In and Around: Cultures of Design and the Design of Cultures by Nat Estrada

IN AND AROUND: CULTURES OF DESIGN AND THE DESIGN OF CULTURES PART I

By Andrew Blauvelt This article was first published in 1994 in Emigre 32.

The paradoxical nature of being

The graphic designer shares a

both in and around is familiar

similar dilemma of being both

to the cultural anthropologist,

instrumental in the making of

who might work in the field

cultural artifacts and living in the

among the observed and at the

society through which they are

same time remains apart from

distributed. Graphic designers are

the observed. It is this observer

often asked to remove themselves

status given to the anthropolo-

from their social positions and

gist that creates this necessary

experiences and offer themselves

dilemma. The conventional

as professionals, specialists in the

wisdom supporting the role

various forms of visual commu-

of cultural anthropology has

nication. This detachment, which

been its intention to study the

we might call “professionaliza-

cultures of other peoples as a

tion” or “specialization,” creates

way of reflecting on our own

the mythical, autonomous observ-

culture, or to borrow a phrase

er in the design process. This is a

from Liberal Humanism, “To

learned method of being profes-

know others so that we may

sional and a consequence of the

better understand ourselves.”

“problem-solving process” at

The situation between an

the core of every graphic design

observer and an observed can

procedure. We are asked to be

never be neutral, however, since

objective and to render rational

the power relationships are

decisions (solutions), and doing

inevitably unequal.

so places graphic design on a par with other professions.

The graphic designer is, of

We are, with others in society,

course, a member of society

witnesses to and partici-

and thus lives with the artifacts

pants in the consumption of

of his or her making, as well

cultural artifacts and, there-

as with the artifacts of other

fore, share in the moments of

designers. In this way, designers

seduction and repulsion that

are asked to be professionals

these artifacts generate.

outside of (to be around) culture, and at the same time, to be a part of (to be in), culture.

I AM SEDUCED BY THE MESSAGES OF OTHERS I APPRECIATE THE MATERIALITY OF THE FINELY PRINTED BOOK I RESPOND TO THE URGENCY EXPRESSED BY THE POLITICAL POSTER ... AND I SHOP AT THE MALL.

The important lesson of this confession is that we consume cultural artifacts and their messages in different ways. While we consume these artifacts in the conventional manner of conspicuous consumption, which renders consumers as passive, blank slates upon which all forms of messages can be written, more recent research efforts have demonstrated another dimension to this idea of passive consumption, showing that we also consume artifacts symbolically and even ironically through small acts of individual resistance.(1) I watch Melrose Place ironically, for the melodramatic plot lines and the obvious acting - it’s so bad, it’s good - while I resist buying cable

I AM REPULSED BY THE MESSAGES OF OTHERS I AM APPALLED BY DISPLAYS OF INJUSTICE I AM THREATENED BY THE SIGNS OF HATRED ... AND I SHOP AT THE MALL.

television because that’s just too much television.

The dilemma of being both in and around culture exists at another level: at the level of individual subjectivity. I have already asserted that the phrase “in and around” constitutes a subject position, if only a paradoxical one. Just as a subject position will only be meaningful if it is defined in relationship to other positions, so too is the subject of that positioning. We need other things to mark the boundaries of ourselves, our identities and our cultures. Psychoanalysis tells

THE DISCOVERY OF DIFFERENCE

us that this process happens at a very early age, when the child recognizes itself as a self; that is to say, as an individual, and also recognizes others as others. Similarly, cognitive psychologists have suggested that we seem predisposed at the earliest ages to recognize difference, the exceptional, as a way of making sense of the world around us.

