#Jon Sueda

[statementcounterstatement10x18cm]

'Statement and Counter-Statement 10 x 18cm' is the reproduction of the first-ever publication on the work of Experimental Jetset, documenting almost two decades of graphic design praxis. A pocket-sized paperback counting over 570 pages, the book should not be seen as monolithic monograph, but as a very loose, personal archive. This reprinted version is 1cm smaller than the original of 11 x 18cm. The books are digital printed on Canon Red Label Superior 100g, covered with Bio Top extra 160g, perfect bound, cold melt. Due to its extensive reproduction, it's adding up to the existing 5000 copies of the first edition, resulting now 5018 copies and counting.

At the heart of the book are three textual contributions by Linda van Deursen, Mark Owens and Ian Svenonius. Linda van Deursen's essay consists of a series of short observations, contemplating three historical photographs, while reflecting on the friction between modernism and the everyday. Meanwhile, Mark Owens explores the format of the three-piece rock band, mapping the formal and conceptual dimensions of the 'power trio', with a particular focus on post-punk aesthetics. Added to that, Ian Svenonius delivers a piece of pop-art fiction, starting with a 13-point program to destroy language, before derailing into a psychedelic interlude, ending with some notes on the appropriation of 'cool'. 

The book also contains two photographic chapters, both featuring a selection of work by Experimental Jetset. The first section (titled 'Ex Situ') shows a succession of printed matter as captured in actual size (scale 1:1) on the studio's flatbed scanner, while the second section ('In Situ') documents site-specific pieces as installed in different environments around the world. 

The paperback concludes with a index/glossary-like anthology of texts previously written by Experimental Jetset, as selected, edited and introduced by Jon Sueda. Consisting of short fragments from interviews, lecture notes and personal correspondence (including numerous never-before-published texts), this chapter functions as a cut-up collage of ever-changing (and ever-contradicting) ways of reasoning.

In case of interest in possession, directly contact theetat.th@gmail.com

[czarkristoff]

Excerpt from a lecture that Clara Balaguer and I delivered as #HardworkingGoodlooking through CCA Exhibitions focusing on four projects: Temporary @unrelearning Academy, #SucatXeroxHOHOL, Kulambo Bulleting and Troll Palayan and To Destroy Is To Build.  Moderated and organized by Jon Sueda and Chris Hamamoto.  https://tinyurl.com/CCA-HWGL-UNRELEARNING Review: https://portal-media.cca.edu/documents/Sarah_Chieko_Bonnickson_Hardworking_Goodlooking.pdf

[drawdownbooks]

Graphic Design, Exhibiting, Curating⁣ Available at www.draw-down.com⁣ ⁣ Graphic designers have become increasingly interested and engaged in the exhibition context as a space of production, mediation and dissemination. Features contributions by Brave New Alps, Charlotte Cheetham (Manystuff.org), Mieke Gerritzen (Museum of the Image, Breda), Lungomare/Lupo&Burtscher, Prem Krishnamurthy (Project Projects), and Jon Sueda, as well as extracts from the discussions that followed each panel.⁣ ⁣ #MartinKerschbaumer #Risograph #PremKrishnamurthy #JonSueda #CharlotteCheetham #Graphicdesigners #Exhibiting #Curating https://www.instagram.com/p/B_SM7JKHUkV/?igshid=81mf1qavomgp

[jarrettfuller]

For the Walker Art Center, Jon Sueda interviewed Joe Potts about his new alternative graphic design school, The Southland Institute:

The Southland Institute also asks what would happen if a study of the connections between a school’s curriculum and its institutional structure were themselves part of the educational experience. We are interested in examining what happens if part of an education that concerns itself with form, and the underlying structures of things, is about understanding and making visible the form(s) of the education and the educational institution itself.

This model (and in particular here we’re talking about higher/postgraduate art and design education)—a rigorous but curricularly nimble, lightly administrated, porously bordered, self-reflexive, and flexibly structured model that costs students less and pays teachers more—is a proposition built from pieces that are neither new nor unique, but it’s far from the norm, particularly in the United States.

