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Spring art week just wrapped in New York City. Known for its extravagant floral displays and signature oysters and champagne, TEFAF is the fair with a vibe. This year, 91 exhibitors from 13 countries presented everything from antiquities to modern and contemporary art and design at the stately Park Avenue Armory. There's a real sense of passion here— dealers are eager to share the stories behind their works. Which brings us to today's episode, recorded live at the Thrill of the Chase panel with three very different cultural omnivores who personify Tefaf's ethos which span centuries and styles. Jeanne Greenberg Rohatyn‘s gallery Salon 94, has long blurred the lines between art and design. Housed in a Beaux-Arts townhouse on the Upper East Side she has presented everything from Rick Owens furniture to the recent Kennedy Yanko solo exhibitions. Adam Charlap Hyman, co-founder of Charlap Hyman & Herrero, brings a sweeping vision to interiors, furniture, architecture, and opera sets. He also curates, most recently Glass Subjects at R & Company which is currently on view. Alexandra Cunningham Cameron, Curator of Contemporary Design at the Cooper Hewitt, began her career in literature before turning to storytelling through objects. Her work explores symbolism, inclusion, and cultural memory. Together, they explore what makes an object irresistible. Is it beauty, rarity—or the story it tells? In this conversation, Artnet Studio's William Van Meter dig into the thrill of discovery, the elusive “X factor,” and how great objects help shape layered narratives.
Steve Heller is arguably the world's best-known design educator, with over 200 books on graphic design, illustration, and political art. I interviewed him for my 2025 book Learning to See. His books include Design Literacy: Understanding Graphic Design; Teaching Graphic Design; and The Education of an Illustrator (with Marshall Arisman). He's spent most of his career at the School of Visual Arts in New York City, where he's now the Special Assistant to the President and the Co-Founder and Co-Chair Emeritus of the MFA Design Department. He's won numerous awards including Cooper-Hewitt's National Design Mind Award; Smithsonian Design Museum; National Endowment for the Arts; AIGA Medal for Lifetime Achievement; and many others. For 33 years, he was an art director at the New York Times and the New York Times Book Review. In this interview, he gives amazing insights about how to teach graphic design and illustration. For more information: Steve Heller's web site Book: Teaching Graphic Design Book: The Education of an Illustrator Sawyer's book Learning to See Music by license from SoundStripe: "Uptown Lovers Instrumental" by AFTERNOONZ "Miss Missy" by AFTERNOONZ "What's the Big Deal" by Ryan Saranich Copyright (c) 2025 Keith Sawyer
Claudy Jongstra is a Dutch artist and designer who has become globally renowned for her, often monumental, textile installations and tapestries made from wool. After establishing her studio in Friesland in the Dutch countryside during 2001, she started an ecological venture, which involved maintaining a herd of indigenous sheep and creating a biodynamic farm near her studio to grow plants used for natural dyes – effectively combining her art with ecological stewardship. Her work is in the permanent collections of a number of museums such the Museum of Modern Art and the Cooper-Hewitt in New York and the V&A in London. And she has won a slew of awards, including the 2022 Interior Design Hall of Fame Award. Not only that, she designed costumes for the Star Wars movies.In this episode she discusses: the ‘intelligence' of wool; leaving her job and taking two years to understand the material; setting up her own farm; the organic nature of her career path; being an activist; the process behind her extraordinary pieces; the special qualities of the Drenthe Heath sheep; why we burn so much wool; the secrets of Burgundian Black; making really big pieces; her love of cooking; issues with the vintage clothing industry; working with her son; oh and creating costumes for the Jedi…Support the show
This episode is sponsored by SIPA (Structural Insulated Panel Association) https://www.sips.org/This episode is part of a series on the Wildfire Rebuild in the Los Angeles and Altadena and EnvironsLink to the Blog for more Images and Resources: https://inmawomanarchitect.blogspot.com/2025/04/interview-with-david-hertz-faia-of.htmlDavid Hertz, FAIA of SEA Studio of Environmental Architecture https://davidhertzfaia.com/David Hertz, FAIA, Architect founded Syndesis in 1983 and S.E.A. TheStudio of Environmental Architecture, a practice focus on regenerativedesign in an age of resilience. David won the 2022 Smithsonian CooperHewitt National Design Award for Climate Action. in 2018 Hertz won theWater Abundance XPRIZE a 1.5 M prize to make over 2,000 liters of waterfrom air.In 2006 David was awarded the Distinguished Alumni Award fromSCI-Arc and in 2008 he was elected to the prestigious American Institute ofArchitects College of Fellows, as one of its youngest members in its over155-year history. David's award-winning work has been published widelyand exhibited internationally. Some highlights include exhibitions in theMuseum of Modern Art (MOMA), Smithsonian National Museum of NaturalHistory, the National Building Museum, and the Cooper Hewitt,Smithsonian Design Museum. David has taught studios and lectured atYale,USC, UCLA and Art Center.Link to MGHarchitect: MIchele Grace Hottel, Architect website for scheduling and podcast sponsorship opportunities:https://www.mgharchitect.com/
In this episode of WLEI Podcast, we welcome Cynthia E. Smith, Curator of Socially Responsible Design at Cooper Hewitt, Smithsonian Design Museum and author of Design for the Other 90%. Cynthia speaks about design as a catalyst for change and what it means, as she says, to be in “the collective work of building capacity and agency in communities across the world.”
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This month on Arts in the City… we check out Barbie's impact on fashion and pop culture at the Museum of Arts and Design; visit Cooper Hewitt's triennial that's dedicated to the concept of home; take a look at 200 years of women's clothing at The New York Historical; explore lighthouse history at the National Lighthouse Museum; chat with the actor Richard Kind about his new play All In; and meet the stars and playwright of the Broadway hit Eureka Day.
Explore the life and legacy of graphic design pioneer Jacqueline Casey, whose bold, modernist posters defined MIT's visual identity for decades — with insights from designer Michael Bierut, we uncover how Casey infused Swiss design principles with American ingenuity, led campus-wide design efforts, and created work that remains timeless and influential._______Support this podcast with a small donation: Buy Me A CoffeeThis show is powered by Nice PeopleJoin this podcast and the Patreon community: patreon.com/womendesignersyoushouldknowHave a 1:1 mentor call with Amber Asay: intro.co/amberasay_______Sources:Article: Eye Magazine Feature "Jacqueline Casey. Science and design"Article on Thérèse MollAbout Jacqueline (Jackie)Jacqueline Casey was a pioneering graphic designer whose work defined the visual identity of MIT for over three decades. Born in 1927 in Quincy, Massachusetts, she studied fashion design and illustration at MassArt before finding her way into graphic design. In 1955, her lifelong friend Muriel Cooper recruited her to the MIT Office of Publications, where Casey absorbed the principles of Swiss modernism and gave them her own twist—infusing wit, visual metaphors, and bold typography into her work.As Director of MIT's Design Services Office, she led campus-wide design efforts, creating posters and materials for scientific conferences, exhibitions, and cultural events. Her ability to simplify complex ideas with elegance and playfulness made her work timeless and celebrated globally. Today, her posters are held in the collections of MoMA, the Cooper Hewitt, and the MIT Museum, solidifying her as a quiet yet powerful force in modernist design history. About MichaelMichael Bierut is one of the most influential graphic designers of our time. A partner at Pentagram since 1990, his work spans iconic logos, brand identities, and campaigns for clients like The New York Times, Mastercard, and Saks Fifth Avenue. Bierut has been a longtime educator at Yale, co-founded Design Observer, and authored celebrated books, including How to Use Graphic Design to Sell Things. His work is held in the permanent collections of MoMA and the Cooper Hewitt, and his thought leadership continues to shape the design world.Follow Michael:Instagram: @mbierutWebsite: Pentragram.comThreads: @mbierut ____View all the visually rich 1-min reels of each woman on IG below:Instagram: Amber AsayInstagram: Women Designers Pod
I'm so excited to welcome Ellen Lupton to the PolicyViz Podcast! Ellen Lupton is a designer, writer, and educator. The all-new edition of her bestselling book Thinking with Type launched in March 2024. Other books include Design Is Storytelling, Graphic Design Thinking, Health Design Thinking, and Extra Bold: A Feminist, Inclusive, Anti-Racist, Nonbinary Field Guide for Graphic Designers. She teaches in the Graphic Design MFA program at Maryland Institute College of Art in Baltimore (MICA), where she serves as the Betty Cooke and William O. Steinmetz Design Chair. She is Curator Emerita at Cooper Hewitt, Smithsonian Design Museum in New York City, where her exhibitions included Herbert Bayer: Bauhaus Master and The Senses: Design Beyond Vision.Keywords: #EllenLupton, #Typography, #Design, #PolicyVizPodcast, #InclusiveDesign, #TypefaceVsFont, #DataVisualization, #ExtraBoldBook, #GraphicDesign, #Underrepresentation, #FintechDesign, #SocioeconomicImpact, #EducationalApproaches, #QualitativeResearch, #UserEngagement, #HumanCenteredDesign, #MICADesign, #BilingualProjects, #InstagramDesign, #TwitterDiscourse, #AIDesignConcerns, #BiasInAI, #AITypefaces, #UnderservedLanguages, #NewRailAlphabet, #FunctionalTypefaces, #WomenInDesign, #CalibriCritique, #TimesNewRoman, #ThinkingWithType, #DesignConceptsSubscribe to the PolicyViz Podcast wherever you get your podcasts.Become a patron of the PolicyViz Podcast for as little as a buck a monthFollow Ellen on Instagram and her website, and find her latest book, thinking with type on AmazonFollow me on Instagram, LinkedIn, Substack, Twitter, Website, YouTubeEmail: jon@policyviz.com
Taylor Levy and Che-Wei Wang are the founders of the art and design studio CW&T. Founded in 2009, CW&T has produced human-scaled objects like pens, clocks, and tape dispensers engineered to last multiple generations as well interactive software, art installations, and more. In 2022, they were the recipients of the 2022 National Design Award for product design from Cooper Hewitt. In this conversation, Jarrett talks with Taylor and Che-Wei about the role of experimentation in their design process, the overlap of physical and digital design, and the challenges with staying independent. Links from this episode can be found at scratchingthesurface.fm/256-taylor-levy-che-wei-wang. — If you enjoy the show, please consider joining our Substack for bonus content and a free monthly newsletter: surfacepodcast.substack.com
