on show-erik kessels by erik kessels

Erik Kessels On Show

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Erik Kessels On Show

Erik Kessels is an ad man. Not that you’d know it to meet him. He uses words like “authenticity” and honesty.” He is excited by the role of the amateur” and the “untried” in image making. He enthuses about old photographs found in flea markets. It’s hardly stereotypical adland conversation material. But then there’s nothing stereotypical about Kessels or the work of his Amsterdam/London-based ad agency KesselsKramer. For many observers of the visual communication scene, KesselsKramer is one of only a handful of advertising agencies producing work that rises above the level of consumerist background noise. KesselsKramer campaigns are often witty and irreverent, almost anti-advertising. Writing in Graphis, one writer noted1: “The Hans Brinker Budget Hotel campaign has the hotel promoting itself with slogans like: ‘Now even more dogshit in the main entrance!’ or ‘Now even more noise!’” Erik Kessels is the creative director of KesselsKramer, but what comes across clearly in talking to him is that he brings the same quest for authenticity to his work for the Hans Brinker Budget Hotel that he brings to rooting around in flea markets looking for the hidden histories in abandoned piles of yellowing photographs. Others sift through this stuff – the detritus of countless lives – but it takes Kessels’ eye, sharpened at the coalface of the commercial image mines, to see the mystery and quiet dignity in these abandoned archives and turn them into books and exhibitions.

Yet, unlike so many people in advertising and design, Kessels is not a frustrated artist. He’s not fighting a wish to be free of clients. He is a willing inhabitant of the modern communication world, and is equally at home creating campaigns for global corporations, as he is sifting through pictures of Belgian cycling groups (pp 38–45), and shots of 1980s Russian domestic eroticism (pp 97–113). When I suggest that he is unusually optimistic for someone working in the creative industries, he worries in case I’m implying that he is complacent. Nothing could be further from my mind. No one who has Kessels’ eye for weird connections, and the sheer oddity of human behavior, could be complacent or self-satisfied. Kessels is neither. This book proves it. Interview: Adrian Shaughnessy Photography: Davy Jones Location: Browns, London

as Do you always look for a narrative sweep, or are you ever interested in just a single picture? ek I enjoy single pictures, but a sequence tells a little bit more of a story, or it forces people to look more closely. as You’ve published lots of books on found photography. What is it that excites you about it? ek It started when I had some time off and I’d go to the market and see a whole pile of images, and I’d start to edit them and see if they were interesting. From that moment on, I saw that there was a huge authenticity in that kind of work. It was different from the commercial images I dealt with in my work, although I’ve always tried to make the images I use in my commercial work as authentic as possible – not using models, and trying to stay as close as possible to reality, wherever possible. My interest started when I found 400 images of a Spanish woman2. I bought them because they were beautiful objects. I didn’t even look at them properly, but I thought that it was a shame that they were lying there. But when I got them home I saw that almost every image had her in it. I kept them for three years. I sometimes showed them to people, but I didn’t have any idea what to do with them. Later, I published them as the first book in a series. as Is every picture you find interesting? ek No, definitely not. I’m not generally interested in found photographs, because they can be as boring as some advertising photographs. I’m more interested in certain obsessions that amateurs – or professionals – develop to create a story. Sometimes they don’t even know that they are telling a story.

as You talk about authenticity, and this relates to your work in advertising. Your ads for the Hans Brinker Budget Hotel in Amsterdam are famous because you tell the truth about the hotel – do you think KesselsKramer are unique in this approach? ek The work we do always has a certain reality in it, and truth. I definitely don’t think that we’re alone in this regard, because there’s a lot of good work made, but what’s unique about the company is that we try not to compromise on things. Everything that we’ve ever made, we just dare to show to people. At least that’s something we try to achieve. If you ask me, 90% of the advertising I see, I really hate. as What about this other thing I see in your work - an interest in kitsch, an interest in anti-design? You can call it authenticity, but a lot of this work, like the Russian girls, is just plain bad . . . ek Yeah, but the amateurism is nice [laughs]. as But it’s against everything that advertising stands for. Advertising is about cosmeticising everything. Advertising is about making very ordinary things look great. Everything is photoshopped to perfection. What would happen if a client came to you and said that they want all the models in one of your ads to look gorgeous and everything to look perfect? ek It would be difficult. We’ve worked for Diesel for five and a half years, and for that I didn’t mind using models. When the idea is very ironic and cynical, then there’s no

