Practise

@practisetheory

📚 A studio run by James Goggin and Shan James ✏️ Posts by JG 📍 Auckland, Providence, Chicago, Arnhem, London, Copenhagen, Stockholm, Sydney
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Recent Writing: On A Tribe Called Quest, Packages, and Portals in “A Record Could be Your Whole World: Vinyl Records as the Total Artwork of the Late Twentieth Century,” Luke Wood & Bruce Russell (Eds.), Ilam Press (Ōtautahi/Christchurch, 2024) As someone for whom music has been (and continues to be) an important, formative, educational part of my life, I was pleased to be invited to contribute to “A Record Could be Your Whole World,” an incredible book that explores the unique role played by records in western culture in the late twentieth century from the perspectives of 18 writers, artists, musicians, and designers, each reflecting on their personal and cultural relationship with a specific album. I chose to write about what is probably my favourite hip hop collective, A Tribe Called Quest (@atcq ), and their seminal 1993 record “Midnight Marauders,” which I consider to be a prime example—in album cover, in lyrics, in production—of both a “package” (an aesthetic and conceptual gesamtkunstwerk assemblage of histories, references, people, places) and a “portal” (citing the late cultural theorist Mark Fisher, the record as a threshold that you can cross, that opens up worlds for you.) The book is astutely edited by self-described “exit-level” designer and teacher/musician Luke Wood (@shakinlukewood ) and Bruce Russell, experimental musician, teacher, and member of legendary NZ music/art trio The Dead C. Luke also happens to be the founder and boss of the only academic record label that I know of, Ilam Press Records, a vinyl-producing offshoot of the eponymous Ilam Press (@ilam_press ) publishing imprint he established at the University of Canterbury’s School of Fine Arts. Mr. Wood designed and hand-printed every copy on the department’s Risograph machine and the book was on sale from the Ilam Press Records Bandcamp site until it already recently, unsurprisingly, sold out. Limited copies are still available from a number of independent record shops and booksellers around the world, including @flyingnun , @unitybookswgtn , and @flyingoutmusic here in Aotearoa and my beloved @cafeotodalston in London. I highly recommend getting hold of a copy, run don’t walk!
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On the occasion of a newly revised version of my Smithsons Stencil font, as used by @oliverlong_ for @ssoa_architecture (see previous post), here’s the original project from 2009 (almost exactly 15 years ago) that spawned the typeface. “Robin Hood Gardens Re-Visions” was an exhibition at the Royal Institute of British Architects (@riba ) and a publication for the 20th Century Society (@c20society ), the latter designed together with Dutch designer Jeremy Jansen (@jeremyjansen.studio ). Shown here are images of the book, the exhibition, and the exhibition invitation card. The project was for a cause I supported and architects I admire: the preservation of brutalist housing estate Robin Hood Gardens, by favourite British architects Alison and Peter Smithson. The exhibition and publication were part of a campaign by the 20th Century Society and numerous well-known architects and academics (including Zaha Hadid, Richard Rogers, Deborah Saunt, and Peter St. John) to protest the UK Department for Digital, Culture, Media and Sport’s decision not to list RHG as a structure of architectural and/or historic interest deserving of special protection. The typeface was derived and iterated from two different stencils regularly used by the Smithsons on their architectural plans. For the exhibition, actual stencils were made for a signwriter to paint onto the gallery walls. For the book, Jeremy and I augmented the stencil with a pairing of Plantin and a modern classic by old London pal @jonathanhares , Superstudio from @lineto_com (a digital version of IBM Selectric Typewriter font 12 Dual Gothic that Hares used for another aughts architecture exhibition in London on Superstudio at the Design Museum). A mix of rough uncoated paper stocks and gloss stocks were employed for the publication, and the orange colour was derived from the original apartment doors in the Robin Hood Gardens complex.