Discover how self-taught designer Elaine Lustig Cohen became a defining force in modernist graphic design and fine art, with insights from design author and historian, Steven Heller, on her legacy and the importance of re-writing design history to include more women._______Support this podcast with a small donation: Buy Me A CoffeeThis show is powered by Nice PeopleJoin this podcast and the Patreon community: patreon.com/womendesignersyoushouldknowHave a 1:1 mentor call with Amber Asay: intro.co/amberasay Sources:elainelustigcohen.comThe Daily Heller: Elaine Lustig Cohen's New Website by Steven HellerThe New York Times Article by Anita Gates About ElaineElaine Lustig Cohen (1927–2016) was a pioneering modernist designer and artist, known for her bold, abstract book covers and museum catalogs that helped shape mid-century American graphic design.After the sudden passing of her husband, renowned designer Alvin Lustig, Elaine—without any formal training—took over his studio in the 1950s, working with high-profile clients like Philip Johnson, Richard Meier, General Motors, and the Jewish Museum.What set her design style apart was her ability to merge avant-garde European influences, like Constructivism and Bauhaus principles, with the clean, functionalist aesthetics of American modernism. She brought typography to the forefront, often treating it as a visual and emotional narrative element, while incorporating geometric abstraction to create a sense of movement and rhythm. Her work is now part of the permanent collections at MoMA, LACMA, and Cooper Hewitt. About StevenSteven Heller is one of the most prolific design historians and writers in the field, having authored, co-authored, or edited over 200 books on design, illustration, and popular culture. He is best known for his long-running column, The Daily Heller, published by Print magazine, which offers daily insights on visual culture, design history, and current events. In addition to his writing, Heller is the co-chair of the School of Visual Arts MFA Design/Designer as Author + Entrepreneur program, where he continues to shape future generations of designers.Throughout his career, Heller has been a steadfast advocate for women in design. His work has consistently featured and celebrated the contributions of women who have been overlooked in design history. He has worked to bring attention to underrepresented figures in the industry, often calling for a rewriting of design history to include more women. As early as the 1990s, Heller began amplifying the work of female designers, championing their influence on design movements across modernism, typography, and visual communication. He has been vocal about the importance of gender equality in the design industry and has pushed for more inclusive recognition of the women whose innovations have shaped the field.In 2011, Heller was awarded the AIGA Medal for his outstanding contributions to design journalism, education, and history. His ongoing commitment to uncovering the stories of women in design has made him not only a key figure in documenting design history but also an advocate for equity in the industry. Through his work, he has inspired a more inclusive and accurate portrayal of the design world, one that reflects the achievements of all its contributors. ____View all the visually rich 1-min reels of each woman on IG below:Instagram: Amber AsayInstagram: Women Designers Pod
Discover How Recycled Materials Are Transforming Modern Architecture with David Hertz In this episode of Conscious Design, renowned architect David Hertz shows us how recycled materials are changing the way we build today. David talks about his journey from environmental activism in Malibu to his work with SkySource and XPRIZE. Learn how he uses materials like recycled concrete and airplane wings in innovative projects like the 747 Wing House and the Sail House. David explains how using green technologies and materials you might not expect can make architecture more sustainable. He also discusses the bigger picture, including the need for better environmental practices and the limits of current economic models. Watch to find out how David's ideas are helping create a greener future for building design. Notable moments: 0:53 - David Hertz's Background and Environmental Work 03:57 - Using Recycled Materials in Building Design 08:20- The 747 Wing House and Sail House 17:58 - Green Technologies and Local materials 23:34 - Challenges and Future of Green Architecture 48:30 - David Hertz's Resilience Foundation and Global projects About David Hertz David Hertz is an Architect, inventor, and educator. He is known for his work in sustainable architecture and as an early innovator in developing recycled building materials. David has been working at the edge of sustainability and the forefront of regenerative architecture for 40 years. As a systems thinker, he engages in various fields through design and believes in expanding the conceptual limits of architecture. David taught sustainable design and mentored students at his alma mater, SCI-Arc, as well as Art Center College of Design, Yale, and USC. In 2016, David founded Skysource to democratize water, and his efforts culminated in winning the Water Abundance XPRIZE in 2018 and the Cooper Hewitt, Smithsonian Design Museum's National Design Award for Climate Action in 2022. Learn more about David Hertz and David Hertz Architects and Skysource https://www.linkedin.com/in/david-hertz-faia https://www.facebook.com/davidhertzarchitects/ https://www.instagram.com/davidhertz_studioea/ https://davidhertzfaia.com We created this content so creative entrepreneurs like you can integrate social and environmental responsibility into your brand's DNA through Conscious Design. Ian Peterman, the leading expert in Conscious Design, hosts the Conscious Design podcast and is the co-author of the book Conscious Design.
Learn about the minimalist jewelry designer, Betty Cooke, from another legend, Ellen Lupton, graphic designer, educator, and author of dozens of books including "Thinking With Type"This show is powered by Nice PeopleJoin this podcast and the Patreon community: patreon.com/womendesignersyoushouldknowHave a 1:1 mentor call with Amber Asay: intro.co/amberasayLinks:Thinking with Type, book by Ellen LuptonExtra Bold, book co-authored by Ellen LuptonBetty Cooke's Store_________About Betty Cooke:We recently lost another design legend, Betty Cooke, whose passing marks the end of an era in modernist jewelry design. Born in 1924 in Baltimore, Maryland, Betty Cooke was a trailblazing designer celebrated for her minimalist and sculptural jewelry. Her work is defined by clean lines, geometric forms, and a timeless elegance that resonated across generations. After studying at the Maryland Institute College of Art (MICA), where she later became a beloved faculty member, Betty opened her own studio and eventually co-founded The Store Ltd., a Baltimore institution that showcased her work for over five decades. Her jewelry, often handcrafted in silver and gold with touches of wood or acrylic, is iconic for its simplicity and boldness—pieces that remain instantly recognizable as “Betty Cooke.” Cooke's influence is immortalized in museums, galleries, and in the collections of those fortunate enough to own her designs. Her legacy is one of innovation, elegance, and unwavering dedication to her craft.About Ellen Lupton:Ellen Lupton is one of the most influential voices in contemporary graphic design. Born in 1963, she is a celebrated designer, writer, curator, and educator whose work has profoundly shaped design education and practice. After graduating from Cooper Union in 1985, she became a curator at the Cooper Hewitt, Smithsonian Design Museum, where she curated groundbreaking exhibitions that connected design to culture and society. Ellen is perhaps best known for her book Thinking with Type, first published in 2004, which has become an essential guide for designers and is used in classrooms worldwide. Beyond her writing, she has played a pivotal role in shaping the Graphic Design MFA program at MICA, inspiring generations of designers with her innovative teaching methods. Her body of work extends to over 20 books, exploring topics from typography to storytelling in design. Ellen's contributions continue to influence how designers think, create, and communicate in today's visual world.Keep up with what Ellen Lupton's up to:Instagram | Website ____View all the visually rich 1-min reels of each woman on IG below:Instagram: Amber AsayInstagram: Women Designers Pod
[REBROADCAST FROM July 5, 2023] An exhibit at Cooper Hewitt explores the histories behind symbols that are ubiquitous to our daily lives. 'Give Me A Sign: The Language of Symbols' demonstrates how symbol design is a collaborative effort that has evolved and transformed over time. Emily Orr, associate curator, gives an overview of the exhibition, which is on view through August 11.
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We're taking the summer off and will be republishing some of our favorite episodes from the archives through August. This episode originally aired October 28, 2020. — Alicia Cheng is a founding partner of the New York design studio MGMT and the author of the book This Is What Democracy Looked Like: A Visual History of the Printed Ballot. She previously worked as a designer for Method, was a co-design director at the Cooper Hewitt, and is currently an external critic for the MFA program at RISD. In this episode, Jarrett and Alicia talk about how the design of ballots can teach us about the United States's uneasy relationship with voting, mixing design history with American history, and how research feeds her design practice. Alicia is currently the design director at The Metropolitan Museum of Art in New York City. — Links from this episode can be found at scratchingthesurface.fm/165-alicia-cheng. — If you enjoy the show, please consider supporting us on Patreon and get bonus content, transcripts, and our monthly newsletter! www.patreon.com/surfacepodcast
For decades, graphic designers have been introduced to typography by Ellen Lupton's book, Thinking With Type. It was certainly a staple in Aarron's courses when he taught graphic design. It's now in its third edition, with loads of new content. It's worth noting, the layout of each page of this book is beautiful and entirely designed by Ellen herself. We chat with Ellen about what's new in this edition of her book, and how people other than designers can use it. We also go through some rapid-fire questions about the fundamentals of typography, and origins of some of the terminology like points, leading, kerning, italics, and more. Whether you're new to typography, or a seasoned pro, you'll learn something from this conversation. Bio Ellen Lupton is a graphic designer, curator, writer, critic, and educator. Known for her love of typography, Lupton is the Betty Cooke and William O. Steinmetz Design Chair at Maryland Institute College of Art. Previously she was the Senior Curator of Contemporary Design at Cooper Hewitt, Smithsonian Design Museum in New York City and was named Curator Emerita after 30 years of service. *** Visiting the links below is one of the best ways to support our show: Methodical Coffee: Roasted, blended, brewed, served and perfected by verified coffee nerds
In s3e52 of Platemark, hosts Ann Shafer and Tru Ludwig talk with Carol Wax, artist and author of The Mezzotint: History and Technique. Carol recently published the second edition of The Mezzotint, expanding greatly in every area from the 1990 first edition. As she tells us, there is a better break down of rocking the copper plates, and of inking and printing them, plus there are new chapters about printing papers and the history of the medium and how it fits in the greater history of prints. They talk about the early history of mezzotint, whether one can over rock a plate, what happens when you do, and about Carol's dislike of perspectival composition, all the machines and their personalities, and her dogs Cecil, the Weimaraner, and Delia, the new dog in her life. The conversation ran long, so the episode is split into two parts. [Top] Carol Wax (American, born 1953). Eleven Shells, 1982. Mezzotint. 2 ¾ x 5 inches. Courtesy of the artist. First mezzotint I felt comfortable signing and which shows the influence of Hamaguchi. {Bottom] Yozo Hamaguchi (Japanese, 1909–2000). Shells. Mezzotint. John Raphael Smith (British, 1751–1812), after Henry Fuseli (Swiss, 1741–1825). The Weird Sisters (Shakespeare, MacBeth, Act 1, Scene 3), 1785. Mezzotint. Sheet: 18 1/16 x 21 7/8 in. (45.8 x 55.5 cm.). Metropolitan Museum of Art, New York. [Left] John Raphael Smith (British, 1751–1812), after Sir Joshua Reynolds (British, 1723–1792). The Infant Jupiter, 1775. Mezzotint. Plate: 20 x 14 in. New York Public Library, New York. [Right] Valentine Green (British, 1739–1813), after Sir Anthony Van Dyck (Flemish, 1599–1641). The Earl of Danby, 1775. Mezzotint. Sheet: 20 7/8 x 13 7/8 in. Chazen Museum of Art, University of Wisconsin, Madison. Carol Wax. The Mezzotint: History and Technique (2nd Edition). Atglen, PA: Schiffer Publishing, 2023. Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Icarus, from the series The Four Disgracers, 1588. Engraving. Sheet: 13 7/16 x 13 1/4 in. (34.2 x 33.7 cm.). Metropolitan Museum of Art, New York. Ludwig von Siegen (German, 1609–after 1676). Amelia Elizabeth Landgravure of Hesse-Kassel, 1642. Mezzotint. Sheet: 16 7/16 x 11 15/16 in. (41.8 x 30.3 cm.). Metropolitan Museum of Art, New York. Prince Rupert (German, 1619–1682). Head of the Executioner, 1662. Mezzotint. Cooper Hewitt, Smithsonian Institution, New York. Theodor Caspar von Fürstenburg (German, 1615–1675). Salomé, 1656–75. Mezzotint. 191 x 149 mm. British Museum, London. David Lucas (British, 1802–1881), after John Constable (British, 1776–1837). The Rainbow, Salisbury Cathedral, 1855. Mezzotint. Sheet: 24 ¼ x 28 ¼ in. (61.5 x 71.7 cm.). Christie's. Thomas Frye (British, 1710/11–1762). Head of a Man Wearing a Turban, 1760. Mezzotint. Plate: 19 7/8 × 13 15/16 in. (50.5 × 35.4 cm.); sheet: 23 3/8 × 16 15/16 in. (59.4 × 43 cm.). Metropolitan Museum of Art, New York. Valentine Green (British, 1739–1813), after Joseph Wright of Derby (British, 1734–1797). A Philosopher Shewing an Experiment on the Air Pump, 1769. Mezzotint. Plate: 19 × 23 in. (48.3 × 58.4 cm.). Sheet: 19 7/8 × 25 5/8 in. (50.5 × 65.1 cm.). Metropolitan Museum of Art, New York. Joseph Pennell (American, 1857–1926). Hail America, 1908. Mezzotint. Plate: 8 7/16 × 14 11/16 in. (21.5 × 37.3 cm.); sheet: 9 7/8 × 15 3/4 in. (25.1 × 40 cm.). Metropolitan Museum of Art, New York. Reynold Weidenaar (American, 1915–1985). The Bridge and the Storm, Mackinac Straits, 1957. Mezzotint. Sheet: 19 5/8 x 15 ½ in. Richard and Jane Manoogian Mackinac Art Museum, Mackinac. Mario Avati (French, 1921–2009). Le Goût acide du jaune citron, 1982. Mezzotint. 29 x 37.7 cm. Fitch Febvrel Gallery. Yozo Hamaguchi (Japanese, 1909–2000). The Three Lemons, 1956. Color mezzotint. Cleveland Museum of Art, Cleveland. Art Werger (American, born 1955). Clarity, 2021. Mezzotint. 24 x 36 in. Courtesy of the artist. Craig McPherson (American, born 1948). Memento Mori, 2013. Mezzotint. 13 5/8 x 16 ½ in. Courtesy of the artist. Judith Rothchild (American, born 1950). Le nid, 2005. Mezzotint. 7 13/16 x 11 5/8 in. Annex Galleries, Santa Rosa. Jacob Crook (American, born 1985). Nightrise II, 2019. Mezzotint. 8 ½ x 11 in. Courtesy of the artist. Julie Niskanen (American, born 1983). Sanctuary, 2007. Mezzotint. Courtesy of the artist. Charles Ritchie (American, born 1954). House II, 2012–19. Mezzotint. Plate: 6 x 3 7/8 in.; sheet: 13 ½ x 10 in. Courtesy of the artist. J.M.W. Turner (British, 1775–1851) and Charles Turner (British, 1774–1857). Norham Castle on the Tweed (Liber Studiorum, part XII, plate 57), 1816. Etching and mezzotint. Plate: 7 x 10 5/16 in. (17.8 x 26.2 cm.); sheet: 8 1/4 x 11 1/2 in. (21 x 29.2 cm.). Metropolitan Museum of Art, New York. Frank Short (British, 1857–1945), after J.M.W. Turner (British, 1775–1851). Liber Studiorum—Frontispiece, 1885. Etching and mezzotint. Plate: 124 x 185 mm. Tate, London. EXTRA IMAGES Carol Wax (American, born 1953). Type Face, 2002. Mezzotint. 9 ¼ x 9 ¼ inches. Courtesy of the artist. An example of (perhaps more than any other) anthropomorphizing subjects and the use of modulating, repeating patterns to suggest animation, as well as the humor and humanity I see in manufactured objects. Carol Wax (American, born 1953). Sew What, 2022. Mezzotint. 20 x 12 inches. Courtesy of the artist. This was printed from two plates: a black-and-white key plate rocked with an 85-gauge rocker and a color plate ground selectively with roulettes and wiped selectively. These images demonstrate the dialogue between my current work in painting and mezzotint. [Left] Carol Wax (American, born 1953). Pipe Dream, 2003. Mezzotint and engraving. Plate: 2 ½ x 1 ½ in. Courtesy of the artist. [Right] Carol Wax (American, born 1953). Serpentdipity, 2003. Mezzotint. Plate: 2 ½ x 1 ½ in. Courtesy of the artist. These two show burin engraving through a mezzotint ground. Carol Wax (American, born 1953). Binder Spiral, 2023. Graphite. 127 x 23 in. Courtesy of the artist. USEFUL LINKS Carol's website https://www.carolwax.com/ Jennifer Melby's link https://www.jennifermelby.com/ Conrad Graeber's link https://conradgraeber.com/
This week kicks off Women's History Month and March Madness with the harrowing stories of how women's bodies have been historically used against their consent to further medical progress, merely experiment, discipline and punish, or to monetarily profit. Stauney and Sadie tell the maddening stories of Rosemary Kennedy, Ann Cooper Hewitt, Henrietta Lacks, and many other unnamed women who were affected by this misogyny in the early days of human history and how that has rippled down to today. Stay tuned for another episode this week, and check out our March Madness collection at morethanamusepodcast.com/store Learn more about your ad choices. Visit megaphone.fm/adchoices
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Clement Mok, who was just awarded a Cooper Hewitt 2023 National Design Award for Digital Design, stops by The Reflex Blue Show to talk about his path into the design field, and finding his way to Apple to work on[…]↓ Read the rest of this entry... The post Clement Mok: The Reflex Blue Show #254 appeared first on 36 Point.
Few can claim a client roster quite like artist and stage designer Es Devlin, including museums, fashion brands, theater companies, and the Olympics, to a list of rock stars like U2, Adele, and Lady Gaga. On this episode, Dan speaks with the British talent on her first monographic museum retrospective, taking place at New York's Cooper Hewitt, Smithsonian Design Museum, how she transitioned her work from stage to stadium and back again, the impact of emerging technologies on her portfolio, and most importantly . . . What is Beyoncé like? Hosted on Acast. See acast.com/privacy for more information.
Curt Schreiber, Chief Creative Officer at VSA Partners, joins us for a compelling conversation on the multifaceted nature of design systems. We explore how these intricate frameworks must cater to a diverse array of users and stakeholders, highlighting the need for design systems to personify the organization's character. Curt shares his insights on maintaining design systems that are not only comprehensive and scalable but also flexibly attuned to the global audiences they serve. Throughout the episode, we address the importance of co-creation, continuous learning, and governance in the ever-expanding world of design.Tune in to witness Curt's balanced view on the role of AI in asset creation and system management, while he weighs in on the prospect of centralizing control versus nurturing a rich ecosystem of design assets. The discussion encapsulates the pivotal role of design systems in strategic business conversations, underscoring their ability to reshape customer engagement and drive organizational change.View the transcript of this episode.Check out our upcoming events.GuestCurt Schreiber is the heart of VSA design. He currently guides VSA's creative philosophy, and is responsible for establishing the office's design standards and offerings. Throughout his 30-year tenure with the company, Curt has been essential in the agency's transition from a boutique design firm to a brand-led customer experience agency. Curt has decades of experience working with internationally-recognized global brands, and his client list includes VSA's most prominent clientele. He also serves as an influential thought leader within the creative industry. Most recently, Curt was named one of Chicago's most influential designers and included in AIGA's This is Chicago. Curt's work has been recognized by more than 100 international design and communications organizations, publications and competitions including the AIGA, Cannes Lions, Cooper Hewitt, Communication Arts, Graphis and the Society of Typographic Arts. His work is also included in the permanent collection of the U.S. Library of Congress.HostChris Strahl is co-founder and CEO of Knapsack, host of @TheDSPod, DnD DM, and occasional river guide. You can find Chris on Twitter as @chrisstrahl and on LinkedIn.SponsorSponsored by Knapsack, the design system platform that brings teams together. Learn more at knapsack.cloud.
It's the city so well-designed, they named it twice: New York, New York. On this special episode sponsored by Ann Sacks, Dan speaks with four leading figures in his hometown's design scene to explore the trends, movements, hotspots, and personalities that make Gotham the beating heart of the design world, including Alexandra Cunningham Cameron, a curator at the Cooper Hewitt, Smithsonian Design Museum; Oren and Tal Alexander, co-founders of real estate firm Official; David Alhadeff, founder of powerhouse gallery The Future Perfect; and Michael Diaz-Griffith, executive director of the Design Leadership Network. Hosted on Acast. See acast.com/privacy for more information.
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Kirsten Sweeney, Accessibility & Inclusion Manager at the Cooper Hewitt, Smithsonian Design Museum, discusses the importance and growing need for accessibility coordination positions in the workplace, their career path, and future steps required to improve inclusion & equity for the disability community in the arts. Show Notes:Cooper Hewitt Smithsonian Design Museum: https://www.cooperhewitt.org/ Cooper Hewitt Verbal Description Tours: https://www.cooperhewitt.org/event-category/accessibility-programs/Cooper Hewitt Current Exhibitions: https://www.cooperhewitt.org/exhibitions/Museum of Arts, Culture, Access Consortium: https://macaccess.org/about-2/ Get Involved with MAC: https://macaccess.org/get-involved/Supporting Transitions project: https://macaccess.org/rescources/supporting-transitions-cultural-connections-for-adults-with-autism/ Support the showTo view the video of this episode with closed captioning, ASL interpretation, and/or Spanish subtitles, visit our YouTube Channel: https://www.youtube.com/playlist?list=PL0L4INYxuDLx8b8oFTpaXbe42NLmZBKDY.(The views, information, or opinions expressed during the "Empire State of Rights" podcast are solely those of the individuals involved and do not necessarily represent those of Disability Rights New York.)
On Making Peace Visible we usually focus on stories -- narratives about peace and conflict that are told in the news, on social media, and shared in our collective zeitgeist. We've seen examples of how storytelling can both stoke the fire of war and encourage peaceful dialogue. In this episode, we look at a different, but related way of creating space for peace: design. Our guest Cynthia Smith is the Curator for Socially Responsible Design at the Smithsonian Cooper Hewitt Museum in New York City. She spent five years creating the remarkable exhibition Designing Peace, which includes 40 design proposals, initiatives and interventions from 25 countries, including maps, images, textiles, video games and film.From a teeter-totter installed on the US-Mexico border fence to a crowd-sourced reimagining of war-damaged Damascus, the works in Designing Peace coupled with Smith's vision present a world of possibility. Designing Peace is on view at the Museum of Craft and Design in San Francisco through February 4, 2024. Explore the virtual exhibit here. Purchase the beautiful companion book here. RATE AND REVIEW: In Apple Podcasts on iPhone Tap on the show name (Making Peace Visible) to navigate to the main podcast pageScroll down to the "Ratings and Reviews" sectionTo leave a rating only, tap on the starsTo leave a review, tap "Write a Review"In Spotify(Note: Spotify ratings are currently only available on mobile.)Tap on the show name (Making Peace Visible) to navigate to the main podcast pageTap on the star icon under the podcast description to rate the showIn Podcast Addict(Note: you may need to sign in before leaving a review.)From the episode page: On the top left above the show description, click "Post review."From the main podcast pageTap "Reviews" on the top left.On the Reviews page, tap the icon of a pen and paper in the top right corner of the screen.ABOUT THE SHOWMaking Peace Visible is produced by Andrea Muraskin and hosted by Jamil Simon. Faith McClure writes our newsletter and designs our website. Creative direction by Peter Agoos. Music in this episode by Xylo-Ziko, Doyeq, and Blanket Music. Sign up for our newsletter to be notified when episodes come out and learn more about our guests: warstoriespeacestories.org/contact. You can get in touch with us at jsimon@warstoriespeacestories.org, or on X @warstoriespeace. We're also on LinkedIn.