problem using models, because then the idea is the first thing you feel. When something’s perfect there’s a full stop behind it and it’s not an open thing. I like imperfection sometimes, but I can also enjoy perfection. In advertising there’s a standard of how work is, and how work should be done, and this makes it easy to steer off in another direction. It’s not easy to sell that sort of work, and to get it done, but in a way it’s an open goal. as Are you finding that it’s all niche clients? Or are you finding mainstream clients coming to you? ek I think that combination is the most interesting. We work and have worked worldwide for J&B, we work for Bushmills, Heineken, Nike and Diesel, and also for a bank in Holland. as Are you pushing these clients into looking at the world in an authentic and non-homogenised way? ek It’s not a formula, the most important thing is that you find a specific strategy for a client and you go with that and make work that needs to be different. I think that’s something you have to do with advertising otherwise it turns out like all the other stuff. as Is there a Dutch sensibility in your work? ek Holland, Scandinavia and England have a similar taste and sense of humour. If you look at Germany and France it’s completely different and we can’t easily find a connection with that. The Dutch are very dry and ironic, but that’s something you find here [in the UK] as well.

as For me, Dutch graphic design is the best in the world; would you agree? ek What I like about some Dutch designers is that they cross certain borders, which we try to do as well, because we also do graphic design jobs. I’ve made stamps for the Dutch Post Office, and I like that crossover. But at the moment I think that graphic design is almost dead, and this is a provocation. Nowadays everyone’s a graphic designer, just like everyone’s a photographer. I like the challenge this poses. It means you have to start with an idea. Of course, there will still be photographers, illustrators and designers who have such a specific style that they can live off their beautiful execution. But a lot of the rest are being chased by thousands of amateurs. I like that kind of challenge; for professionals it makes it even more challenging to come up with a good idea. as Did you go to design school? ek Yes, in Breda. I started work in an agency because you could collaborate more. But at that time, if you were at a party, and you said you worked in an advertising agency, everybody just changed the subject, whereas now it’s much more acceptable. But what I like now is that as a company, or as individuals, we can crossover into lots of different areas. When I do exhibitions with the found photographs and there’s a review in a newspaper, no one ever questions that there’s this advertising art director and designer who has an exhibition in a museum. I’m amazed by it and I find it disturbing almost, because years ago they would nail you down. What I really like at this time is when young people come out of art school and they’ve done graphic design, but then they did a year of audio-visual and a year of sculpture and graduated in photography.

as You put a lot of thought into the design and layout of the exhibitions you do, don’t you? ek I had a show in Arles recently in a gothic church. It was called Loving Your Pictures. I did 9 series’ of projects. I made life-size blowups, but I also filled cabinets with the archive of all the original albums. There was an exhibit called Models3, a collection of 132 German police uniforms and how they should be worn. I also showed a set of pictures I found in Brussels of a series showing non-identical twins who liked to show the world that they were twins4. They dressed identically and had about 30-40 different sets of outfits – the same shoes, the same bags. They had themselves photographed standing side by side in every photograph. This goes on for picture after picture, but then one of them gets a boyfriend who becomes a soldier, and from that point on we only ever see one of the twins – but she carries standing off centre leaving a gap for her sister. as A lot of people working in the creative industries are fighting against their clients, and fighting against the constraints of being in the commercial world, but you appear unusually content and optimistic. ek But that was always my motivation. I started in advertising agencies in Holland, then in 1994-96 I came to work in London, but after that period, my partner and I had enough of people moaning and complaining – it doesn’t get you anywhere. So that was our motivation to do it ourselves. But I don’t want to give the impression that it’s easy. as I’m not suggesting you’re complacent or self-satisfied. . . ek Sometimes I hear myself talking and it sounds easy, but it’s not, it needs hard work and you need to fight for it. You can't live off something

