review


the end of print by david byrne.

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archive: review-the end of print by david byrne: the end of print by david byrne.
 
I first saw David Carson’s work, as did a number of others, in the short-lived magazine called Beach Culture, and I immediately wondered what the hell was going on. Who was reading this amazing magazine that seemed to be in the wrong place, directed at the wrong audience? It seemed to act like a popular mag, but sure didn’t look like one. Were sufers really into this radical design? Were they actually more savvy than I gave them credit for? Well, Southern California was the home of Kustom Kars and Low Riders, both examples of beautiful, radical, impractical design of and by the people. Maybe this was another step along those lines? Popular culture proving once again that it could be more revolutionary than high culture.
 
Then Beach Culture disappeared and we never found out the answers.
 
I was beginning to despair that rock music culture was becoming square, conservative, stuck. The mass-market mags were all towing some kind of party line, getting excited when they were suposed to, and narrowing their interests and focus until the world started becoming a suburban backyard. And that was what we were trying to escape from!
 
Then along came Ray Gun, and hey, it’s that guy again! Now we’re talking.
 
Design was cool again! Suddenly, visual expression was, as we always knew it was, as hip as Rock & Roll. Even the readers were contributing great drawings, paintings and sketches. This was not an isolated designer freaking out, but a catalyst for who knows how many people who knew that there is no difference between anything anymore-between “professional” musicians/artists and amateurs.
 
For decades, public art programs have tried to “bring art to the people”; museums and great institutions of learning strive to “enlighten the masses”. When all along the “masses” have been doing it for themselves-maybe unrecognized, and in slightly different forms. With guitars and offset fanzines. With kustom kars, surfboards and skateboards.
 
I suppose a lot will be made of David Carson’s work being the perfect example of Mcluhan’s theory of sprung life-that when a means of communication has outlived its relevance, it becomes a work of art. That print-books, magazines, news-papers will become icons, sculptures, textures-that they will be a means of communication of a different order, and that simple information transfer will be effected by some other (electronic) means. Print will no longer be obliged to simply carry the news. It will have been given (or will have taken, in this case) its freedom, and there is no going back. Print is reborn, resurrected, as something initially unrecognizable. It’s not really dead, it simply mutated into something else.
 
David’s work communicates. But on a level beyond words. On a level that bypasses the logical, rational centers of the brain and goes straight to the part that understands without thinking. In this way it works just like music does-slipping in there before anyone has a chance to stop it at the border and ask for papers.
 
-david byrne , nyc

trek review

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july.03 05
 
Hi David,
 
I just wanted to thank you for your work and inspiring me. Your the reason I wanted to do graphic design (you must hear that a lot). I first saw your work for Ray Gun at the Borders in my hometown in Illinois. I didn’t even know what what you did was called, but I knew at that moment that’s what I wanted to do. That was about eight, nine years ago… I went to art school and worked at a few design agencies, and now at an in-house design department for a fairly large company near Portland, OR. I came to a transitioning point these past two days, and decided I should go back and take a look at what inspired me in the first place. I went to the Borders here and checked out your book, Trek. It re-inspired me… and when I saw the page with the spread (with a cropped photo of a red flower) and the next page with the little stars scattered across the page, it went straight to my heart, and I knew what I wanted to do. Your work inspired me nine years ago, and did it’s work again just today. I plan on finding more creative work now. Thanks for that. What you said, “Trust your gut. Do what you love…” really stuck with me as well. I believe it. I put it on one my stickies on my laptop. Anyway, just wanted to say Thanks for all YOU do… and inspiring and motivating all those who appreciate your work… and to let you know you are making a positive difference in people’s lives.
 
Tommy
 
 
april.30 05
 
hello david,
my name is daniel orme and i live in south africa. I am in my second year of graphic design and am at a constant srugle with all the closed minded lectures who live inside there boxes. I came across a copy of “end of print”first edition, in our campus libary in the first week of my first year, it was hiding at the back, just that one copy. At first it was the cover that appeald to me, the spine barly cracked I started paging through the first few pages. It was like every page was gold and i tryed to handle the leaves as little as i could so i didnt damage them… I couldnt discribe the feeling i was feeling, I sorta colapsed down to the floor and cradled the book in my folded legs and continued to page. My girlfriend,Mel, work for a sub culture surf/skate/music magazine called Blunt and the publisher sadly hates your work along with the conservative designer, but the editor had a copy of the End of print(updated) so I am borrowing it, iv had it for about a month now and i cant stop looking through it, I literely read it every single day. I am saving up to buy “Trek” and my own copy of “end of print” But its hard to save when you spending money on printing every week. We have the “Design indaba” In Cape Town and i saved up just enough money to go last year but the week befor i was forced to spend it all on printing. And our economy doesnt help either. Please forgive me but I even contenplated tryna steel “end of print” from our libary. Dont worry I will buy it… eventually.
Iv got my British citizinship so as soon as im done studying im goin over to live and work for a while…maby I could meet your friend Ed. I was also thinking about the U.S, then i could meet you…That would be the highlight of my life, If i die after meeting you then I die a happy man…ha!
Oh well,I really hope you get this and I hope even more that you arnt to busy to say hi. Thank you soooooooooooooo much doing what you do,
you are more than an insperation for me.
 