Curt has worked with brands like Harley Davidson and Nike, and we discuss the lessons he's learned--such as the importance of embracing constraints, being authentic and creating user experiences that consider everything from the first time a user encounters a brand or a product all the way through to the end. We also discuss the importance of all stakeholders, from customers to employees to society at large, and how we can design across the multi-stakeholder landscape. Curt SchreiberCurt is the Chief Creative Officer at VSA Partners, a brand-led customer experience agency that works with companies like Nike, IBM, and Harley-Davidson. Throughout his career, Curt has been honored by several design and communications organizations such as AIGA, Cannes Lions, and Cooper Hewitt.Links from the Show:LinkedIn: Curt SchreiberVSA: vsapartners.comMagazine: Magazine BMore by Kyle:Follow Prodity on Twitter and TikTokFollow Kyle on Twitter and TikTokSign up for the Prodity Newsletter for more updates.Kyle's writing on MediumProdity on MediumLike our podcast, consider Buying Us a Coffee or supporting us on Patreon
Here's a question. What makes great happen? This week's guest is Robert Brunner. He was the Director of Industrial Design for Apple, a Partner at Pentagram and the Chief Designer of Beats by Dr. Dre, before becoming the Founder of Ammunition. They describe themselves as a design studio dedicated to bringing products and services that matter to market. He was named one of Fast Company's “Most Creative People in Business,” and his work is included in the permanent collections of the Museum of Modern Art, Cooper Hewitt, Smithsonian Design Museum, and the San Francisco Museum of Modern Art. Design is the art and science of knowing what to start and when to stop. In that respect, it's very much like leadership. There are best practices but no absolute rules. Imagining and re-imagining what's possible is where it gets its fuel. Leadership is a position of staggering opportunity. And yet, I'm constantly reminded of how few people fully appreciate the potential of the position they hold. How restricted they seem in their imagination of what is possible. I've come to realize that this is not caused by a lack of ambition or interest. It is caused by a lack of awareness and understanding. Understanding of the power of leadership. Awareness of their own potential. And their impact. I'm fortunate to work in industries and with companies that are populated, almost exclusively with kind and thoughtful people. They don't all, always act that way, but when they don't it tends to be from insecurity or self doubt or personal trauma. These things can hold all of us back. I speak from deep experience. Both of others, and of myself. When you step into a leadership position, you have the power to change the world. Perhaps a small corner of it. Perhaps more than that. It is the part of your life in which you can make the biggest difference in the life of others and learn more about yourself than at any other time. Do not let that go by without self exploration. What do you want to do with this opportunity? What do you want to make of it and with it? What would great look like? And, crucially, what is stopping you from achieving all that? What do you think and feel about yourself that is going to get in the way. Imagine your future. Design it. Then go and lead it. I promise you one thing. You're already better than you know.
Edited highlights of our full conversation. Here's a question. What makes great happen? This week's guest is Robert Brunner. He was the Director of Industrial Design for Apple, a Partner at Pentagram and the Chief Designer of Beats by Dr. Dre, before becoming the Founder of Ammunition. They describe themselves as a design studio dedicated to bringing products and services that matter to market. He was named one of Fast Company's “Most Creative People in Business,” and his work is included in the permanent collections of the Museum of Modern Art, Cooper Hewitt, Smithsonian Design Museum, and the San Francisco Museum of Modern Art. Design is the art and science of knowing what to start and when to stop. In that respect, it's very much like leadership. There are best practices but no absolute rules. Imagining and re-imagining what's possible is where it gets its fuel. Leadership is a position of staggering opportunity. And yet, I'm constantly reminded of how few people fully appreciate the potential of the position they hold. How restricted they seem in their imagination of what is possible. I've come to realize that this is not caused by a lack of ambition or interest. It is caused by a lack of awareness and understanding. Understanding of the power of leadership. Awareness of their own potential. And their impact. I'm fortunate to work in industries and with companies that are populated, almost exclusively with kind and thoughtful people. They don't all, always act that way, but when they don't it tends to be from insecurity or self doubt or personal trauma. These things can hold all of us back. I speak from deep experience. Both of others, and of myself. When you step into a leadership position, you have the power to change the world. Perhaps a small corner of it. Perhaps more than that. It is the part of your life in which you can make the biggest difference in the life of others and learn more about yourself than at any other time. Do not let that go by without self exploration. What do you want to do with this opportunity? What do you want to make of it and with it? What would great look like? And, crucially, what is stopping you from achieving all that? What do you think and feel about yourself that is going to get in the way. Imagine your future. Design it. Then go and lead it. I promise you one thing. You're already better than you know.
Edited highlights of our full conversation. Here's a question. What makes great happen? This week's guest is Robert Brunner. He was the Director of Industrial Design for Apple, a Partner at Pentagram and the Chief Designer of Beats by Dr. Dre, before becoming the Founder of Ammunition. They describe themselves as a design studio dedicated to bringing products and services that matter to market. He was named one of Fast Company's “Most Creative People in Business,” and his work is included in the permanent collections of the Museum of Modern Art, Cooper Hewitt, Smithsonian Design Museum, and the San Francisco Museum of Modern Art. Design is the art and science of knowing what to start and when to stop. In that respect, it's very much like leadership. There are best practices but no absolute rules. Imagining and re-imagining what's possible is where it gets its fuel. Leadership is a position of staggering opportunity. And yet, I'm constantly reminded of how few people fully appreciate the potential of the position they hold. How restricted they seem in their imagination of what is possible. I've come to realize that this is not caused by a lack of ambition or interest. It is caused by a lack of awareness and understanding. Understanding of the power of leadership. Awareness of their own potential. And their impact. I'm fortunate to work in industries and with companies that are populated, almost exclusively with kind and thoughtful people. They don't all, always act that way, but when they don't it tends to be from insecurity or self doubt or personal trauma. These things can hold all of us back. I speak from deep experience. Both of others, and of myself. When you step into a leadership position, you have the power to change the world. Perhaps a small corner of it. Perhaps more than that. It is the part of your life in which you can make the biggest difference in the life of others and learn more about yourself than at any other time. Do not let that go by without self exploration. What do you want to do with this opportunity? What do you want to make of it and with it? What would great look like? And, crucially, what is stopping you from achieving all that? What do you think and feel about yourself that is going to get in the way. Imagine your future. Design it. Then go and lead it. I promise you one thing. You're already better than you know.
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Cynthia E. Smith is the curator of the exhibition "Designing peace". She is the Curator of Socially Responsible Design, Cooper-Hewitt, Smithsonian Design Museum in New York. In this interview we talk about the research done for the exhibition and how an exhibition can expand the frontiers of design. Designing Peace explores the unique role design can play in pursuing peace. Visitors will encounter a wide range of design responses from around the world that look at ways to create and sustain a more durable peace, and will be encouraged to consider their own agency in designing peace through interactive installations, quiet moments of reflection, and opportunities for practical action. This is the 4th episode of the Peace and Design series. There are 5 episodes with people who are dedicated to building peace from different angles and countries. From Colombia, El Salvador, Mexico and the US we will listen to key voices in order to understand this complex problem. We have 4 interviews and a live panel that we host online. We thought about and recorded this series with Kevin Fonseca and Santiago de Francisco Vela.
This week Maureen Taylor, The Photo Detective, is joined by fashion historian Darnell-Jamal Lisby, who is currently the Assistant Curator of Fashion at the Cleveland Museum of Art, and the first to take this role.They discuss the latest exhibition, “Egyptomania: Fashion's Conflicted Obsession,” and how the fascination with this time period has led to fashion influence throughout the centuries, as well as how it can impact your family photos. Darnell-Jamal and Maureen also delve into the history of fashion, fashion inspiration, and how something in our society and culture inspires and change trends. Related Episodes:Episode 186: Fashion History on Twitter Episode 155: Ancestral Handbag History Links:Egyptomania: Fashion's Conflicted Obsession Sign up for my newsletter.Watch my YouTube Channel.Like the Photo Detective Facebook Page so you get notified of my Facebook Live videos.Need help organizing your photos? Check out the Essential Photo Organizing Video Course.Need help identifying family photos? Check out the Identifying Family Photographs Online Course.Have a photo you need help identifying? Sign up for photo consultation.About My Guest:Assistant Curator of Fashion Darnell-Jamal Lisby joined the Cleveland Museum of Art in 2021. He develops fashion study projects across the museum's various curatorial departments. Before coming to Cleveland, Lisby was an education coordinator at Cooper Hewitt and the Smithsonian Design Museum, where he organized the museum's first virtual—and best-attended—symposium, “Fashion, Culture, Futures: African American Ingenuity, Activism, and Storytelling.” Lisby previously worked at the Museum at the Fashion Institute of Technology and the Costume Institute of the Metropolitan Museum of Art. He also taught in the Fashion Institute of Technology master's program in fashion design.About Maureen Taylor:Maureen Taylor, The Photo DetectiveÒhelps clients with photo-related genealogical problems. Her pioneering work in historic photo research has earned her the title “the nation's foremost historical photo detective” by The Wall Street Journal and appearances on The View, The Today Show, Pawn Stars, and others. Learn more at Maureentaylor.comDid you enjoy this episode? Please leave a review on Apple Podcasts. I'm thrilled to be offering something new. Photo investigations. These collaborative one-on-one sessions. Look at your family photos then you and I meet to discuss your mystery images. And find out how each clue and hint might contribute to your family history. Find out more by going to maureentaylor.com and clicking on family photo investigations. Support the show
An exhibit at the Cooper Hewitt explores the histories behind symbols that are ubiquitous to our daily lives. Give Me A Sign: The Language of Symbols demonstrates how symbol design is a collaborative effort that has evolved and transformed over time. Emily Orr, associate curator of the museum, gives an overview of the exhibition, which is on view until September 2, 2024.