you did a few years ago that was successful, and you’re only as good as your last work. I don’t like leaning back and you need to be constantly on the ball. as What does the future hold? Do you see yourself going more towards the art world? ek I’m not after that. The moment I start calling myself an artist, I’ll have to stop working in the company. But it’s also something that I like, I like it when someone asks me what I do. It’s actually very difficult for me to say. So I just pick something. Sometimes I say I’m a graphic designer, sometimes I say I make advertising. But I like it that way, I like keeping it open. I have friends who are photographers or artists, who are very talented and want to focus their energy into one thing. That’s great for them, but not for me. I like to mix things. I’ve exhibited quite a bit of artwork over the years, but I would never call myself an artist. I’ve never tried to sell any of that work. It would be ridiculous to do so, because then it becomes another ballgame. The shows and exhibits are one of the things I do, not the thing. It feels like a luxury that I don’t have to live from it, but I can play with it. If I had to choose a title, I would want to be known as a creative. But even that feels a bit limiting for the work I want to do every day. I feel very lucky that I don’t have to choose. Graphis, Jan/Feb 2001 by Tracy Metz in almost every picture #1. Collected and edited by Erik Kessels. Published by Artimo. 2001 3 Models, A Collection of 132 German Police Uniforms And How They Should be Worn. Collected and edited by Erik Kessels. Published by KesselsKramer Publishing. 2005 4 in almost every picture #4. Collected and edited by Erik Kessels. Published by KesselsKramer Publishing. 2005 1

This book contains several series of photographs, all taken from the my personal collection. They are unified by one theme: each image was made to exhibit its subject to others. These subjects include both the public and private, from PR shots of a cycling team to children showing their bumps and bruises, to everyday young women posing provocatively. All photograph collections are about putting images on show. This one is about putting images on show which themselves show people and objects being put on show. Words: Erik Kessels

Polaroids taken by Erik Kessels of his wife and children showing their bumps, bruises, cuts and scratches â&#x20AC;&#x201C; there is a strange and sincere pride on display, barely recognisable behind the curtain of the pain, the blood and the tears. Polaroids (2001-2008)

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A series of portraits from a West European family. Repetition is on show in these photos taken through the years of the family's development. The parents are prone to always pin their child in the middle, sandwiched between them as he grows up â&#x20AC;&#x201C; a protective buffer against life and its trials and tribulations. Found photographs.

A series of autograph cards for a cycling team displaying the cyclists and their bikes in almost identical poses. A strong team in every aspect, only their faces prove that the team has its own individual characters. Autograph Cards.

Photographs taken by a baker to advertise the beauty of his wares. Cakes for celebrations from birthdays to anniversaries and on such occasions you want to know everything is going to turn out very okay. From a photo album of a bakery in Brussels

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A series of images taken by numerous photographers of families holidaying in Mar del Plata, Argentina. Various Photographers

Framed photographs of the progression of a house being built between 1957 and 1958. The future occupants can be seen showing off their future home sweet home. Found photographs.

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Photographs of amateur models in St. Petersburg. The uniformity of the models makes our eye fall on their location, the variety and intrigue of their living rooms and the objects within â&#x20AC;&#x201C; objects which inadvertently become props in the understated modelling displays. Photographer unknown.

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Erik Kessels Biography & Exhibitions

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Erik Kessels (1966) is a founding partner and Creative Director of KesselsKramer, an independent international communications agency located in Amsterdam. Kessels works and has worked for national and international clients such as Nike, Diesel, Heineken, Oxfam, Ben and The Hans Brinker Budget Hotel for which he has won numerous international awards. KesselsKramer comprises thirty eight people of ten different nationalities and has been in operation since 1996. In January 2008 KesselsKramer opened a new office/ shop/exhibition space by the name of KK Outlet in London at 42 Hoxton Square. Kessels is a photography collector and has published several books of his 'collected' images with KesselsKramer Publishing such as the in almost every picture series. Since 2000, he has been one of the editors of the alternative photography magazine Useful Photography. For BON International and iM (Identity Matters) Kessels has made editorials

on a regular basis. He has lectured at the D&AD Presidents Lecture and at several international design conferences such as in Signapore, Goa, Toronto and Bangkok. He has taught communication at the Hallo Academy Amsterdam and photography at the Gerrit Rietveld Academy in Amsterdam. In 2008 he was artist in residence for the Amsterdam Academy of Architecture for which he curated a celebration of amateurism. For the DVD art project Loud & Clear he worked together with artists such as Marlene Dumas and Candice Breitz.