4››› 6

This process of differentiation

The relationship between self and

continues on a social level

others is a two-way street, pro-

through identification with race,

ducing effects on all parties with-

ethnicity, gender, age, religious

in a power structure that is typ-

affiliation, sexual orientation,

ically unequal. This “discovery,”

class, etc. These social and cultur-

of others - that moment of first

al positions are defined as much

contact between different groups

by what they are not as by what

and their subsequent relation-

they are. We find that we are

ships - has been characterized by

culturally constructed as subjects

the French philosopher Jacques

and we are socially constructed

Derrida as essentially “violent”:

through the identities we claim or

“... the anthropological war [is] the

the categories we are placed in. It

essential confrontation that opens

is easier to understand that class

communication between peoples

is a social construction but harder

and cultures, even when that com-

to consider how race is a con-

munication is not practiced under

struction, and not simply a natu-

the banner of colonial or mission-

ral phenomenon, until we realize

ary oppression.”(2)

that the idea of race emerged in a historically specific way, bolstered

This violence occurs at the level

by the truth claims of science for

of actual, lived experience and

various political ends. Race is not

at the level of symbolic existence,

natural, it is cultural. Gender is

through words and images; i.e.,

not natural, it is cultural. These

representations.

statements are made to counter the extent to which ideas about woman, blacks, gays, etc. are so intertwined in the fabric of society as to appear inevitable and unquestionable - natural.

WE FIND THAT WE ARE CULTURALLY CONSTRUCTED AS SUBJECTS AND WE ARE SOCIALLY CONSTRUCTED THROUGH THE IDENTITIES WE CLAIM OR THE CATEGORIES WE ARE PLACED IN.

Design’s relationship with cultur-

of global capitalism which turn

al identification is a very import-

those old feelings of supremacy

ant, that is to say, financially

into longings for contact, even in-

significant one. The “discovery”

timate contact, with others - their

of various cultural groups within

skin, clothes, language, music,

society coincides with their

crafts, cuisine.(5) It is this longing

definition as an audience and as

for contact with others, their

a market. It is no coincidence

exotic appeal, which drives the

that Big Business “discovered”

desire for cultural appreciation

other audiences after the social

through cultural appropriation.

turmoil of the 1950s and 1960s; the Civil Rights and Women’s Rights Movements to name but two. We are, in fact, witnessing a renewed discovery of cultural diversity under the banner of multiculturalism, a phenomenon that is reflected in “progressive” advertising campaigns.(3) Tellingly, many of these campaigns are for fashion clientele, contributing to the notion that such “diversity” is “fashionable.”(4) In our discussions of others in this culture, it is hard to imagine a scenario that is not a product of larger economic forces. This applies to the economic development of colonialism that brought slavery to the New World and with it the foundations of racial supremacy, as well as to today’s effects

This “discovery” of cultural difference through the recent guise of multiculturalism can be seen in a fall 1993 issue of Time magazine entitled «The New Face of America.» Created as a special issue and devoted exclusively to issues surrounding what we now call «multiculturalism,» this publication effort was sponsored, exclusively, by Chrysler Plymouth Corporation. From the cover: «Take a good look at this woman.

IMAGING THE OTHER:

THE DIGITAL FICTION OF FIRST CONTACT

She was created by a computer from a mix of several races. What you see is a remarkable preview of The New Face of America. How Immigrants Are Shaping the World’s First Multicultural Society.” We learn inside that this new woman is a composite creature created through the digital “morphing” process combining specified amounts of ethnicity: 15% Anglo-Saxon, 17.5% Middle Eastern, 17.5% African, 7.5% Asian, 35% Southern European, and 7.5% Hispanic. Least we consider her some sort of ethno-techno-Frankenstein, we are told that this

woman stole the hearts of several

digital ethnic-mixing “times table”

magazine staffers, obviously

shown in the next spread. Using

unaware of her virtual existence.

the same “morphing” technology

Of course, it doesn’t take a cynic

as the cover creation, they have

to realize the fallacy of asserting

assembled 49 others using a 50-

that today’s America represents

50 mixing formula.

the world’s first multicultural society. The history of the world’s

In a similar vein, the magazine

oppressed would say otherwise.

