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Guest Post from Image Source
By John O’Reilly

Tibor and Maira Kalman’s (un)Fashion book was like a special edition of the Colors magazine he used to edit. A curated work of visual anthropology it shines a light on the everyday design of non-designers.

unfashion1
(un)Fashion, Tibor and Maira Kalman, Booth Clibborn, 2000. Family in Gobi desert, Mongolia. Gueorgui Pinkhassov /Magnum

When designer Tibor Kalman died in 1999, he left a legacy of deeply influential work that was significant as much for its cast of mind as it was for its design. Currently the notion of the designer is expanding, from the producer of ‘design thinking’ to the idea of the designer as storyteller. The latter being somewhat disputed by graphic designer Hamish Muir (founder of 8VO) in a recent Tweet.

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Photographer JLPH / Cultura RF
Photographer JLPH / Cultura RF

It’s tempting to say that in 2014 Craft is big business, but of course Craft is always small business.

So when was it that we moved from the world of anonymous corporate branding, design and logos, to the world of sign-painting? Actually, in this post-credit crunch era its easy to imagine many financial institutions fantasizing about swapping the cold, discredited corporate typeface for the almost childlike appeal of handmade signage.

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Guest Blog Post by Image Source

James Friedman’s photographic series, Pleasures and Terrors of Kissing, feels like an encyclopedia or taxonomy of kissing, or the document created by an ethnographer – passionate, affectionate, oblivious. Shot in black and white, the series enables the viewer to focus on the stillness of the kiss – the awkwardness of the bystander faced with this bubble in space hints at a little bit of social chaos injected by the public display of private passion (‘where to look?’).

Lips are the border of inside and outside, and in the latter part of the 20th Century ‘the kiss’ has been celebrated in photography as a public window on a private emotion – think of the couple in Robert Doisneau’s Kiss By The Hotel De Ville. Or Alfred Eisenstaedt’s image of the sailor kissing the woman in the white dress in Times Square on V-J Day. It’s the ultimate ‘anti-social’ image, not in the sense of being destructive, but an image of two people recoiling from the social world, into their world, whose pleasure and terror is not the exclusion of every other human being, it’s more profound than simply exclusion – in the pleasure of the kiss no one else exists. And because kissing is done with eyes closed, it’s a feeling that is almost unrepresentable, that can’t be said, and only seen in the photograph.

Photographer James Friedman, Pleasures and Terrors of Kissing, no. 701
Photographer James Friedman, Pleasures and Terrors of Kissing, #701

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