Exhibition Tous photographes!/ We are all photographers now! with the photography series Loving Your Pictures at Musée de l’Elysée Lausanne, Switzerland

2008 Exhibition The Ubiquitous Image, curated by Lesley A. Martin of Aperture, which included the photography series Useful Photography at the New York Photo Festival 2008 Exhibition Clinic with the photography series Useful Photography Medical at Griesmar & Tamer Gallery Paris Exhibition of the photography series in almost every picture at Aperture Gallery New York 2007 Exhibition of do box at Utterrubbish – Singapore Design Festival 2007 Exhibition of the photography series Loving Your Pictures at Rencontres Internationales de la Photographie 2007 in Arles, France Exhibition CLINIC with the photography series Useful Photography Medical at Open Eye Gallery Liverpool Exhibition Being Beauteous with the photography series Bangkok Beauties at White Space Gallery London Exhibition Found, Shared: The Magazine Photowork with the photography series Useful Photography and with the photography series in almost every picture at The Photographers’ Gallery London

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2006 Exhibition KK Outlet, 10 years work on show at Kunsthal Rotterdam, The Netherlands Exhibition CLINIC with the photography series Useful Photography Medical during Septembre de la Photographie in Lyon and during Nuit Blanche Paris Exhibition of the photography series Models at Goethe Institut Rotterdam, The Netherlands Exhibition Found, Shared: The Magazine Photowork with the photography series Useful Photography at CUBE Gallery Manchester Curator of the exhibition Loving Your pictures at Centraal Museum Utrecht, The Netherlands DVD Art project Loud & Clear Too in cooperation with Candice Breitz and Alex Fahl. Exhibited at Ludwig Museum Cologne 2005 Curator of exhibition and editor of publication Magnum Sees Piemonte, Photography Forum International Frankfurt am Main Exhibition of the photography series Useful Photography # 5 at Foto Antwerpen 2005 (Photo Festival Antwerp, Belgium) Contribution to Rencontres Internationales de la Photographie 2005 in Arles, France with projection of the photography series Useful Photography

Curator of the exhibition Confrontation at Foam (Photography Museum Amsterdam) 2004 Curator of the exhibition Confrontation Histoire(s) Parallèlle(s) at Institut Néerlandais Paris Exhibition Mediterranean: Between Reality and Utopia at The Photographers’ Gallery London with the photography series in almost every picture # 1 Development of 30 short films in cooperation with a large group of artists for the VPRO children program Kijkers 2003 Exhibition of the photography series Useful Photography at Rencontres Internationales de la Photographie 2003 in Arles, France 2002 DVD Art project Loud & Clear in cooperation with Marlene Dumas and Ryuichi Sakamoto. Exhibited at Stedelijk Museum Bureau Amsterdam, Reykjavík Art Museum Hafnarhús, Institut Néerlandais Paris and at Rooseum Center for Contemporary Art Malmö Exhibition of photography series in almost every picture # 1 at RAS Gallery, Barcelona 2001 Curator of the opening exhibition Dutchdelight at Foam (Photography Museum Amsterdam)

Erik Kessels Publications

2008 Useful Photography #008. Published by KesselsKramer Publishing. Collected & edited by Hans Aarsman, Claudie de Cleen, Julian Germain, Erik Kessels, Hans van der Meer. Special guest: Adriaan van der Ploeg. Color/black & white, 210 x 297 mm, 80 pages, soft cover, ISBN 978-90-70478-22-3 Couples Published by KesselsKramer Publishing. Collected & edited by Erik Kessels, design by Fabienne Feltus. Color, 170 x 225 mm, 40 pages, soft cover, edition of 500, ISBN 978-90-70478-19-3 Photo Cubes Published by KesselsKramer Publishing. Collected & edited by Erik Kessels, design by Fabienne Feltus. Color, 170 x 225 mm, 48 pages, soft cover, edition of 500, ISBN 978-90-70478-20-9 Amateurism Collaboration with the Academy of Architecture, Amsterdam. Published by KesselsKramer Publishing. Text by Erik Kessels. Color, 170 x 240 mm, 128 pages, soft cover, ISBN 978-90-70478-17-9 2007 In Almost Every Picture #6 Published by KesselsKramer Publishing. Collected & edited by Erik Kessels. Black & white, 155 x 200 mm, 136 pages, soft cover, ISBN 978-90-70478-15-5 Useful Photography #007 Published by KesselsKramer Publishing. Collected & edited by Hans Aarsman, Claudie de Cleen, Julian Germain, Erik Kessels, Hans van der Meer. Color/black & white, 210 x 297 mm, 80 pages, soft cover, ISBN 978-90-70478-16-2