Colors sponsored by the Italian

Even though the issue contains

fashion corporation Benetton,

a story on interracial marriage

in a spring/summer 1993 issue

and what it calls “crossbreeding,”

devoted to race, offers a six-page

complete with real husbands and

section of digital «possibilities.»

wives and their real mixed-race

In these pages, celebrities are

children, it expends a great deal

transformed, much like Ted

of effort in the presentation of its

Turner›s colorizing technique,

creating a «black» Queen

Our fascination with others has

Elizabeth, a «black» Arnold

been rethought by anthropologist

Schwarzenegger, a «white» Spike

Michael Taussig, who turns the

Lee, an «Asian» Pope John

table on the observer and the

Paul II and a «white» Michael

observed. Taussig asks “Who is

Jackson. The absurdity of

fascinated by what?” when he

these «possibilities» as reality

questions early anthropological

creates the humor that makes us

expeditions and their use of the

laugh. These possibilities do not

camera and the phonograph to

represent any lived reality but a

make contact with and record

mythic realm where we can now

other peoples. According to

dissolve the outward boundaries

Taussig, “the more important

of «us and them»-ness through

question lies with the white man’s

the wonders of digital imaging.

fascination with the non-whites’ fascination with these mimetically capacious machines [the camera and the phonograph].”(6) Similarly, we need to ask ourselves who is served by the wondrous potential of digital imaging to transform pictures of race, ethnicity or gender?

WHO ARE THESE IMAGES FOR?

“THE SHOCK OF RECOGNITION! IN AN ELECTRIC INFORMATION ENVIRONMENT, MINORITY GROUPS CAN NO LONGER BE CONTAINED - IGNORED. TOO MANY PEOPLE KNOW TOO MUCH ABOUT EACH OTHER. OUR NEW ENVIRONMENT COMPELS COMMITMENT AND PARTICIPATION. WE HAVE BECOME IRREVOCABLY INVOLVED WITH, AND RESPONSIBLE FOR, EACH OTHER.” The Medium is the Massage, Marshall McLuhan & Quentin Fiore, 1967

Over a quarter-century has passed since this prophecy about our technological relationship with others by media guru Marshall McLuhan. In the racial turbulence of the sixties, McLuhan saw the impact that increased information exchange would have on society, particularly on our relationships with other people. Tinged with the optimism that pervades all technological revolutions, McLuhan injects a message of civic responsibility an ethics of mutual dependency.

FAST-FORWARD TO YESTERDAY: “OUR CRITICS FELT THAT MATT MAHURIN’S WORK CHANGED THE PICTURE FUNDAMENTALLY; I FELT IT LIFTED A COMMON POLICE MUG SHOT TO THE LEVEL OF ART, WITH NO SACRIFICE TO TRUTH. REASONABLE PEOPLE MAY DISAGREE ABOUT THAT. IF THERE WAS ANYTHING WRONG WITH THE COVER, IN MY VIEW, IT WAS THAT IT WAS NOT IMMEDIATELY APPARENT THAT THIS WAS A PHOTO-ILLUSTRATION RATHER THAN AN UNALTERED PHOTOGRAPH; TO KNOW THAT, A READER HAD TO TURN TO OUR CONTENTS PAGE OR SEE THE ORIGINAL MUG SHOT ON THE OPENING PAGE OF THE STORY.” James R. Gaines, Managing Editor, Time, July 4, 1994

This statement was a defense

relativisms that seemed to have

for the use of Matt Mahurin’s

been inherited from the «I›m

digital photo-illustration of O.J.

Okay, You›re Okay» ‹70s. By

Simpson for Time. This recent

placing this commission in the

event underscores the relation-

realm of art, the editor can argue

ships among electronic technolo-

that the artist who created it

gies, representation and cultural

(or rather re-created it) gave it

identity and the many issues

something it lacked. This lack

their convergence raises. There

occurs, of course, because of the

are many instances in recent

kind of image it is - a mug shot.

memory of the manipulation of

Justification for Mahurin’s image

photographic imagery by digital

hinges on displacing every-

technology, such as the head-of-

thing we know about the social

Oprah-Winfrey + body-of-Ann-

significance of mug shots as

Margaret collage for T.V. Guide or

documents of suspected criminals

National Geographic’s shifting of

and re-reading the image as an

the Great Pyramids at Giza, which

intervention of the artist’s hand

stirred numerous public con-

and eye, thereby elevating the

troversies over the myth of “the

commonplace mug shot to the

truthfulness of photographs.”(7)

extraordinary realm of art.