We're joined by special guest host Cass Fino-Radin as we talk about time-based media: what it can be, what the challenges are, and what we can do to preserve it. From mechanical components to maintaining software, we geek out about everything that's wonderful about this type of conservation. Also tune in for a review of poetry pamphlet ‘Accessioning' by Charlotte Wetton. 00:21 A long-time spreadsheet idea 02:44 A potted history of time-based media (maybe) 05:41 Conservation of performance art 10:26 The wildest thing about time-based media 12:40 Cass' origin story 22:36 Blurry objects and things going off 27:54 More suggestions for what time-based media is 30:55 Old vs new technology 36:56 What makes a good time-based media conservator? 40:03 Review: Accessioning 44:54 Patreon appeal Show Notes: - Art and Obsolescence podcast: https://www.artandobsolescence.com/ - Cass' website: https://finoradin.info/ - Pip Laurenson: https://www.ucl.ac.uk/art-history/people/academic-staff/professor-pip-laurenson - Episode with Glenn Wharton: https://www.artandobsolescence.com/episodes/005-glenn-wharton - MoMA Media and Performance department: https://www.moma.org/about/curatorial-departments/media-performance - S05E03 Contemporary Art: https://thecword.show/2019/04/17/s05e03-contemporary-art/ - Episode with Annet Dekker: https://www.artandobsolescence.com/episodes/043-annet-dekker - Rhizome: https://rhizome.org/ - AIC 40th annual meeting in Albuquerque (2012): https://www.culturalheritage.org/docs/default-source/publications/periodicals/annual-meeting/2012-annual-meeting-abstracts.pdf?sfvrsn=1dbb1699_8 - Cass' company Small Data Industries: https://smalldata.industries/ - Cooper Hewitt: https://www.cooperhewitt.org/ - S09E05 Dynamic Objects: https://thecword.show/2021/05/19/s09e05-dynamic-objects/ - S06E03 The One with the Arduino: https://thecword.show/2019/10/16/s06e03-the-one-with-the-arduino/ - S01E09 Museum Pi: https://thecword.show/2017/06/21/s01e09-museum-pi/ - Time-based media according to Wikipedia: https://en.wikipedia.org/wiki/Conservation_and_restoration_of_time-based_media_art - Planetary app case study: https://www.cooperhewitt.org/2019/05/16/planetary-cooper-hewitts-first-ios-app/ - Accessioning poetry pamphlet: https://theemmapress.com/shop/poetry/pamphlets/accessioning/ Support us on Patreon! http://www.patreon.com/thecword Hosted by Jenny Mathiasson, Kloe Rumsey, and Cass Fino-Radin. Intro and outro music by DDmyzik, used under a Creative Commons Attribution license. Made available under a Creative Commons Attribution-NonCommercial 4.0 International license. A Wooden Dice production, 2023.
Henry Dreyfuss was a leader of the first generation of industrial designers. He and his team were responsible for the design of some of most ubiquitous and iconic products of the mid-twentieth century: the Bell Model 500 telephone, the Honeywell Round thermostat, and the Polaroid Automatic 100 Land Camera, among many other products and services.Similar to how George Washington established precedents for the American presidency, Dreyfuss was a founding father of American industrial design. He defined expectations for the role of designer and their relationship to engineering and marketing; the balance between commercial objectives and human needs; and the philosophy of design not as a stylistic afterthought, but as an integral part of creating “classic” products that stand the test of time.In his book, The Man in the Brown Suit, Russell Flinchum draws on a wealth of primary sources to explore how Dreyfuss transitioned from a theater designer in the 1920s to one of the “big four” industrial designers during the so-called golden age of industrial design. This monograph (a detailed study on a specialized subject) accompanied a 1997 exhibition of Dreyfuss's work at the Cooper-Hewitt, National Design Museum, where Flinchum was a fellow. From the 1920s through the 60s, Flinchum covers how Dreyfuss's work evolved and his influence grew while staying committed to the Five Points that outlined his design philosophy: safety and convenience of use, ease of maintenance, cost, appeal, and appearance — importantly, in that order.Referred to as both the “dean” and the “conscience” of the field, he was considered by his friends, family, and colleagues, above all, a person of integrity. As a user experience designer working on enterprise software products today, I think we can learn from how Dreyfuss championed human values during a period of tremendous technological advancement. At the time, it was unprecedented for a designer and his team to have such a widespread impact on the public consumer. He took a principled, considered approach to design that we apparently had to relearn in the twenty-first century with the advent of the internet and the digital age. I first read this book about ten years ago, and as I've gone back through it, taking copious notes and capturing inspiring quotes, I've regained an appreciation for some of the practical insights and creative mindsets that have influenced me over the years, and reconsidered how I can apply Dreyfuss's knowledge, experience, and spirit to my own work.Outline* Role of the designer (3:56)* Philosophy (16:55)* Commercialism (30:00)* Takeaways (43:14)References* Henry Dreyfuss, Industrial Designer: The Man in the Brown Suit (Goodreads)* Classic Honeywell Round Thermostat Teardown (YouTube)* K&L Trainz NYC 20th Century Limited Promo (YouTube)* Founders #264 The Story of Edwin Land and Polaroid (Simplecast) This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit designersketches.substack.com
What can I say about Dr. Cheryl D. Miller that hasn't already been said? Her groundbreaking work as a designer in the 1980s and 1990s has paved the way for Black designers in this industry. Her first-hand knowledge and experience is sought after by colleges and universities all over the country. And now, in this season of her life, she is being celebrated and awarded as a pioneering figure in the field of contemporary graphic design by AIGA, The One Club, Cooper Hewitt, IBM, and many others. Honestly, I couldn't think of a better guest to have for this episode!Cheryl and I talked about her recent work as a design educator, and she shared her newfound dedication to writing and why it's so important to transition from oral tradition to scholarship. She also shared her interest in new tech, and spoke about mentoring younger designers who are blazing their own trails in the industry. Lastly, we explored what success looks like for her now, and she talked about what's coming up next as her passions for art, writing, and design intersect. Sit back and enjoy this thought-provoking conversation with a true design legend.(And thank you all for 500 episodes of the podcast!)LinksDr. Cheryl D. Miller's 2018 interviewDr. Cheryl D. Miller on InstagramDr. Cheryl D. Miller on LinkedInDr. Cheryl D. Miller's NFT Collection on FoundationFor a full transcript of this interview, visit revisionpath.com.==========Donate to Revision PathFor 10 years, Revision Path has been dedicated to showcasing Black designers and creatives from all over the world. In order to keep bringing you the content that you love, we need your support now more than ever.Click or tap here to make either a one-time or monthly donation to help keep Revision Path running strong.Thank you for your support!==========Join The Tenth CollectiveAre you a Black designer looking for your next opportunity? Then you should join The Tenth Collective, an initiative from Revision Path and State of Black Design to connect Black professionals in the design and creative industries with companies committed to hiring Black candidates for design and creative positions. And it's 100% free.Members of The Tenth Collective will receive curated introduction requests from companies vetted by us, and you'll only be contacted when a company wants to speak to you.We know that looking for a new opportunity can be tough, especially during these times. Let The Tenth Collective help you out!Click or tap here to join The Tenth Collective today!==========Follow and SubscribeLike this episode? Then subscribe to us on Apple Podcasts, Spotify, or wherever you find your favorite shows. Follow us, and leave us a 5-star rating and a review!You can also follow Revision Path on Instagram and Twitter.==========CreditsRevision Path is brought to you by Lunch, a multidisciplinary creative studio in Atlanta, GA.Executive Producer and Host: Maurice CherryEditor and Audio Engineer: RJ BasilioIntro Voiceover: Music Man DreIntro and Outro Music: Yellow SpeakerTranscripts are provided courtesy of Brevity and Wit.☎️ Call 626-603-0310 and leave us a message with your comments on this episode!Thank you for listening!==========Sponsored by Brevity & WitBrevity & Wit is a strategy and design firm committed to designing a more inclusive and equitable world. They are always looking to expand their roster of freelance design consultants in the U.S., particularly brand strategists, copywriters, graphic designers and Web developers.If you know how to deliver excellent creative work reliably, and enjoy the autonomy of a virtual-based, freelance life (with no non-competes), check them out at brevityandwit.com.Brevity & Wit — creative excellence without the grind.
40 million drivers can't transition to electric vehicles without an affordable and convenient EV charging infrastructure. Increasing access to affordable public charging not only encourages the adoption of EVs, but leads to cleaner air and healthier communities.Our guest, Tiya Gordon, is Co-Founder and COO of itselectric, a cleantech startup bringing EV charging to the millions of drivers who cannot charge at home as they park their cars on city streets.itselectric does this by overcoming city electrical grid limitations by using energy from buildings to power a publicly accessible curbside charger.In return, they share revenue with the property owners.It is a collaborative economic model and one that allows for EV chargers to be deployed within cities at speed and at scale.Tiya has spent over 20 years in design, leadership, and operations across a range of disciplines for some of the country's top firms and institutions. Her work has received the industry's top accolades, including The National Design Award from the Cooper Hewitt, Smithsonian Design Museum.To learn more about itselectric, please visit: https://www.itselectric.us (tap the Get Involved tab!)Follow and connect with the itselectric team via these social platforms:LinkedIn: https://www.linkedin.com/company/itselectric/Instagram: https://www.instagram.com/itselectric_co/Twitter: https://twitter.com/itselectric_coThank you for carving out time to improve your Founder Game - when you do better, your startup will do better - cheers!Ande ♥https://andelyons.com#bestyoutubechannelforstartups #startupstories #evchargingstations #cleantechJOIN STARTUP LIFE LIVE MEETUP GROUPGet an alert whenever I post a new show!https://bit.ly/StartupLifeLIVEWBENC APPLICATION SUPPORTLearn more here: https://bit.ly/GetWBENCSend me an email: ande@andelyons.comCONNECT WITH ME ONLINE: https://twitter.com/AndeLyonshttps://www.linkedin.com/in/andelyons/ https://www.instagram.com/ande_lyons/ TikTok: @andelyonsANDELICIOUS ANNOUNCEMENTSJoin Innovation Women here: https://bit.ly/AndeInnoWomenArlan's Academy: https://arlansacademy.com/Scroobious - use Ande15 discount code: https://www.scroobious.com/How to Raise a Seed Round: https://bit.ly/AAElizabethYinTune in to Mia Voss' Shit We Don't Talk About podcast here: https://shitwedonttalkaboutpodcast.com/SPONSORSHIPIf you resonate with the show's mission of amplifying diverse founder voices while serving first-time founders around the world, please reach out to me to learn more about making an impact through sponsoring the Startup Life LIVE Show! ande@andelyons.com.
