a oneword photographic byline, and his photographs came to be seen as synonymous with the creation of images of elegance, style and rarefied glamour.

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Lisa Fonssagrives-Penn with Harp, 1939

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American Vogue Cover, 15 May 1941, 1941

Pictures taken in Europe in the 1950s, away from studio interference from the new Vogue editor, had a startling plein-air quality. They ranged from Ian Fleming shot at Kitzbeuhel to an extended essay on the German conductor Herbert von Karajan in his modern sports car at his Austrian retreat... Horst's first important trip to Austria occurred in 1952, to work on a major advertising campaign with the new model Suzy Parker, who would become a major star in the 1960s before attempting a film career. In America that same year, he took his first lifestyle house and interior photographs; the sitter was Consuelo Vanderbilt, Duchess of Marlboro and now MMe. Jacques Balsan. This series, encouraged by Diana Vreeland during her time at Vogue, was to continue into the 1980s in both Vogue and House and Garden and was to be collected in the book Horst: Interiors by Barbara Plumb (1983).

the times. elegance is something else again.

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Vogue Studio Fashion, 1950

Muriel Maxwell, Hat by Lilly Dache, Jewellery by Trabert and Hoeffer-Mauboussin, 1940

“ I don’t think photography has anything remotely to do with the brain. It has to do with eye appeal.

”

Gabriel, 1965

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Horst' career can be said to have reached Old Master status when the world's most famous pop goddess, Madonna, created her celebrated hymn to classic fashion photography with her single Vogue in 1990. In the video directed by David Fincher, she posed as a recreation of Horst's most iconic fashion image, a model seen from behind, wearing a partially tied, laced corset by Detolle. In his approach to portraiture, Horst set out to create a parallel aspirational universe in which his subjects became mysterious and alluring. Bruce Weber, one of many photographers influenced by Horst, artfully described his feelings about Horst's work in a 1992 television documentary: 'The elegance of his photographs ... took you to another place, very beautifully ... the untouchable quallity of the people is really interesting as it gives you something of a distance ... it's like seeing somebody from another world ... and you wonder who that person is and you really want to know that person and really want to fall inlove with that person'.

Vogue March 15, 1952, 1952

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Veruschka von Lehndorf in Hawaii 1965

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To l i e t p a p e r Magazine

Edge + Curve Magazine was designed by Jordan for Typographic Systems, 2017. All of the images and text were sourced from publications and the interent and are only being used for design education purposes. Fonts: ITC Avant Garde Gothic. Printed a Jayhawk Ink, Lawrence KS.