In the case of the O.J. Simpson

The greater at-large and largely

cover, Time decides to use as

negative reaction to this image

its defense the argument that

occurs at a level of understanding

the illustration transcends the

about how images are conceptu-

original mug shot photo and

ally framed in society. According

becomes art, thereby placing

to Time management, detractors

it in a special cultural category

didn’t read the image “correct-

reserved for suspended judgments,

ly” as a work of art, but rather

a place where my taste is not

as what it is, a technological

yours, yours is not mine, let›s

alteration of a mug shot - a pho-

agree to disagree and other

tographic document of criminal

surveillance.(8) What was read,

The resulting re-creation mixes

cial truths. McLuhan saw a social

at least by some, was the darken-

several other social messages:

opportunity but lacked critical

ing of Simpson’s skin tone, which

the story of a fallen public

insight into the social reality that

shows that some grasped the fact

figure («An American Tragedy,»

limits individual options that

that this was not the “original”

reads the cover) subconsciously

seek to operate in opposition to

because it did not conform to

translated in many minds as the

established social truths.

what they knew (mostly from

verification of everything they

other pictures) about O.J. Simp-

think they know of black males

What is interesting to me is how

son. It did not correspond to the

and criminal activity.

new digital technologies have been

“truth.” The reinscription of a

harnessed for representing racial

police mug shot, #BK4013970

This mini-controversy is but the

06-17-94, into the red frame

latest episode in the on-going

tions populate the world of cyber-

of a Time cover, trades our

struggle for representation in our

space in ways that picturing others

abstract belief in «innocent

culture that is dressed in the high-

used to reside in the mind, moving

until proven guilty» for the tacit

tech clothing of digital imaging,

away from imagining the other to

knowledge of assumed guilt.

while revealing the same old so-

imaging the other. Unfortunately,

“possibilities.” These ethnic fic-

little has changed in the concep-

It is this aspect of fictitiousness

The fictive domain of the digital

tions of race, only the spaces in

that distinguishes the use of digital

construction can be seen more

which they are articulated. The

imaging techniques to capture and

obviously in another Colors (June

representations of other cultures

fix the image of the other. Photog-

1994) depiction, a portrait of

have moved from the conspic-

raphy has been consistently used

former President Ronald Rea-

uous colonialism of stolen and

to “capture” others, particularly in

gan with skin lesions next to an

bartered objects found in the

the field work of anthropologists

obituary citing his recent death

curiosity cabinet and the natural

or the surveillance of police. These

from complications with AIDS.

history museum to the neocolo-

photographic depictions have their

The fictitious photo and obituary

nialism of appropriating cultural

own level of conceit but always re-

rewrite the Reagan-era policy on

representations, including the

main true to their claim to capture

AIDS and extol the virtues of a

creation of yet another “other:”

reality “as it was.” These recent

man who “is best remembered for

a fictive one you can’t know

uses of digital imaging techniques,

his quick and decisive response

because it doesn’t really exist.

however, relinquish their claims to

to the AIDS epidemic,” under the

reality in favor of picturing reality

headline “Hero.” While at great

“as it isn’t,” or “as it might be.”

pains to establish a level of reality

THE FICTIVE FANTASY OF DIGITAL “POSSIBILITIES” SEEMS SO APPEALING BECAUSE THEY OFFER US A FORM OF PLEASURE THROUGH THEIR REFUSAL OF A KNOWN REALITY.(9) THE EASE WITH WHICH SUCH PRODUCTIONS ARE MADE IS IN CONTRAST TO THE DIFFICULTIES OF EASING RACIAL CONFLICT OR ENDING POLITICAL APATHY TOWARDS THE AIDS PANDEMIC.

for their story, Colors declares the fictitious nature of the story in a footnote and uses the word «manipulation» in the attached photo credit. These are offered to prevent misreading the story as true, while trying to preserve the supreme irony of the story itself. Again, the absurdity of the story plays havoc with the reality of its presentation. Unfortunately, we are left with the «wishful thinking» of the obituary and the all-too-real historical record on the subject.