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Strangers In My Photoalbum Published by KesselsKramer Publishing. Collected & edited by Erik Kessels, design by Fabienne Feltus. Color, 170 x 225 mm, 28 pages, soft cover, edition of 250. In Almost Every Picture – Limited Edition Published by KesselsKramer Publishing. Collected & edited by Erik Kessels. Color/black & white, 210 x 90 x 165 mm, 5 books in felt slipcase, DVD included, signed and numbered, edition of 100. Useful Photography – Limited Edition Published by KesselsKramer Publishing. Collected & edited by Hans Aarsman, Claudie de Cleen, Julian Germain, Erik Kessels, Hans van der Meer. Color/ black & white, 265 x 220 x 55 mm, 5 books in slipcase, signed and numbered, edition of 100. Bangkok Beauties Published by KesselsKramer Publishing. Collected & edited by Erik Kessels. Black & white, 170 x 225 mm, 28 pages, soft cover, edition of 250. 2006 One Hundred And One Things To Do Published by BIS Publishers. Color/black & white, 225 x 300 mm, 240 pages, soft cover, ISBN 978-90-6369-144-8 In Almost Every Picture # 5 Published by KesselsKramer Publishing. Collected & edited by Erik Kessels and Marion Blomeyer. Color/black & white, 155 x 200 mm, 146 pages, soft cover, ISBN 978-90-70478-13-1

Useful Photography #006 Published by KesselsKramer Publishing. Collected & edited by Hans Aarsman, Claudie de Cleen, Julian Germain, Erik Kessels, Hans van der Meer. Color/black & white, 210 x 297 mm, 88 pages, soft cover, ISBN 978-90-70478-12-4 Wonder Published by KesselsKramer Publishing. Rejected photographs rescued by Sabine Verschueren, Erik Kessels, Hans Wolf, Andre Thijssen. Color/black & white, 167 x 240 mm, 144 pages, soft cover, ISBN 978-90-70478-08-7 Loving Your Pictures – Postcard Book Published by Uitgeverij J.M. Meulenhoff. Collected & edited by Erik Kessels, texts by Erik Kessels and Pauline Terreehorst. Color, 120 mm x 170 mm, 14 pages, 30 postcards, postcard book, ISBN 978-90-290-7796-5 2005 In Almost Every Picture # 4 Published by KesselsKramer Publishing. Collected & edited by Erik Kessels. Black & white, 155 x 200 mm, 144 pages, soft cover, ISBN 978-90-70478-07-0 Useful Photography #005 Published by KesselsKramer Publishing. Collected & edited by Hans Aarsman, Claudie de Cleen, Julian Germain, Erik Kessels, Hans van der Meer. Color, 210 x 297 mm, 84 pages, soft cover, ISBN 978-90-70478-06-3

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2 Kilo Of Kesselskramer Published by PIE Books, Japan. Color, 148 x 257 mm, 880 pages, soft cover, ISBN 978-4-89444-431-7 Models, A Collection Of 132 German Police Uniforms And How They Should Be Worn Published by KesselsKramer Publishing. Collected and edited by Erik Kessels. Color/black & white, 155 x 320 mm, 144 pages, soft cover, boxed edition, ISBN 978-90-70478-04-9 2004 In Almost Every Picture #3 Published by Artimo. Collected & edited by Erik Kessels. Colour, 155 x 200 mm, 178 pages, soft cover, ISBN 978-90-8546-018-3 Useful Photography #004 Published by Artimo. Photographs by Ad van Denderen, edited by Hans Aarsman, Claudie de Cleen, Julian Germain, Erik Kessels, Hans van der Meer. Color, 210 x 297 mm, 80 pages, soft cover, ISBN 978-90-75380-96-5 Confrontation – Histoire(S) Paralelle(S) France/Pays-Bas Published by Filigranes Editions. Texts by Erik Kessels, Marloes Krijnen and Rudi Wester. Color/black & white, 170 x 230 mm, 96 pages, soft cover, ISBN 978-2-914381-98-7 Amsterdam – A Portrait Of A City And Its People Published by Podium Publishers. Collaboration with Amsterdam Partners, text by Martin Bril. Color, 215 x 265 mm, 276 pages, (semi) soft cover, ISBN 978-90-5759-040-5