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Fonts in Use: My Smithsons Stencil typeface has been perfectly deployed by London-based graphic designer Oliver Long (@oliverlong_ ) in his graphic identity for this year’s Sheffield School of Architecture (@ssoa_architecture ) summer show, in cooperation with architecture critic and first year co-lead Laura Mark (@mark_itecture ). I originally designed this type in 2009 for “Robin Hood Gardens Re-Visions”, an exhibition in London (at the Royal Institute of British Architects @riba ) and publication (for the 20th Century Society @c20society ) about the influential yet ultimately maligned and neglected Brutalist RHG public housing estate in east London designed by favourite British architects of mine, Alison and Peter Smithson. The estate is now sadly demolished in parts, with a 2005 application for listed status having been rejected. The typeface was derived and iterated from two different stencils used by the Smithsons on their architectural plans. Oliver spotted the stencil forms on plans for Sheffield’s infamous Park Hill Estate (designed in 1957 by Jack Lynn and Ivor Smith under the supervision of J. L. Womersley), something relevant for the city’s architecture school, and his request to licence and use my font was a good excuse to revisit, redraw, and add extra characters to what was originally a very basic and quick type exercise in 2009. That 2009 exhibition and book project (the book designed together with Dutch designer Jeremy Jansen @jeremyjansen.studio ) is also worth revisiting in another post, still a favourite project.
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Another overdue post from February, a special evening that I don’t want to go undocumented: En route back from London to Tāmaki Makaurau, we stopped in Singapore for a small break. Lots of amazing food at hawker centres, exploring the city with our family, visiting some printers we’re planning on working with, and to hang out with our friends, local designers @gideon_jamie_ . Togther with Azelia Ng Wei Zhen (@azelia_nwz ), they had invited me to give a talk at their studio/workshop (and now maybe my favourite bookshop in the world) @temporaryunit , as part of their ongoing “Open Book” series of informal talks and conversations around book design and production. Gideon had already invited me to give an online lecture to his class at @lasallesingapore last year for a series together with Seoul design pals/seonbaenim @sulki_and_min , but this was a great opportunity to meet him, Jamie, and the wider Singapore design community in person. Gideon and Jamie happened to stock several books designed by Shan and I, so we took those off the shelf and gathered a few more publications old and new together on their big table for people to look at and discuss. Given Temporary Unit’s Riso printing and @temporarypress publishing activities, and the serendipitous echo between their “Open Books” series title and the “Books are Still Open” A2 Riso print I made with @londonbookarts during lockdown times, we also made a special limited green edition print for everyone who came to the talk to take home with them. It was joy to meet and talk with the incredible community of local type designers, graphic designers, artists, and printers. We appreciated you all (and still apologise to you all) for coming out on what was actually Valentine’s Day evening!
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Reposting from valued collaborators @davidzwirnerbooks : To celebrate the final week of Paul Klee: Psychic Improvisation, currently on view at @davidzwirner 20th Street in New York, take home a copy of Paul Klee: 1939 on your visit to the exhibition. This publication features a collection of some of the artist’s most surprising and innovative works. Created the year before he died, in what was one of the most difficult yet prolific periods of his life, these works illuminate the artist’s response to his personal difficulties and the era’s broader realities through imagery that is tirelessly inventive-by turns political, solemn, playful, humorous, and poetic. Don’t miss Paul Klee: Psychic Improvisation, which closes Saturday, June 15. Designed by @practisetheory #PaulKlee #DavidZwirnerBooks #DavidZwirner
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National Gallery Book Club From London in February, collected during an art history tour of the @nationalgallery for Shan and I led by @aaaudreyyyyyy .
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Work in progress: Scenes from Sebastiaan Hanekroot (@colourandbooks ) on press check at @diekeureprinting in Bruges. The first of a two-volume catalogue raisonné set, over 500 pages covering the late US artist Tony Smith’s sculpture works with @tonysmithfoundation and @mitpress , edited by Sarah Auld and @jamesvoorhies . The design for the second architectural works volume is well underway, with Sebastiaan having worked with us on the lithography for everything. The series will have four volumes total, including two companion “Against Reason” contemporary critical readers, one for each of the main catalogue raisonné editions. Shan and I have been working intensely with Sarah, James, and colleagues (including the artist’s daughters, Kiki and Seton Smith) on these major publications for several years now. Very exciting to finally see this first book on press!