As a counterpoint to these instru-

European State could utilize digital

mental uses of digital technologies

technologies and information

by mainstream media is the use

networks to target social “unde-

of similar technologies by British

sirables” and keep them under

artist Keith Piper, whose video

surveillance. Piper’s digital images

installation “Surveillances: Tagging

foresee a distinctly 21st-century vi-

the Other,” deals with the use

sion of documenting and analyzing

of that technology within the

cultural differences in much the

climate of European racism. Piper

same way as 19th-century phrenol-

appropriates the slang term of

ogists studied the head structures

“tagging” - the marking of territory

and facial features of others, partic-

by a unique graffiti signature - and

ularly the insane, the criminal and

applies it to the use of electronic

the “Negro.” Keith Piper’s use of

technologies to mark and track

the same technology creates a dif-

others. In this way, Piper shows

ferent digital fiction: one you fear

how, for example, a proposed New

because it might just exist.

PICTURING DIFFERENCE/

REPRESENTING DIVERSITY

We come to know ourselves and

Representations can be depictions

others less often through actual

of others as a kind of shorthand

contact and more usually through

that we substitute for specific

representations in society. Cul-

cultural categories. The effect of

tural identification is a factor of

the linkage between dominant

representation. For example, the

political interests and the use of

French psychoanalyst Jacques La-

various representations can be

can, speaking about the concepts

seen when we confront wholesale

of woman and sexuality, said it

categories that are themselves

succinctly: “Images and symbols

amalgamations of sex, race and

for the woman cannot be isolated

class, without imagery. For exam-

from images and symbols of the

ple, what image do you form for

woman. It is representation, the

“welfare mother,” “crack addict,”

representation of feminine sexu-

or “AIDS patient?” These code

ality... which conditions how it

words are the cultural shorthand

comes into play.”(10)

for young, unmarried, poor, African-American woman; young,

The debates about multicultural-

poor, African-American man; and

ism are debates about represen-

young, white, gay male respec-

tation. Although many people

tively. Their power derives from

consider the issue in terms of

their ability to exploit media

sheer numbers - a quantitative

images of these scenarios in the

approach to representation - the

minds of the public without di-

issue is not necessarily a lack of

recting attention to their misogy-

representations but the diversity

nic, racist and homophobic roots.

of them; for as the art critic and

theorist Craig Owens reminds us: “In our culture there is, of course, no lack of representations of women - or, for that matter, of other marginalized groups (blacks, homosexuals, children, criminals, the insane...).”(11)

PICTURE THIS:

VOICE AND AGENCY

The debate on representation

tate is the more typical task that

for the graphic designer seems

artists and other cultural pro-

to reside in the space between

ducers have assigned themselves:

Karl Marx’s empowering dictate,

to speak for others. Less typical

“They cannot represent themselves,

is the statement by Deleuze that

they must be represented,”(12)

suggests, perhaps, letting others

that is to say, act for others, and

speak for themselves.

Gilles Deleuze’s categorical rejection of such presumed authority - “the indignity of speaking for others.”(13) Marx’s famous dic-

The negotiation of representa-

However, the traffic in represen-

tional strategies seems central for

tations will not end since it is

the graphic designer (and others)

fundamental to the operation of

who are routinely asked to speak

our society. So, while increased

for others. Graphic designers and

instances of represented others

other cultural producers are just

(tokenism) inject some presence

beginning to rethink the terms

into the picture, they do little to

of representation, away from

explain the previous exclusions.

speaking for others and towards

Fundamental change is unlikely

speaking with and to others.

to occur through the pages of

(14)Â The factors that would allow

multinational corporate advertis-

others to speak for themselves

ing no matter how many others

deal with access to the means of

are depicted. After all, have you

representation that is ultimately a function of power. The debates around multiculturalism can be seen as a struggle for control over the means of representation. As Craig Owens states, it is representation itself that takes away the ability to speak for oneself.

â&#x20AC;&#x153;COME A LONG WAY, BABY!â&#x20AC;??

