traightforwardly announced its breadth: Design / Writing / Research. Though it may sound simple to reative, communicative and scholarly abilities are like strings, keyboards and percussion: harmonious wh well, but rarely performed by a single band member. phonic richness and deceptively easy clarity have always been hallmarks of Miller’s design. A partner a e enhances the legacies of people and institutions that have defined culture, high and low. His environm identities have complemented buildings by the architects Tod Williams and Billie Tsien, Thom Mayne hibition designs and catalogues have lushly interpreted the art of Matthew Barney, the seduction of mo f superheroes. In his hands, the history of the Formica Corporation gets the same thoughtful treatment theory of the Bauhaus. ot just a magnifier of cultural beacons; he is also a source of light. Dance Ink, a magazine he art directed ies on paper without arresting the thrill of their dynamics, reset the bar for editorial design. Published f marked the beginning of his ongoing collaboration with its founder, Patsy Tarr. In 1997, they launche iannual paean to monomania. Edited by Miller, each issue of 2wice explored a single theme, including f and uniforms. Later, it assumed the dance focus of its predecessor and moved into the digital realm. ler has moved into creating iPad apps that approach the digital tablet as a completely new stage for dan h Wall, for instance, the choreographer and dancer Jonah Bokaer gyrates in a series of overlapping fram rotated (by Miller), prove to be shallow boxes. hwest Indiana in 1963, Miller enrolled at Cooper Union to study art and was caught up in the intellec s faculty. He was inspired by George Sadek’s emphasis on verbal wit, Hans Haacke’s insistence on the a and Niki Logis’s articulation of the language of sculpture. “Sometimes I miss that crazy intensity,” he “Where does that happen now?” ical day for Miller is a culture vulture’s dream. A recent one began with a meeting at the Guggenheim designed the identity, website and publications. On this occasion, he was preparing to show his dance ap Then it was on to the Brooklyn Museum and a photo shoot for a book about avant-garde shoe design. T presentation of his proposals for environmental graphics for Morphosis’s building at the new Cornell Te Roosevelt Island in New York City. l were his preparations for the forthcoming release of his own monograph and the opening of an Abbott niversity of Monterrey in Mexico. Both will showcase the scope of his career, with all of its cultural touc d Wright to Harley-Davidson. “I don’t see the pursuit of interesting and beautiful design as fundament with the broadest possible marketplace,” he has said. “In that sense I am an optimist.” r will be presented with the AIGA Medal at The AIGA Centennial Gala on April 25, 2014, in New Yor J. Abbott Miller collaborate in their art and their design. The name of theirgraphic studio, Design Writing Re American k as designers as well as writers, and points to their larger concern to approach design as a form of auth designer, rried through in their editorial and curatorial work on the history and theory of design in typography, writer, and industry. They are graduates of the Cooper Union School of Art in New York City. 2014 AIGAInstitute, AwardCollege of Art in B Miller are co-chairs of the Graphic Design Department at the Maryland Medalist ublished Design/Writing/Research: Writing on Design , a collection of essays on design theory and cult ceived the 1996 New York Magazine Award, given to ten New Yorkers who have helped shape the cultu llaborative project for Graphicstudio, a set of two photogravures titled on/off is an exploraration in the forms. They created the images using the luminous screen of a computer, and then transferred the digit films for use in photogravure, an etching process of great tonal sensitivity and detail. s made by Remel Hoskins, sophomore at UIS, however the words are copyright of AIGA online, Wikip
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