I previously posted about The Southland Institute back in February. Here's a great comment on the relationship between teaching and design:

[P]art of what I think is so interesting about teaching is that it can be a relational space with varying degrees of structure and openness, fixed elements and variables. In certain ways I think of it as one of the most “alive” forms of design. So there’s a similarity maybe in terms of approach and rigor, and the fact that all three are alternative schools that deal with the formal, visual manifestation of language—in other words, typography. And then another similarity is that all of us are unaccredited, existing outside the sanctioned systems of higher education, and yet clearly are all born from an intimate familiarity with these systems.

[ianlynam]

Unrealized Archive 4: Lost Olympics "Closing Ceremony"! In lieu of the planned exhibition closing event, the curators have arranged an informal online ZOOM "walkthrough" of the show with many of the participants for 8/8, 6-6:45pm PT / 8/9 10–10:45am JST. Unrealized Archive 4: Lost Olympics Featuring works by: Betsy Bickle, Cyan, Daniel Eatock, Experimental Jetset, Ian Lynam, and Chris Ro. Organized by Chris Hamamoto and Jon Sueda Join us: https://cca.zoom.us/j/7904555361 Photos by Randy Nakamura https://www.instagram.com/p/CSRBfCbBpRZ/?utm_medium=tumblr

[scratchingthesurfacefm]

78. Silas Munro

Silas Munro is a designer, educator, and writer based in Los Angeles. He's currently an Assistant Professor in Communication Arts and MFA in Graphic Design at Otis College of Art and Design, Advisor, Chair Emeritus in the MFA program in Graphic Design at Vermont College of Fine Arts, and his work and writing has been published in many forms around the world. In this episode, Silas and I talk about what it means to be a 'design nomad' and how this applies to ideas around expanded practices and cross disciplinary work, how teaching influences his design practice, and how to think about decolonizing graphic design history.

Show Notes:

poly-mode

@siborg81

The End of Print - David Carson

Nancy Skolos

The Responsible Object: A History of Design Ideology for the Future - Marjanne Van Helvert

14. Jon Sueda | Scratching the Surface

Poly-Mode Thesis Project

Design Noir - Anthony Dunne and Fiona Raby

W.E.B. Du Bois's Data Portraits

Negro Building - Mabel O. Wilson

62. Mitch Goldstein | Scratching the Surface

A Thousand Plateaus - Gilles Deleuze and Felix Guattari

A Lover's Discourse - Roland Barthes

Powers of Horror - Julia Kristeva

Download mp3 | Soundcloud | Apple Podcasts | Google Play

[typogrx]

Graphic Design, Exhibiting, Curating⁠ ⁠ Available at www.draw-down.com⁠ ⁠ Graphic designers have become increasingly interested and engaged in the exhibition context as a space of production, mediation and dissemination.⁠ ⁠ Contributions by Brave New Alps, Charlotte Cheetham (Manystuff.org), Mieke Gerritzen (Museum of the Image, Breda), Lungomare/Lupo&Burtscher, Prem Krishnamurthy (Project Projects), and Jon Sueda⁠ ⁠ #GraphicDesignExhibitingCurating #GraphicDesign #DesignCurating #Designdrawdownbooks Designed by Martin Kerschbaumer

[printed-n-bound]

Statement and Counter-statement: Notes on Experimental Jetset *

제목: 진술과 반대 진술: 익스페리멘털 젯셋에 관하여 언어: 영어 발행처: 로마 퍼블리케이션, 암스테르담(Roma Publication, Amsterdam) 저자: 익스페리멘털 젯셋(Experimental Jetset), 존 수에다(Jon Sueda) 디자인: 익스페리멘털 젯셋 발행일: 2015년 1월 9일 ISBN: 978-94-91843-40-2 페이지 수: 576 크기: 110 x 180 mm 가격: €25

익스페리멘털 젯셋의 첫 번째 책으로 20년간의 활동을 고스란히 담고 있다. 획일화된 모노그래프 형식을 따르기보다 매우 느슨하고 개인적인 아카이브처럼 구성됐다. 린다 판 되르선, 마크 오웬스, 이안 스베노니우스의 글과 함께 젯셋이 고른 두 개의 사진 챕터가 더해져 인쇄물과 장소 특정적인 작품 및 설치에 대한 기록물을 보여준다. 그리고 젯셋이 이전에 쓴 텍스트(인터뷰나 강연, 기사 등) 묶음이 용어 사전처럼 뒤에 붙어 있는데 이건 존 수에다가 선별하고 편집해서 구조를 만든 것이다.