2003 In Almost Every Picture # 2 Published by Artimo. Collected & edited by Erik Kessels and Andrea Stultiens. Color, 155 x 200 mm, 214 pages, soft cover, ISBN 978-90-75380-73-6 Useful Photography #003 Published by Artimo. Collected & edited by Hans Aarsman, Claudie de Cleen, Julian Germain, Erik Kessels, Hans van der Meer. Color/black & white, 210 x 297 mm, 160 pages, soft cover, ISBN 978-90-75380-62-0 Remind Published by De Beyerd. Text by Kim Knoppers. Color/black & white, 205 x 290 mm, 136 pages, soft cover, ISBN 978-90-72637-24-6 Useful Photography War Special Published by Artimo. Collected & edited by Hans Aarsman, Claudie de Cleen, Julian Germain, Erik Kessels, Hans van der Meer. Color, 210 x 297 mm, 44 pages, soft cover, ISBN 978-90-75380-84-2 2002 Bhutan - Montserrat, The Other Final Published by Uitgeverij De Verbeelding. Photographs by Hans van der Meer. Color, 230 x 135 mm, 140 pages, soft cover, ISBN 978-90-74159-55-5 Useful Photography #002 Published by Artimo. Collected & edited by Hans Aarsman, Claudie de Cleen, Julian Germain, Erik Kessels, Hans van der Meer. Color, 210 x 297 mm, 246 pages, soft cover, ISBN 978-90-75380-46-0

Hot Or Not Published by KesselsKramer Publishing. Collaboration with the Rietveld Academy of Art, Amsterdam. Color, 210 x 297 mm, 56 pages, soft cover, ISBN 978-90-70478-02-5 2001 In Almost Every Picture #1 Published by Artimo. Collected & edited by Erik Kessels. Colour, 155 x 200 mm, 274 pages, soft cover, ISBN 978-90-75380-41-5 Useful Photography #001 Published by BIS Publishers. Collected & edited by Hans Aarsman, Claudie de Cleen, Julian Germain, Erik Kessels, Hans van der Meer. Color/black & white, 210 x 297 mm, 60 pages, soft cover, ISBN 978-90-72007-70-4 Foam Magazine #1 â&#x20AC;&#x201C; Dutch Delight Published by Foam. Edited by Erik Kessels. Color/black & white, 230 x 300 mm, 112 pages, soft cover, ISBN 978-90-70516-01-7 Kesselskramer 96-01 Published by BIS Publishers. Color, 240 x 340 mm, 200 pages, soft cover, ISBN 978-90-803927-6-2

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1999 The Instant Men Published by KesselsKramer Publishing. Photographs by Erik Kessels. Color, 210 x 220 mm, 44 pages, soft cover, ISBN 978-90-803927-5-5 1997 Missing Links Published by KesselsKramer Publishing. Photographs by Erik Kessels and edited by Julian Germain. Color, 110 x 135 mm, 24 pages, leporello hardcover, ISBN 978-90-803927-2-4 Kesselskramerpublishing.com

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The seventh in the Howard Smith Paper lecture series was held at Bafta, Piccadilly, London, October 2008. A collaboration between Browns, Erik Kessels and Howard Smith Paper.

Erik Kessels Lecture 7

© Erik Kessels, October 2008 © Howard Smith Paper, October 2008 Front cover image: xxxxx, xxxxx xxxxx xxxxx, xxxxx xxxxx xxxxx, xxxxx xxxxx Collection: xxxxx Photograph: xxxxx Back cover image: xxxxx, xxxxx xxxxx xxxxx, xxxxx xxxxx xxxxx, xxxxx xxxxx Collection: xxxxx Photograph: xxxxx Lecture series curation/design: Browns Foreword/interview: Adrian Shaughnessy Interview photography: Davy Jones Publisher: Howard Smith Paper Printer: St Ives Westerham Press using 225 line screen.

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All rights reserved, no part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any electronic, photocopying or other means without the prior permission of the copyright holders. Past lectures Lecture 1: Paul Davis, July 2005 Lecture 2: Alexander Gelman, June 2006 Lecture 3: Paul Graham, November 2006 Lecture 4: Lawrence Weiner, May 2007 Lecture 5: Storm Thorgerson, September 2007 Lecture 6: Felice Varini, March 2008

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