TODAY'S GUEST Today, we talk about the practice of design, and how designers who learn to work with and understand technology can bring a humanistic, creative perspective to technology that can truly transform our understanding of what it can do. I've long believed that advanced technology can be beautiful, poetic, and philosophical in nature. In fact, that's what's called for in an age where tech shapes our lives, takes an increasingly greater part in creative work, and even makes decisions for us. That's why it was so rewarding to sit down with Che-Wei Wang and Taylor Levy, the married couple behind CW&T. They've managed to carve out the space for their own creative, almost contemplative practice. Their studio, CW&T, is an award-winning design practice creating mind-bending products. Over the last 13 years, their work has spanned from interactive software to human scale tools that enhance our relationships to work, life, and time. They center around an iterative process of sketching, prototyping, testing, writing code, machining parts, and building each addition themselves to assess their intuitions around improving everyday experiences. Their projects range from devices that alter the perception of time, an electronics curriculum for artists, an astrological compass for space travelers, to objects engineered to last multiple generations. Wang and Levy lecture extensively, and they teach courses on time, electronics, hardware, programming, inflatables, and morphology at Pratt Institute, New York University, and the School for Poetic Computation. In 2022, they won the National Design Award for Product Design from Cooper Hewitt. We spoke in mid-November 2022, and I was excited to talk to them after I saw some of their more thought-provoking pieces engaging with time. I was a little concerned with my ability to interview two people at the same time. Usually, I tend to go deep with one person and I wasn't sure how the format would work, but as usually happens with creative people, the conversation took a life of its own and was a delight. EPISODE SUMMARY In this conversation we talk about: Being a couple who works together. Balancing parenthood with business and creative design work. The gratitude they feel for being able to have an ongoing creative practice. Their creative principles. Why they insist on building what they want to see. What does the phrase "buy lots of lottery tickets" mean to them? Their origin story. What did Che-Wei learn while fixing his dad's typewriter as a kid? What did Taylor realize about The Beatles? How did they meet and become a couple? Their creative projects, including Time Since Launch and Solid State Watch. The School for Poetic Computation. Generative design, and how it can change designers' work. The importance of learning to understand time. And how to make room for your creative practice. We have some amazing episodes lined up for you with thinkers, designers, makers, authors, and activists answering questions like: How can we program and control human cells? Why did the stoic philosophers think anger was the most destructive of emotions, and how did they suggest fighting it? Why are more and more people around the world turning to coliving communities as an attractive idea? And what do most people still need to understand about transgender and non-binary individuals? But before they can get to you, these episodes need to be edited, audio mixed, and published, and Remake is now in a time of transition as I'm preparing to move my life and business back to the US with a lot of uncertainty around the future of the Israeli business. In order to keep our team running, and protect the podcast from the vicissitudes of life, politics, and business, we're asking for your support. If you value the podcast and the hard work that five different people are putting in on every single episode, please consider becoming a supporter or making a one-time donation at RemakePod.org/support. Or go to our website and click "Become a Supporter". You can make a one-time donation or join as a monthly or yearly supporter, which will entitle you in the future to access any premium episodes, longer versions of episodes, video interviews, and a paid Remake newsletter. We have a lot of plans on how to make Remake into a real community and invest in more content, including short-form content. And of course, the podcast itself will always feature in-depth conversations with people who are trying to change our lives for the better. But right now, we really need your help. So if you value what we do, please once again, go to RemakePod.org/support. And now, without further ado, let's jump right in with Che-Wei Wang and Taylor Levy. TIMESTAMP CHAPTERS [8:09] Life in the Present [12:17] Early Childhood Lessons [16:00] A Journey to Design [23:09] Love at First Sight [27:42] CW&T [31:22] Time Since Launch [38:13] Solid State Watch [42:21] Project Principles [47:46] The School for Poetic Computation [51:49] Generative Design [56:18] A Short Sermon EPISODE LINKS Che-Wei and Taylor's Links
What you'll learn in this episode: Why sacred geometry is the underlying link between Eva's work in jewelry, architecture and design How growing up in an isolated Soviet Bloc country influenced Eva's creative expression Why jewelry is one of the most communicative art forms How Eva evaluates jewelry as a frequent jewelry show judge Why good design should help people discover new ideas and apply them in other places About Eva Eisler A star of the Prague art world, Eva Eisler is an internationally recognized sculptor, furniture/product designer, and jeweler. Rooted in constructivist theory, her structurally-based objects project a unique spirituality by nature of their investment with “sacred geometry.” The current series of necklaces and brooches, fabricated from stainless steel, are exemplars of this aesthetic. In 2003, she developed a line of sleek, stainless steel tabletop objects for mono cimetric design in Germany. Eisler is also a respected curator and educator. She is chairman of the Metal and Jewelry Department at the Academy of Arts, Architecture and Design in Prague, where she heads the award-winning K.O.V. (concept-object-meaning) studio. Her work is in the collections of the Metropolitan Museum of Art, Brooklyn Museum and Cooper-Hewitt, Smithsonian Design Museum in New York; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; Renwick Gallery, Smithsonian American Art Museum, Washington, D.C.; Montreal Museum of Fine Arts in Canada; Pinakothek der Moderne, Munich; and Museum of Decorative Arts, Prague, among others. Additional Resources: Eva's Instagram Photos available on TheJeweleryJourney.com Transcript: Eva Eisler is the rare designer who works on projects as small as a ring and as large as a building. What connects her impressive portfolio of work? An interest in sacred geometry and a desire to discover new ideas that can be applied in multiple ways. She joined the Jewelry Journey Podcast to talk about how she communicates a message through jewelry; why jewelry students should avoid learning traditional techniques too early; and her thoughts on good design. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. My guest today is Eva Eisler, Head of the Jewelry Department of the Academy of Arts in Prague. She's probably one of the most well-known artists in the Czech Republic. Welcome back. How long were you in New York? A long time? Eva: 25 years. Sharon: Wow! I didn't realize that. And did you teach the whole time? Eva: I taught for a few years at Parsons School of Design, and then New York University pulled me in. It was Judith Schwartz, who was the Director of the Department of Art Education, who wanted to expose the students to metalworking. So, she asked me to come and teach there. Sharon: Did you do jewelry and other things because you wanted to have not so much grayness in the world, to have color, to have joy? Eva: Are you asking? Sharon: Yeah, I'm asking. Did you break out, in a sense, because of the world around you? Eva: I think that one challenge after the other gave me strength and conviction. This is something I can work with, the medium of jewelry, because it's so communicative. I had so many incredible encounters through wearing a piece of jewelry. For example, I went to a party at Princeton University. I'm talking to this professor of physics. He's telling me how they are developing an artificial sun, and he's looking at my piece. When he finished talking about his project, he said, “Is this what I think it is?” I said, “Clearly, yes.” It was a piece of metal bent into an S, one line and one dot. It's basically telling you that it depends on a point of view and how you perceive things. I used to like to come up with a concept that I would play with in different theories. Sharon: Did you expect to be in the States for 25 years? That's a long time. Eva: No. We were allowed by Czechoslovakia to go for one year. After one year, we politely applied for an extension. It was denied to us. So, we were actually abroad illegally and we could not return because we did not obey the rules. Sharon: When you came back, did you teach? We saw some of your students' work. What do you tell them about your work? What do you teach them? Eva: It's a different system. In New York, you teach one class at a time if you're not a full-time professor at the university. In New York, it's very rare. The intensity and the high quality of professionals in all different fields allows schools to pull them in, so they can take a little bit of their time and share with students what they do. It's not that you devote your full time to teaching. In the Czech Republic, it's different. At the academy where I have taught for 16 years, you're the professor, and you have a student for six years with a special degree in the master's program. For six years, you're developing the minds of these young people. I don't teach them techniques. We have a workshop and there is a workshop master. I talk to them about their ideas. We consult twice a week for six years. It's a long time. I would be happy if somebody talked about my work for half an hour once a year. I would have to ask somebody because I need it as well. It's a different system, the European system of schools. Sharon: You're head of the K.O.V. Studio. How would you translate that? Eva: The academy is divided into departments, and each department is a different media: Department of Architecture, Department of Industrial Design and so on. We are part of the Department of Applied Arts, which is divided between ceramics, glass, textile, fashion. My studio is about metal, and for metal in Czech, you write “kov.” When I took over the studio, I put dots in between the letters, which stands for “concept, object, meaning.” In Czech, meaning isn't even a word. That way, I could escape the strict specialization for metal, because when you're 20 and you go study somewhere, do you know you want to work for the rest of your life in metal? No. Today, we are also exploring different materials, discovering new materials. I am giving them assignments and tasks. Each of them has to choose the right material, so the person comes up with using concrete or cork or wood or paper or different things, glass or metal. Sharon: How do you balance everything? You have so much going on. How do you balance it? Eva: I have to do three jobs because teaching does not make a living, even though I'm a full-time professor. It's an underpaid profession, maybe everywhere. Sharon: I was going to say that, everywhere. Eva: Then I do my own art, and I do large projects like designing exhibitions, curating exhibitions, designing a design shop. Things like that to make money to support those other two. It's a lot, yes. I have grandchildren. Sharon: A family. Yes, it's a lot. You've done jewelry shows and you've evaluated shows. What's important to you? What stands out? What jumps out at you? Eva: I sit on juries. In 2015, I was invited to be a curator of Schmuck, the jewelry exhibition in Munich. It's a big challenge, selecting out of 600 applicants for a show that at the end has only 60 people from all over the world. When I looked at the work, we flipped through pictures one after the other. It's so incredible what jewelry has evolved into, this completely open, free thing, many different styles, many different trends and materials. There's organic and geometric and plastic. I noticed these different groups and that I could divide all these people into different groups, different styles, different materials. Then I was selecting the best representation of these groups. It made it quite clear and fast when I came up with this approach. Sharon: Does something jump out at you, though, when you're looking through all these—let's say you've divided all the glass, all the metal— Eva: Very rarely, because we go to Munich every year. I go and see exhibitions all over, so it's very random. You can see something completely different and new. I worked on a very interesting exhibition that year at the Prague Castle. Cartier does not have a building for their collection, a museum. They have the collection traveling around in palaces and castles and exhibition galleries around the world, and each place has a different curator. I was invited to curate it in Prague. It was the largest Cartier exhibition ever displayed. It was around 60 pieces for this show, and it was in Bridging Hall of the Prague Castle, an enormous space. That was very interesting because at the moment I accepted this challenging job, I had never walked into a Cartier anywhere in the world, in New York, Paris, London, because I was never curious. It was real jewelry, but when I started working with the collection, which is based in Geneva, and I was going to Paris to these workshops and archives, I discovered the completely different world of making jewelry, how they, in the middle of the 19th century, approached this medium and based it on perfection and mechanisms and the material. So, the best of the best craftsmen were put together in one place. It was very challenging. Another exhibit I worked on was for a craft museum. It was called The Radiant Geometries. Russell Newman was the curator, and I was doing the display faces. My work was part of the show as well. That was a super experience. An interesting show I had was at Columbia University at the School of Architecture. The dean was Bernard Tschumi, the deconstructivist architect. He invited me to do an exhibition of jewelry and drawings for their students of architecture. Can you imagine? The students looked at the work, and they thought they were small architecture models. I developed a new system for how to hold them together. For that exhibition, I built cabinets that I later developed into a system with vitrines. After the exhibition with vitrines, I started making chairs and tables and benches, and later on I used it again for an exhibition when I was in Brussels. One thing leads me to another. One thing inspires the other. I go from flats, from drawings and paintings, into three-dimensional objects. I need a lance, so I design it and then some company makes it. Sharon: Wow! What do you think has kept your attention? We'll have pictures of the jewelry on the website so people can see it. I love the necklace you have on. It's avant garde. Everything in the exhibit and everything your students did was avant garde. So, what holds your attention about it? How would you describe it? Eva: I think making something like many people did before you doesn't make any sense. We are surrounded by so much stuff. It only makes it worth spending your talent and time when it's something new. You're discovering something new that somebody else can learn from and apply somewhere else. For example, this necklace is just held by the tension of the spring wire. Next time, maybe I can use it for some lighting. Who knows? Sharon: I'd like to see that if you do it. What makes a good exhibit? You've been in charge of so many exhibits. What makes a good jewelry exhibit? Eva: It should be based on a common theme or concept, and all the objects should together tell a story. Also, the exhibition design or architectural design of the show is very important. A lot of exhibition architects are creating something so powerful that you can't see the work that is showing. My rule is that the installation basically should disappear. The work is the most important thing, right? Sharon: Yes, that's true. You mentioned a story, like each area or part should tell a story. Would you agree with that? Eva: If it's large exhibition of jewelry in different styles, let's say, it should be grouped into similar topics so it empowers them. If you have one piece of this kind, another piece of a different kind next to each other, then—I don't know; it can be anything. It depends on the curator or the architect. Look at the Danner Rotunda in Munich. Their collection is strung together. Maybe the curator or the artist who did the installation wanted to create a dialogue of completely different characters, like when you have guests for dinner and you're thinking who sits next to whom. You want to create an exciting dialogue. Sharon: When you came to New York, do you think you stood out? In Czechoslovakia did you stand out? Could you hold your own within these different parties? Eva: I'm not the one who can judge it, but yes. I heard from different people what caught their attention, and why, for example, Judy Schwartz said, “I was waiting patiently all these years,” whenever she finds the time to teach at NYU. I was always amazed by her education. Toni Greenbaum wrote a beautiful piece when we first met. She was intrigued by what I wore and how I looked, but mostly by a piece of jewelry I wore. I sewed the dress a day before because I thought, “What am I going to wear?” I designed it myself. If somebody asks me what I collect—mostly everybody collects something—I usually say I collect people. People together create society, create culture. One cannot stand alone. Through the work I do, it brings me to people. I try, and the results bring me to better people. That's what I value most. Sharon: That's interesting. That was going to be my next question, but you answered it. Everybody does collect something, and people have different definitions of collections. Collecting people is a collection, yes, and you collect people all over the world. Thank you so much for being with us today, Eva. I really appreciate it. Eva: Thank you so much for inviting me and talking to me. I'm saying hello to everyone who is listening. Sharon: Well will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.