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New work: Cover design for an incredible, crucial new book, “Crazy as Hell” by Hoke S. Glover III and V. Efua Prince (@v_efua_prince ), with an introduction by Freedom Reads (@freedombeginswithabook ) Founder & CEO @dwaynebetts . Out today with @w.w.norton . Typeset in Martin, “a non-violent typeface inspired by remnants of the Memphis Sanitation Strike of 1968” designed by @tre.seals at @vocaltype.co . From Freedom Reads: “Crazy as Hell” is a refreshing, insightful, sacrilegious take on African American history. Peppered with little-known historical facts and PSAs that get real about the Black experience, “Crazy as Hell” captures the tenacious, irreverent spirit that accompanies a long struggle for freedom. The book is priced at $13.54 in reference to the $0.54 per hour Dwayne Betts was paid as a prison librarian. W. W. Norton is donating $0.54 for every copy of the book to Freedom Reads, the only organisation in the US transforming the experience of incarceration by opening libraries in cellblocks.
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I heard the sad news last week that my friend, the ex-Chicago, Los Angeles-based architect Greg Pilon (@gregorypilonstudio ) had passed away. We’d recently been talking about catching up in LA after so long, a trip that Shan and I unfortunately had to postpone due to the busy time we have in the studio right now. I’m sad that we didn’t make it. Greg and I had bonded in Chicago through my love of architecture and his love of graphic design. My sole collaboration with him, although small, was deeply meaningful to me, the process involving typically enjoyable, deep, digressive conversations with Greg. He humoured me (and ragged on me a bit) for putting a pylon on the letterpress business cards I designed for him (the shape derived precisely from the canonical gates of the Temple of Isis at Philae in Egypt, no less). It was both a monumental architectural history reference and a deliberately silly homophonous design gag (“Yes Greg, of course I know it’s Pilon with an ‘i’!”). I had ultimately hoped that the abstract form would serve as an emphatic testament to Greg’s impressively encyclopaedic architecture/art/design/history knowledge. He loved it. One of Greg’s most recent projects was the subtle but confident design of the Landing Gallery (@thelandinggallery ) in LA. See slides 4 and 5, showing the inaugural 2015 exhibition in the new space, a pitch-perfect initiation with works by the artist JB Blunk (@jbblunkestate ). Landing director Gerard O’Brien (@reformgallery ) also made a recent post in memoriam, and I include his poignant photo of Greg as the last slide here. Rest in peace, Greg. I’m going to miss talking books, art, design, architecture, and life with you.
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A quick little remixed reworked promo graphic for our Nagoya musical maestro mates @lullatone and their new “Shapes & Time (Remixes & Reworks)” album out this Friday. Original photos/single covers by Shawn Lullatone, remixed and reworked, then titles typeset in @radimpesko ’s Merkury Mono.
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I’m joining musician and writer (and valued collaborator) Damon Krukowski (@dada_drummer ) in posting a tribute to the legendary American musician, recording engineer, and music journalist Steve Albini, who has sadly just passed away in Chicago. I worked with Damon on the design and picture research for the book of his podcast “Ways of Hearing” for MIT Press in 2018. This passage about Steve was a favourite part of the book, and equal parts fun and challenging to illustrate. I’ll quote Damon from his post: “Steve shared a great story for Ways of Hearing about chasing a stray electrical noise in his studio by attaching a guitar pickup to a fishing pole and walking around the neighborhood... I feel like he had a permanent bullshit detector, probably wired up the same way. Loss to all.” A loss indeed. He had a nuanced yet notable hand in so many formative records for me. Rest in Noise, Steve. #stevealbini @electricalaudio
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