The beautiful exhibition catalog for MADE IN L.A. 2020: a version—available to order from the Hammer Store—includes a folio of collages by Hedi El Kholti bound into the book, as well as a conversation with El Kholti and Chris Kraus. The artist-designer-editor has also created two posters, available as exhibition takeaways at the HammerMuseum and the Huntington.
A more collaborative and sharing practice has always been important to me as a counterbalance to the more studio-intensive things that I create on my own. It can be super lonely just making these incredibly detailed paintings. So I have always needed that balance of also doing things that have a different set of criteria, where you are not just relying on your own set of ethics or style. And I would say working closely and productively with someone from a different discipline—as is the case with Beca and me—is a brilliant experience.* Sometimes it can be complicated collaborating with another fine artist, but with design, there is just so much more flexibility and space for each person to come to the fore at different times. — LucyMcKenzie
Painting, design, installation, Madeleine Vionnet, and Zoya Kosmodemyanskaya all come together in NO MOTIVE, the new show by McKenzie now on view in New York.
Order was always wishful thinking for me. For sixty years I have produced disorder in files, correspondence, and books. In my work, however, I have always aspired to a distinct arrangement of typographic and pictorial elements, the clear identification of priorities. The formal organization of the surface by means of the grid, a knowledge of the rules that govern legibility—line length, word and letter spacing, and so on—and the meaningful use of color are among the tools a designer must master in order to complete his or her task in a rational and economic matter. — Josef Müller-Brockmann
THE SWISS GRID—an exhibition that “explores the development and impact of the International Typographic Style”—is now in its final weeks at Poster House.*
An exhibition about mangled and mistold modernist legacies, the project begins with furniture, inanimate objects that come loaded with social connections and invisible histories. Through the displacement of cultural detritus Wolf-Haugh retells modernist architectural history in the collective key of queer-feminist and decolonial practices, continually unearthing filth in times of hygiene, and complicating things that were never simple to begin with.*