What you'll learn in this episode: Why sacred geometry is the underlying link between Eva's work in jewelry, architecture and design How growing up in an isolated Soviet Bloc country influenced Eva's creative expression Why jewelry is one of the most communicative art forms How Eva evaluates jewelry as a frequent jewelry show judge Why good design should help people discover new ideas and apply them in other places About Eva Eisler A star of the Prague art world, Eva Eisler is an internationally recognized sculptor, furniture/product designer, and jeweler. Rooted in constructivist theory, her structurally-based objects project a unique spirituality by nature of their investment with “sacred geometry.” The current series of necklaces and brooches, fabricated from stainless steel, are exemplars of this aesthetic. In 2003, she developed a line of sleek, stainless steel tabletop objects for mono cimetric design in Germany. Eisler is also a respected curator and educator. She is chairman of the Metal and Jewelry Department at the Academy of Arts, Architecture and Design in Prague, where she heads the award-winning K.O.V. (concept-object-meaning) studio. Her work is in the collections of the Metropolitan Museum of Art, Brooklyn Museum and Cooper-Hewitt, Smithsonian Design Museum in New York; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; Renwick Gallery, Smithsonian American Art Museum, Washington, D.C.; Montreal Museum of Fine Arts in Canada; Pinakothek der Moderne, Munich; and Museum of Decorative Arts, Prague, among others. Additional Resources: Eva's Instagram Photos available on TheJeweleryJourney.com Transcript: Eva Eisler is the rare designer who works on projects as small as a ring and as large as a building. What connects her impressive portfolio of work? An interest in sacred geometry and a desire to discover new ideas that can be applied in multiple ways. She joined the Jewelry Journey Podcast to talk about how she communicates a message through jewelry; why jewelry students should avoid learning traditional techniques too early; and her thoughts on good design. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. My guest today is Eva Eisler, s. She's probably one of the most well-known artists in the Czech Republic. Her work is minimal and refined. She also designs clothing, furniture, sculpture and so many other things I can't tell you about. She has taught and studied at Parsons School of Design, and she'll fill us in on everything she's learned. I'm sure I'm leaving something out, but she'll fill us in today. Eva, welcome to the program. Eva: Thank you for having me. Sharon: Great to have you. Tell us about your jewelry journey. Did you study it? Were you artistic as a youth? Eva: I only thought about this yesterday. You're the first person I'm going to tell this story to. During the war, my grandfather, because he was very practical and forward-thinking, was buying jewelry from people who needed money to have safety deposits for later, whatever happened after the war. When I was born in 1952, there was still a little bit left of the treasure he collected and enclosed in a beautiful wooden treasure box. When I was a good girl, I could play with real jewelry in gold and stones. When I grew older, I never thought of jewelry as something I would design. It was something I could play with as a girl, but when I got older, living in a communist country—Czechoslovakia turned into a Soviet Bloc country after the war—everything was so gray and constrained and monotonous. People were afraid to say whatever they thought, and I was feeling that I had to start something provocative, to start some kind of dialogue about different things. So, I started making jewelry, but because I didn't know any techniques, I did it in the form of ready-mades, looking for different metal parts out of machines, kitchen utensils, a stainless-steel shower hose, a clock spring, sunglasses, all different things. I didn't know people like that existed somewhere else, like Anni Albers, who in the 40s created a beautiful necklace out of paperclips. I learned that much, much later. I was not only making jewelry. I was also making lamps and small sculptures, because creating things always made me happy. My mother was an art teacher. My father was a scientist. He was one of the founders of robotics in the 50s, and he ended up teaching at the most famous universities around the world later on. That's how I started making jewelry, but I wanted to proceed with a profession in architecture. That was always my main interest. After school, I worked for a few years as an architect. Later on, I got married and had children, and I wanted to be free from a steady job and do what I loved most, create. Sharon: When you were an architect, were you designing buildings? Eva: I was part of a team for experience. I was given smaller tasks that I had to do, mostly parts of the interior. Sharon: Did you do sculpture and jewelry on the side? Your sculpture is such a big part. Eva: Yeah, we're talking about when I was 25, 26. In 1983, my husband and I and our two children moved to New York, because John was invited by Richard Maier to come and work for him. That was a big challenge that one should not refuse. So, we did the journey, even though it was not easy with two little children. Sharon: Did you speak English at all, or did you have to learn when you came? Eva: I did because my father, in the 60s, when it was possible, was on a contract with Manchester University in England teaching. Me and my brothers went there for summer vacations for two years. One year, I was sent to one of his colleagues to spend the summer, and then I married John, who is half-British. His British mother didn't speak Czech, so I had to learn somehow. But it was in Europe when I got really active, because I needed to express my ideas. Sharon: Does your jewelry reflect Czechoslovakia, the Czech Republic? It's different than jewelry here, I think. Eva: There were quite a few people who were working in the field of contemporary avant garde jewelry. I can name a few: Anton Setka, Wasoof Siegler. Those were brilliant artists whose work is part of major museums around the world, but I was not focused on this type of work when I still lived in the Czech Republic, Czechoslovakia at that time. It was when I arrived in New York. I thought, “What am I going to do? I have two little children. Should I go and look for a job in some architecture office?” It would be almost impossible if you don't have the means to hire babysitters and all the services. So, I thought, “I have experience with jewelry. I love it, and I always made it as a means of self-expression and a tool for communication. O.K., I am going to try to make jewelry, but from scratch, not as a ready-made piece out of components that I would find somewhere.” I didn't know any techniques. Somebody gave me old tools after her late husband died. I started trying something, and I thought, “Maybe I can take a class.” I opened the Yellow Pages looking at schools, and I closed my eyes and pointed my finger at one of the schools and called there. This woman answered the phone, and she said, “Why don't you come and see me and show me what you did?” When I showed it to her, she said, “Are you kidding? You should be teaching here.” It was one of my ready-made pieces. Actually, a few years before I came to New York, I went to London and showed it to Barbara Cartlidge, who had the first gallery for contemporary jewelry anywhere in the world in London. She loved it. She loved my work, and she bought five pieces. She took my work seriously, because basically I was playing and wearing it myself and giving it to a few friends who would get it as a present. So, I was shocked and very pleased. This is what I showed this woman at the Parsons School of Design. This woman was the chair that took care of the department. I said, “I cannot teach here. I don't know anything,” and she said, “Well, clearly you do, but you're right. You should take a class and get to know how the school works, and maybe we can talk about you teaching here a year later.” I took a foundation course in jewelry making. It was Deborah Quado(?) who taught it. One day she said to my classmates, “This woman is dangerous.” I forgot to say that before I started this class, the chair invited me to a party at her house to introduce me to her colleagues. It was funny, because I was fresh out of the Czech Republic, this isolated, closed country, and I was in New York going to a party. I needed those people that became my friends for life. That was a super important beginning of my journey in New York into the world of jewelry. A few years later, when I made my first collection, someone suggested I show it to Helen Drutt. I had no idea who Helen Drutt was. She was somewhere in Philadelphia. I went there by train, and Helen is looking at the work and says, “Would you mind if I represent your work in the gallery?” I said, “Well, sure, that's great,” but I had no idea that this was the beginning of something, like a water drain that pulls me in. The jewelry world pulled me in, and I was hooked. From then on, I continued working and evolving my work. When I started teaching at Parsons, students would ask me whether they could learn how to solder and I said, “I advise you not to learn any traditional techniques because when you do, you will start making the same work as everybody else. You should give it your own way of putting things together.” At the end, I did teach them how to solder, and I was right. I tried to continue with the same techniques I started when I was making these ready-made pieces, but with elements I created myself. Then I tried to put it together held by tension and different springs and flexible circles. I got inspired by bridges, by scaffolding on buildings, by electric power towers. I was transforming it into jewelry, and it got immediate attention from the press and from different galleries and collectors. I was onto something that kept me in the field, but eventually, when my kids grew older, this medium was too small for me. I wanted to get larger. Eventually, I did get back into designing interiors, but it was not under my own name. Sharon: When you look at your résumé, it's hard to distill it down. You did everything, sculpture, architecture, interior design and jewelry. It's very hard to distill down. Interior design, does it reflect the avant garde aspect? Eva: Yes, I am trying to do it my way. I love to use plywood and exposed edges to make it look very rough, but precise in terms of the forms. If you think of Donald Judd, for example, and his sculptures and nice furniture, it's a similar direction, but I'm trying to go further than that. I'm putting together pieces of furniture and vitrines for exhibitions and exhibition designs. While I am taking advantage of the— Sharon: Opportunity? Eva: Opportunity, yes. Sorry. I don't have that many opportunities lately to speak English, so my English is— Sharon: It's very good. Eva: On the other hand, yes, I'm interested in doing all these things, especially things that I never did before. I always learn something, but it's confusing to the outside world. “So, what is she? What is she trying to say?” For example, this famous architectural historian and critic, Kenneth Frampton from Columbia University, once said, “If one day somebody will look at your architectural works all together, they will understand that it's tight with a link, an underlying link.” Sharon: Do you think you have an underlying link? Is it the avant garde aspect? What's your underlying link? Eva: It's the systems. It's the materials. It's the way it's constructed. I'm a humble worshipper of sacred geometry. I like numbers that have played an important role in the past. Sharon: Do you think the jewelry you saw when you came to the States was different than what you had seen before? Was it run-of-the-mill? Eva: When I came to New York a few years later, I formed a group because I needed to have a connection. I organized a traveling show for this group throughout Europe and the group was— Sharon: In case people don't know the names, they are very well-known avant garde people. Eva: All these people were from New York, and we exhibited together at Forum Gallery and Robert Lee Morris on West Broadway. That brought us together a few times in one show, and through the tours I organized in New York, Ghent, Frankfurt, Berlin, Vienna and Prague. Sharon: Wow! We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.