* <ROMA 1-272>에 수록된 설명 인용

* 사진 출처: 로마 퍼블리케이션 웹사이트

로마 퍼블리케이션 링크

[thebooksociety]

Unrealized Archive Issue #3: Large Format

장소: 더 북 소사이어티 통의동 시간: 2019년 7월 17일 수요일 저녁 7시 참여자: 슬기와 민, 조현열, 정해리 모더레이터: 크리스 하마모토 

* 참여방법: 선착순 30명 (아래 링크를 통해 신청해주시면 됩니다) https://forms.gle/5AmY2tkcW5cjJgK36

* 이번 토크는 한국어 통역 없이 진행됩니다. 

<모든 가능한 미래들: 현실화되지 않은 아카이브>는 많은 시간(심지어는 수년)에 걸쳐 작업을 했지만 “실현되지 않은” 그래픽 디자인 프로젝트들을 살펴본다. 여기 매혹적인 제안들은 (PDF부터 사진, 더미들, 모델, 스케치까지) 만들어지지 않았지만 진지한 논의를 나눠볼 가치는 있다. 이번 3호는 라지 포맷을 주제로 극단적인 스케일을 가진 실현되지 않은 작품들을 소개한다. 최신 호의 런칭 행사로 크리스 하마모토는 이 프로젝트에 대한 짧은 역사와 최신 이슈를 소개하고 이 프로젝트에 참여한 (혹은 참여했던) 패널들의 이야기를 듣는 시간을 마련했다. 

All Possible Futures: Unrealized Archive uncovers “unrealized” graphic design projects that consumed many hours—sometimes years—of work, but were never produced. These fascinating proposals—ranging in form from PDFs to photos, dummies, models, and sketches—remain unmade but are deserving of serious discussion. Issue #3: Large Format will feature unrealized works that explore extreme scale in some way. To launch this latest issue Jon Sueda and chris hamamoto will give a short presentation on the history of the project and present the latest issue, followed by a moderated discussion with a panel of participants in the project.

[n0wak]

Subversive Guidelines: On the Evolving Landscape of Visual Identity Design

Subversive Guidelines: On the Evolving Landscape of Visual Identity Design In the spring of 2018, San Francisco-based designer Jon Sueda conducted an interview with Christopher Hamamoto and Federico Pérez Villoro as a revisiting of the… saved to Instapaper https://ift.tt/2NGHUoA

[deftswerve]

Insights 2016: Jon Sueda (Stripe S.F.), San Francisco

[drawdownbooks]

AVAILBLE FOR PRE-ORDER NOW!⁣ Inside Out & Upside Down: Posters from CalArts, 1980–2019⁣ Available at www.draw-down.com⁣ ⁣ A book featuring over 500 CalArts posters from the past 40 years. Featuring 70 unique covers designed by CalArts students, alumni, and faculty. Many of the featured posters were not meant to function purely as posters but were produced as experimental works. Produced for a narrow audience, most of the posters have existed outside the mainstream, barely engaging with the visible canon of design. Often produced in small—even singular—editions, they also were produced outside the traditional designer/client relationship. The posters break rules, misbehave, and are sometimes an unruly mess. The collection reflects a belief that the creative process is as important as the product, and outlines a history of pedagogy at CalArts.⁣ ⁣ With essays by graphic designers Colin Frazer, Sarah Gottesdiener, Ian Lynam, Jennifer McKnight, and Louise Sandhaus. Also include interviews with Mark Allen and Gail Swanlund; Kary Arimoto-Mercer and Shelley Stepp; Ed Fella, Jeffery Keedy, Lorraine Wild, and Michael Worthington; Yasmin Khan Gibson, Jérôme Saint-Loubert Bié, and Jon Sueda; Daniela Marx and Tuan Phan; Joe Prichard, Stuart Smith, Gail Swanlund, Scott Taylor, and Michael Worthington.⁣ ⁣ #MichaelWorthington #InsideOut #UpsideDown #PostersfromCalArts #GraphicDesign #Design #PosterDesign #CalArtsDesign (at CalArts School of Art) https://www.instagram.com/p/B99My2_nJd9/?igshid=9gqh2u9o2pfh