Fundamental change is much

representations and to the modes

more likely to come at a broader

of their distribution in society. In

social level through a multitude

this way, the voices of others will

of changes from any number of

be heard only when those others

sectors and inevitably it will be

have access to the larger public

reflected in the construction of

sphere.

various representations, made by graphic designers and other

While graphic designers may

cultural producers and ultimately

claim an independent status, like

incorporated in the constitution

that of neutral observers, we find

of identities. After all, corporate

that their role is a central one in

advertising campaigns and token

the system of representations. As

representatives (spot the black,

producers and consumers of vari-

the Asian, the woman in the

ous cultural artifacts, understood

scene) do not create diversity but

as both tangible goods, such as

merely reflect it.

books and magazines, as well as the more intangible products,

The work of socially engaged ac-

such as ephemeral messages and

tivists, artists and designers tries

images, graphic designers find

to undermine the stereotype in

themselves both in and around

innumerable ways; through dis-

culture.

ruptive strategies such as appropriation, subversion and inver-

So what is the answer? The prob-

sion, as well as the destabilizing

lems are multifaceted and much

tactics of deconstructive textual

larger than design, which means

readings and demystifying widely

we need a variety of responses

held views.(15)Â True inclusive-

on a variety of levels. It helps

ness, as a result of empowerment

to remember that we are both

or agency, includes access to both

designers and citizens. In this way,

the means of producing cultural

you can be part of the solution even if you are not designing for it. It also helps to remember that

graphic design is about messages,

has been underway for quite

and that our solutions are merely

some time, no matter how slow

contributions to a larger effort.

it seems in coming for the rest of us. Quite simply,

There must be greater cultural diversity in the people who design, including an analysis of why these people are not there now. We need greater critical awareness that the teaching and practice of design occur in larger social frameworks, governed by rules of racism, patriarchy, heterosexism, etc., particularly for those individuals who may not experience it themselves. We need a greater range of methods and options for practicing graphic design that begins to step outside of a reactionary response to problems with its outmoded, pyramidal (topdown) structure and towards a more inclusive, responsive position found in activities like, for example, collaboration and co-authorship. Much to the disappointment of many, these issues will not disappear with dismissals of â&#x20AC;&#x153;political correctnessâ&#x20AC;? since they reflect a fundamental social change that

design has no choice but to get used to it.

NOTES

1. The now classic example

of viewers who watched the pro-

drawn from work of popular cul-

gram ironically and a third group

ture is Ien Ang’s Watching Dallas,

who hated the show. Ang’s work

first published in the Netherlands

demonstrates that the consump-

in 1982. Ang gathered responses

tion of cultural artifacts (in this

from women by placing an ad

case watching t.v.) is a complex

in the Dutch woman’s magazine

negotiation involving sometimes

Viva, addressed to those who

the wholesale acceptance of the

either liked to watch the Ameri-

show’s message (by fans), some-

can soap opera Dallas or disliked

times an outright rejection of

it. Ang discovered three general

such debased messages and mean-

positions toward the program:

ings (by haters) and sometimes

one group of fans, a second set

an inverted re-reading of the

show’s message and meaning (by

than any other ethnic group or

ironists). Ang’s work is important

that Chinese Americans drink

because she examines how plea-

more Cognac. In the words of

sure is produced through con-

one executive, “Today’s market-

sumption, in rather complex ways

ing is part anthropology.”

with contradictory value systems,

4. The most visible of

rather than seeing consumption as

these campaigns is the on-going

simply an end in and of itself.

“United Colors of Benetton.” A

2. “The Battle of Proper

critical analysis of Benetton is

Names,” from “Part II: Nature,

made by Jeff Rosen in his article

Culture, Writing” in Of Gram-

“Merchandising Multiculturalism:

matology by Jacques Derrida,

Benetton and the New Cultural

1976, p.107. Derrida›s comment

Relativism,” New Art Examiner,

is in context of a discussion of

November 1993, pp.18–26. The

the «Writing Lesson» by the

critical difference lies in how the

anthropologist Claude Lévi-

concept of multiculturalism will

Strauss. The linkage between

be allowed to exist as a force in

violence and representation is

society. Will multiculturalism act

fully present in this allegorical

as a force for substantive change

image of «America» by Philippe

in how we deal with other cul-

Galle in the late 16th century.

tures? Is it to be seen as a form of

The New World is rendered as

marginalized pluralism? Or is it

a naked, violent woman. Why a

simply a relative concept perfect

naked, violent woman?