Nathan King and Tiya Gordon are co-founders of itselectric. Key topics in this conversation include: The unique challenges presented by EV adoption and EV charging in dense urban and suburban areas Charging for street parking Why Level 2 charging is now an implementation challenge rather than a technical challenge Designing aesthetically pleasing charger for an urban setting How itselectric is enabling EV charging at-scale without waiting for underlying infrastructure upgrades Links: Show notes: http://brandonbartneck.com/futureofmobility/itselectric itselectric Website itselectric Waitlist Nathan on LinkedIn: https://www.linkedin.com/in/nathan-l-king/ Tiya on LinkedIn: https://www.linkedin.com/in/tiya-gordon-itselectric/ Nathan King - Co-Founder / CEO Nathan is an architect with a passion for sustainable cities. Over the last two decades, Nathan has designed and managed numerous large-scale and complex construction projects, with particular focus in New York City. Before co-founding itselectric, Nathan was the senior technical architect for SOM's Health and Science practice, and led the team designing the new NY City Public Health Laboratory in Harlem. Tiya Gordon - Co-Founder / COO Tiya holds 20 years experience in leadership and design operations across a range of disciplines for some of the country's top firms and institutions. Her work has received the industry's top accolades, including The National Design Award from the Cooper Hewitt, Smithsonian Design Museum; the Inaugural Cannes Gold Lion for Creative Data; the Emerging Filmmaker Showcase at the Cannes Film Festival; and the designation of second most innovative design firm in the world by Fast Company. Her founding of itselectric is the first step in her refocusing the next 20 years of her career on projects waging war against the Climate Crisis. About itselectric itselectric is curbside EV charging specifically built for cities. For the millions of drivers who park their cars on the street. Future of Mobility: The Future of Mobility podcast is focused on the development and implementation of safe, sustainable, effective, and accessible mobility solutions, with a spotlight on the people and technology advancing these fields. linkedin.com/in/brandonbartneck/ brandonbartneck.com/futureofmobility/ Edison Manufacturing: At Edison Manufacturing, our specialty is building and assembling highly complex mobility products in annual quantities of ten to tens of thousands utilizing an agile, robust, and capital-light approach.
Why does an American-born Chinese philanthropist want to help young Chinese in America reconnect with their roots? Why is that important? What seeded that passion? Tune into my conversation with Carolyn Hsu-Balcer in Episode #3 “Reconnecting with Your Roots.” Carolyn Hsu-Balcer is a designer, philanthropist, and art collector based in Los Angeles and New York. Having lived in Hong Kong, Thailand, and the Philippines, she returned to America (her birthplace) obligingly for college. Her mother told her America is her future because they didn't have a home in China anymore. How did Carolyn's Chinese parents shape her love for country, history, art and culture? Why was Carolyn so inspired by her great-granduncle Dr. Kuo Ping-Wen - the first Chinese to have earned a PhD in America?? Why does Carolyn believe young Chinese in America should become global-minded? Music used: One In a Billion Theme Song by Brad McCarthy Youk Ra Lom Ai Oh by Les Cartes Postales Sonores Lullaby by the Ghost in Your Piano A Yankees Southern Blues by HoliznaCC0 Mountain Monk C by Lobo Loco Driving Through Tunnels by Daniel Birch The Armys March by MMFFF The Things That Connect Us by Independent Music Licensing Collective Carolyn graduated from Wheaton College (Mass.) with a BA in Economics and a minor in Chinese Language. After working as a financial analyst on Wall Street and as a Retail Product Developer, Carolyn launched SnoPea Inc. in 1997, a baby clothes company based in New York. SnoPea manufactures and markets infantwear for sale online and in specialty stores across the US, Canada and Japan. Carolyn has worked to foster Sino-American understanding through education and culture. She has organized seminars on Education in China at major universities in the US and China. She supports educational scholarships at universities in Shanghai, Nanjing and Taiwan, and at rural schools in Yunnan Province in China. In 2008, she received the Blue Cloud Award for outstanding achievement from the China Institute in New York. Carolyn has co-edited and co-published the historical biographies Kuo Ping Wen Scholar, Reformer, Statesman (2016) and C.T. Wang: Looking Back and Looking Forward (2008); the artbook A Token of Elegance (2015), a historical and photo survey of cigarette holders as objets de vertu; and Chow! Secrets of Chinese Cooking (2020), an updated edition of a timeless classic about Chinese cuisine and culture and winner of a 2021 Gourmand World Cookbook Award. Carolyn has organized ground-breaking exhibits of Chinese art including Xu Bing Tobacco Project Virginia (2011 VMFA), Light Before Dawn (2013 Asia Society Hong Kong), Blooming in the Shadows (2011 China Institute NY), Ming Cho Lee: A Retrospective (2011 Ningbo Museum), and Oil and Water: Re-Interpreting Ink (2014 MOCA NY). She has sponsored the publication of a 13-volume catalogue of the works of the Wuming group of Chinese artists, and the publication of “Ai Wei Wei: New York Photographs 1983-1993”. Carolyn has produced award-winning documentaries on China and Chinese art, including “Above the Drowning Sea”, “The No Name Painting Association” and “Xu Bing Tobacco Project Virginia”. Carolyn is currently a member of the Board of Overseers at the MFA Boston, the Guggenheim Museum Asian Art Circle, the Board of Directors of the Wolfsonian-FIU, the Arts Council of the Asia Society, the Board of Friends of Channel 13, and honorary trustee of the Ningbo Museum (China) where she has forged ties with American art & cultural institutions to bring curatorial training to the Ningbo Museum. Carolyn and her husband have assembled important collections of Chinese Contemporary art, Japanese Shin-Hanga, Inuit art and objets de vertu, which have been the subjects of numerous publications and exhibitions worldwide, including at the Museum of Fine Arts Boston, Los Angeles County Museum of Art, The Louvre (Paris), Virginia Museum of Fine Arts, Aldrich Museum, Wellin Museum, Cooper Hewitt, Asia Society Hong Kong, Lenbachhaus Museum Munich, and the Taipei Fine Arts Museum.
Our personal collections tell stories about our identities, our values, and the memories we hold dear. On this episode of The Mic, host Debbie Millman interviews Alexandra Cunnigham-Cameron, Curator of Contemporary Design at Cooper Hewitt, Smithsonian Design Museum and Tione Trice, founder at Of the Cloth, to dive into objects, curation, and material culture. Tune in for a rich conversation exploring how objects connect us with others, why collecting can be a form of personal and generational archiving, and which objects define the New York experience.
This week (another listener recommendation), Syd and Jess are here to tell you the tragic story of heiress Ann Cooper Hewitt, who woke up from what she thought was a routine appendectomy to hear the nurses tell her mother that she "didn't suspect a thing." Scandal, rumors, and forced sterilization - this week's story is about one woman who took her mother to court over what she said was a greedy attempt to steal Ann's inheritance. If you want to help us grow, subscribe and leave us a review on Apple Podcasts, Spotify, Stitcher, or wherever you get your podcast fix! Sources for this episode: https://bookshop.org/books/the-unfit-heiress-the-tragic-life-and-scandalous-sterilization-of-ann-cooper-hewitt/9781538753354 https://www.grunge.com/625076/the-tragic-true-story-of-heiress-ann-cooper-hewitt/https://www.townandcountrymag.com/society/money-and-power/a35597816/ann-cooper-hewitt-unfit-heiress-audrey-clare-farley-excerpt/https://nypost.com/2021/04/19/the-shocking-story-behind-nycs-cooper-hewitt-family/https://msmagazine.com/2021/04/20/the-tragic-life-and-scandalous-sterilization-of-ann-cooper-hewitt/https://crimereads.com/how-one-womans-forced-sterilization-led-to-a-mayhem-charge-and-exposed-a-secret-world-of-medical-atrocities/ https://narratively.com/the-curious-case-of-the-socialite-who-sterilized-her-daughter/https://thisiscriminal.com/episode-165-unfit/Music from Uppbeat: https://uppbeat.io/t/danijel-zambo/fairytalesLicense code: ZQGXUZWNXEBLK6Y0Planes, Trains, & Kids Abroad travel podcastThis travel podcast was created to inspire families to travel abroad.Listen on: Apple Podcasts SpotifySupport the show
Maria Nicanor is the director of Cooper Hewitt, Smithsonian Design Museum. She previously was the executive director of the Rice Design Alliance at Rice University's School of Architecture and a curator at the design, architecture, and digital department of the Victoria and Albert Museum. In this conversation, Jarrett and Maria talk about the mandate of the Cooper Hewitt, the role of museums, and why design can be the great equalizer. Links from this episode can be found at scratchingthesurface.fm/216-maria-nicanor. — If you enjoy the show, please consider supporting us on Patreon and get bonus content, transcripts, and our monthly newsletter! www.patreon.com/surfacepodcast
This is part 3 of a special 3-part virtual talk in partnership with Cooper Hewitt, Smithsonian Design Museum and the Health Design Lab at Thomas Jefferson University. Architects are reimagining the places where we live, work, and gather. Many modern indoor spaces are sealed shut and climate-controlled. The pandemic prompted people to open the windows, move activities outside, and control the flow of indoor air. From plastic sneeze guards to graphics for social distancing, new norms sprang quickly into place. What worked and what didn't? How can everyone have access to healthier spaces? Panelists include Jennifer D. Roberts, University of Maryland School of Public Health; Jennifer Tobias, Researcher, New York City Streateries; and Andrew M. Ibrahim, University of Michigan and HOK The panel was moderated by Morgan Hutchinson and Ellen Lupton. Video archives of the series are also available at CooperHewitt.org. Watch videos of previous episodes of DOTFL Season 1 and Season 2 Episode website link: https://mailchi.mp/designlabpod/dotfl3 More episode sources & links Sign-up for Design Lab Podcast's Newsletter Newsletter Archive Follow @DesignLabPod on Twitter Instagram and LinkedIn Follow @BonKu on Twitter and Instagram Check out the Health Design Lab Production by Robert Pugliese Cover Design by Eden Lew Theme song by Emmanuel Houston
It's a feminist true crime story time! In this episode Summer tells the story of Ann Cooper Hewitt, who was involuntarily sterilized by her mother in order to steal her inheritance. The ensuing court case captured the attention of a nation that was on the leading edge of eugenics—the United States. The post The Tragedy of Ann Cooper Hewitt appeared first on Sheologians.
It's a feminist true crime story time! In this episode Summer tells the story of Ann Cooper Hewitt, who was involuntarily sterilized by her mother in order to steal her inheritance. The ensuing court case captured the attention of a nation that was on the leading edge of eugenics—the United States. The post The Tragedy of Ann Cooper Hewitt appeared first on Sheologians.
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