[jarrettfuller]

On this week's episode of my podcast, Scratching the Surface, I'm talking to the designer, curator, and educator Jon Sueda. He is the founder of the Stripe, a graphic design studio based in San Francisco specializing in printed material, identity, and exhibition work and the Chair of the MFA Design program at California College of the Arts. He’s also curated the exhibitions for the CCA Wattis Institute for Contemporary Arts, the 25th International Graphic Design Biennial in Brno, Czech Republic, and SOMArts Cultural Center in San Francisco. I first came across Jon's work when I saw his All Possible Futures exhibition in San Francisco a few years ago. The corresponding book has influenced my work in more ways than one and is a read I return to again and again. It was a pleasure to talk to Jon about that exhibition (as well as the rest of his work), how he thinks about the relationship between design and curation, and the role of critical discourse in the design profession.

[ianlynam]

Available via Wordshape.com: IDEA 391 is a visual powerhouse examining the effects of the global pandemic on society and graphic design as an aspect of culture. This issue’s title is Alternative Reality: Design and imagination in dangerous times: where fantasy and reality intersect. It features Ghost Spoon, a section of the magazine printed in clear varnish on gloss white paper highlighting the scores of graphic design events, biennials, exhibitions, and book fairs that were mowed over by COVID-19, followed by a 2-color index to all of the events that never happened. The issue also features Data Journalism and Design, a look at data visualizations of the global pandemic; a beautifully printed silver + CMYK catalogue for the Melbourne edition of the exhibition “Which Mirror Do You Want To Lick?” curated by Abake and Radim Pesko, with text by Jon Sueda @jsueda . This issue also features a paean to the recently deceased designer Toda Tsutomu, one of Japan’s leading Postmodernists, as well as an amazing essay by David Caterini @delicatecrust on labor and visual abstraction in software. (at Tokyo, Japan) https://www.instagram.com/p/CFEOJXth3-l/?igshid=q6jhvc812ifb

[scratchingthesurfacefm]

70. Joe Potts

Joe Potts is a graphic designer, educator, artist, and writer working with found and synthesized images, sound, typography, and language. He teaches typography and graphic design at Otis College of Art and Design and the University of Southern California, and is the founding director of the Southland Institute (for critical, durational, and typographic post-studio practices). In this episode, Joe and I talk about the Southland Institute, both why it exists and what it's trying to do, the economic burdens of design education, and the value of building an interdisciplinary practice.

Show Notes:

The Southland Institute

@southland.institute

Venturi Scott Brown

Green Dragon Office

Nancy Skolos

Rethink, Reframe, Remodel — Interview with Joe Potts

Graphic Design Countereducation — Jon Sueda talks with Joe Potts

Southland Institute's Recommended Reading List

Evening Class

The Artist's Contract - Maria Eichorn

Forms: Whole, Rhythm, Hierarchy, Network - Caroline Levine

The Utopia of Rules - David Graeber

Download mp3 | Soundcloud | iTunes

[worldfoodbooks]

BACK IN THE BOOKSHOP: EXPERIMENTAL JETSET - STATEMENT AND COUNTER-STATEMENT: NOTES ON EXPERIMENTAL JETSET (2015) • The first publication on the work of Experimental Jetset features almost two decades of graphic design praxis. Rather than a monolithic monograph, it is a very loose, personal archive, with essays by Linda van Deursen, Mark Owens, and Ian Svenonius, plus two photographic chapters with a selection of work by the studio, covering both printed matter and the documentation of site-specific pieces and installations. To conclude is a glossary-like anthology of texts (fragments of interviews, lectures, correspondence, etc.) previously written by Experimental Jetset, selected, edited, and structured by Jon Sueda. • Design: Experimental Jetset. • Blue and red editions. These editions come with "Automatically Arranged Alphabets". Stapled in a screenprinted silver cardboard cover, the zine (titled 'Automatically Arranged Alphabets') contains a typographic experiment involving software-generated compositions (part of a series of sketches made between 2014-2015). • Available via our website and in the bookshop. • #worldfoodbooks #experimentaljetset #romapublications (at WORLD FOOD BOOKS)