for the marketing of our times? In

3. The advent of “multi-

the reported words of Benetton’s

culti” advertising has produced

creative director Oliviero Toscani,

a bewildering amount of in-

“Products change, images capital-

formation on the consumptive

ize.” Or as Rosen notes, “Toscani

preferences and buying patterns

has it backwards: Images change,

of various ethnic groups. For ex-

products capitalize.”

ample, we now know that Korean Americans consume more Spam

5. “The commodification

of Otherness has been so suc-

some of the conclusions of Ien

cessful because it is offered as a

Ang (see note 1), who argues

new delight, more intense, more

that fantasy and fiction do

satisfying than normal ways of

not “function in place of, but

doing and feeling. Within com-

beside, other dimensions of life

modity culture, ethnicity becomes

(social practice, moral or po-

spice, seasoning that can liven up

litical consciousness). “It...is a

the dull dish that is mainstream

source of pleasure because it puts

white culture.” - bell hooks from

‘reality’ in parentheses, because

9. This thought parallels

“Eating the Other: Desire and Re-

it constructs imaginary solutions

sistance,” in Black Looks: Race

for real contradictions, which in

and Representation, 1992, p. 21.

their fictional simplicity and their

6. “The Talking Machine,”

simple fictionality step outside

in Mimesis and Alterity: A Par-

the tedious complexity of existing

ticular History of the Senses by

social relations of dominance and

Michael Taussig, 1993, p. 198.

subordination.” (p.135)

7. For an extended account

10. “Guiding Remarks for

of what he calls the “pseudo-pho-

a Congress on Feminine Sexual-

tograph,” see William J. Mitch-

ity,” by Jacques Lacan in Fem-

ell’s book The Reconfigured Eye:

inine Sexuality, edited by Juliet

Visual Truth in the Post-Photo-

Mitchell, 1982, p. 90.

graphic Era (1992); in particular,

11. “‘The Indignity of

the chapters «Intention and

Speaking for Others’: An Imagi-

Artifice» and «How to Do Things

nary Interview,” by Craig Owens

with Pictures.»

in Beyond Recognition: Repre-

8. For a critical account

sentation, Power and Culture,

of the use of photography in the

1992, p. 262.

service of documenting criminal activity, see “The Body and the Archive” by Allan Sekula, reprinted in The Contest of Meaning: Critical Histories of Photography, 1989.

12. The comment is from

Marx’s Eighteenth Brumaire in

ers are discovering that issues of

a discussion of the French

cultural diversity and social re-

peasantry. This is discussed

sponsibility can be found in their

by Owens (see note 10), who

own back yards. As I write this,

adds: «Here, Marx uncritically

the premiere issue of Sphere has

assumes the traditional role of

arrived at my door, a publication

politically motivated intellectual

by the World Studio Foundation.

- or artist - in bourgeois society:

14. Undoubtedly, design-

The stated intent of the Founda-

he appropriates for himself

tion is threefold: to “examine the

the right to speak on behalf of

role of cultural identity in the

others, setting himself up as

design disciplines,” to “collect

their conscience - indeed, as

and disseminate information

consciousness itself. But in

about social projects in the global

order to occupy this position,

creative community” and to

he must first deny them (self-)

“encourage projects that empower

consciousness, the ability to

individuals and communities to

represent themselves.» (p.261).

participate in the shaping of their

13. Michel Foucault, “ In-

environment.” While their inten-

tellectuals and Power: A Conver-

tions are laudable I am left with

sation between Michel Foucault

an uneasy feeling. Perhaps it’s cyn-

and Gilles Deleuze” in Language,

icism, maybe it’s the Colors-like

Counter-Memory, Practice, 1977,

design that makes me suspicious,

p.209. This statement by Deleuze

or maybe it’s the $50 subscrip-

about Foucault’s work comes

tion price. See the brief report

from Craig Owens’s essay (see

on World Studio, I.D. magazine,

note 10).

November 1993, p. 26.

15. It is easier to see the work produced by artists as instances of “others speaking for themselves” and in the process enabling another voice to be heard. I think of Carrie Mae Weems, and African-American woman, whose photographic series “Ain’t Jokin” with titles such as “Black Woman with Chicken” or “What are the three things you can’t give a black person?” or of the Native-American artist Jimmie Durham’s work, both of whom undermine the prevalent stereotypes produced by and for dominant culture. It is harder to see this activity in the realm of graphic design proper, much of which is produced by and for dominant cultural interests.

AUTHOR BIOGRAPHY Blauvelt Launching New

Design Series and Curating Exhibition on Contemporary Prefabricated Houses Andrew Blauvelt, the

more than 80 design awards over the past decade recognizing the institution’s graphic communications. As curator, he is organizing the exhibition Some Assembly

Walker Art Center’s Design

Required: Contemporary Prefab-

Director since 1998, has been

ricated Houses, on view at the

named Design Director and

Walker December 11, 2005–March

Curator, effective immediately, to

26, 2006, and coordinating a new

reflect his role in curating design

series, Drawn Here: Contemporary

and architecture exhibitions

Design in Conversation, focused

and developing related public

on the local design scene, which

programs. In his role as Design

launches in September on Target

Director, Blauvelt provides cre-

Free Thursday Nights with Minne-

ative leadership for the Walker’s

apolis-based architect Julie Snow.

design studio—the recipient of

The work of the Walker’s

in-house design studio has been

magazine’s 2005 Annual Design

mental-scale graphics, and the

exhibited and published world-

Review. Blauvelt was recently

opening campaign for the new ex-

wide. Its work was the subject of

selected as one of the “100 most

pansion; led the experience plan-

an exhibition at the Design Muse-

significant” graphic designers

ning team for the new Walker’s

um, London in 2002. The studio

in Area, a curated international

public spaces; and collaborated

was nominated for the prestigious

survey of contemporary graphic

with Lisa Strausfeld of Pentagram,

Chrysler Award for Design In-

designers published by Phaidon

New York, on the creation of a

novation and a National Design

Press, Ltd. (2004).

dynamic marquee, which is pro-

Award from the Cooper-Hewitt

In conjunction with the

jected onto a 60-foot-long por-

Museum, New York, in 2001.

Walker’s building expansion,

tion of the building’s etched glass

Its recent Walker without Walls

Blauvelt oversaw the creation

wall along Hennepin Avenue.

identity and marketing campaign

of Walker Expanded, an inno-

won both state and national 2005

vative new graphic identity that

the exhibition Ideas for Modern

American Institute of Graph-

uses font creation technology to

Living as part of The Home Show,

ic Arts awards and a Design

generate branding applications

which examined the Idea House

Distinction Award as part of I.D.

from business cards to environ-

Project and the Everyday Art

In 2000 Blauvelt curated

Gallery, two innovative design

later served as department head.

projects initiated by the Walk-

He also served as interim chair of

er Art Center in the 1940s. His

the design department at Cran-

traveling exhibition Strangely Fa-

brook Academy of Art in Bloom-

miliar: Design and Everyday Life

field Hills, Michigan. Blauvelt

premiered at the Walker in 2003

has been a visiting professor in

and has toured to several venues

the graduate programs of the Jan

in the United States and Europe.

van Eyck Akademie, Maastricht,

Since 1998 he has helped

the Netherlands; Cranbrook

organize public programs on

Academy of Art, Bloomfield Hills,

design and architecture at the

Michigan; the College of Archi-

Walker Art Center. Working with

tecture and Landscape Architec-

the American Institute of Graphic

ture, University of Minnesota;

Arts Minnesota, he has organized

and the University of the Ameri-

its long-running Insights lecture

cas, Puebla, Mexico.

series, which brings designers of

Blauvelt was named Edu-

international stature to the Twin

cator of the Year by the Graphic

Cities. He has also worked with

Design Education Association

the Walkerâ&#x20AC;&#x2122;s Education and Com-

in 1995. He has served on the

munity Programs department and

national board of directors of the

American Institute of Architects

American Center for Design.

Minnesota to host presentations

Blauvelt holds an MFA in

by some of most innovative archi-

design from Cranbrook Academy

tects and landscape architects.

of Art (1988) and a BFA from

Prior to the Walker, Blauvelt taught design at several colleges and universities. He was Associate Professor of Graphic Design at the School of Design, North Carolina State University, where he helped develop its topranked graduate program and

the Herron School of Art, Indiana University (1986).

COLOPHON

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