Till we meet,
daniel
 
 
mar.23 05
 
Sent: Mar 23, 2005 10:49 AM
To: dcarson@earthlink.net
Subject: way2go
 
way2go! as the first time I saw david carson’s design, it seemed the world has turned upside-down. postmodernism has colored the world of grafik design. david carson is iconed as an icon of postmodernism design (according to No More Rules in Postmodernism Graphic Design). and recently I have been studying of what postmodernism is. mr carson, i still don’t understand its concept–beats me. i wonder if you would drop by to indonesia
 
 
feb.25 05
 
Sent: Feb 25, 2005 3:51 PM
To: dcarson@earthlink.net
Subject: thanks for the inspiration
 
I just picked up your book TREK at my local book store.
I almost cried.
I have decided that i am going to rock the art world.
See you in a few years.
-Rob Mach
 
 
dec.14 04
 
Dear David Carson
 
I have just graduated from college as a typographer, and wanted to let you know that in the whole boringly derivative world of contemporary graphic design, yours is the only work that is genuinely original, refreshing, and makes visual and intellectual sense. I love it. Thank you for providing so much inspiration.
All the best
 
Shaun
london
Dec, 14.04
 
 
nov.30 04
 
Hi, i hope this email gets to Mr. Carson somehow. I am a student at The Art Institute of Portland OR, well im going to be graduating the 17th of December. i just wanted to tell you how much i enjoy your books, the only thing that really keeps me moving along is seeing how much different and creative someone is besides what the system wants designers to be. My graduating class is having a portfolio show and everyones book looks pretty much the same, all but mine. in a way i am kinda scared because my stuff is so much different, but in a way i know its better that my work doesnt look like everyone else’s. Thank you, through your books for having a direct influence on what i do and how i look at design, unlikely i would even be this far if it wasnt for them. i am enjoying your new book, keep up the good work.
-Carlos
 
 
Jul.23 04
 
“No one can get me to sit down and thumb through a 450+ page scrapbook except the grandmaster of Graphic Design himself, David Carson. Page after page DC’s Trek creates a sense of newborn wonder”
Jason Brooks – BPM magazine issue 55
 
 
june.14 04
 
david
Just saw you’re new book ( TREK )! Man, soooooooo nice… again!
 
You’re the best! Live long!
Good Day…
;) mike
 
 
june.14 04
 
Hey David, it’s Kent . I met you when you were speaking at the Art Institute of Pittsburgh, in 2002. I’m absolutely estatic about the release of Trek! Your beautiful work in a deconstructive manner shows that the world, and all in it isn’t perfect. Yet somehow when I view your art it seems to make a bit more sense. So glad to see the overwhelming amount of new stuff to look at and perhaps print has not yet reached its
 
 
june.10 04
 
hello mr. carson. you may be wondering a bit about my email address (the whole @us.army.mil thing). well, i am in the army, and am an aspiring graphic designer. you might think the two contradict each other, and perhaps they do, but it is all a part of my trek (seriously, no pun intended!). my eyes were opened to this amazing field of vision and imagination when i attended the california state summer school for the arts, csssa, at cal arts in valencia, ca. i had origionally signed up to major in painting during the month-long session, but realized that it probably was not the best of choices for me. at teh time i was unsure of what i wanted to do with my creativity even though i knew then that i wanted to be an artist. i attempted to get into an animation class but could not based on registration and portpholio requirements, so teh next best choice for me was digital media arts. i will admit i was a tad reluctant at first, but oh, how i fell in love the first day. that one month i spent glued to the computer as if it were my life line.
it was truely a liberasting experience. it was only after i left csssa that i realized i was interested in graphic design all along when i returned to my room at home a saw all the magazine spreads tacked to my walls, teh stacks of cd jewel cases, and teh misc postcards, promos, etc. after csssa, however, i had a lack of inpiration, until i found one of your books. my first book on graphic design htat i bought was 2nd sight. i saw both theendofprint and 2ndsight, but for whatever reason i chose the later. reading about how your art was fed by your intuition really sent me into a designing frenzy since then. i currently own (and have read) theendofprint, 2ndsight, fotografiks, and trek.
it is very dificult trying ot express myself as an artist while serving in the military, but i am managing. my sketchbooks are becoming large bodies of works in themselves. i can’t seem to stop drawing, printing and thinking about design. i suppose that what i am trying ot say amongst all of this blah, blah, blah and stuff is thank you. thank you for inderectly providing me with teh artistic direction, guidance, and inspiration that i have been craving. i most anxiously look forward to getting out of the military after my tour and attneding school for design before, after, of while my wife attends for fine art. it is in my blood, my heart and my soul. it is one of my many ways of life. it is how i choose to view the world. again, much thanks for making me think. if you have the chance please write back, if not, that’s cool too. take care.
andrew
 
 
june.5 04
 
Mr Carson,
 
I was recently given trek as a gift for being a great mother and an incidental grafiste. Thank you!
I LOVE it!
I saw you a few years back in Sydney, Australia, and you inspired me then; with trek I can dream, learn and enjoy the seemingly limitless possibilities of design in the comfort of my own home…
This email sounds really pretty corny, but I really wanted to let you know how much of an inspiration your work is.
Okay, over and out for now,
Be good and enjoy the surf.
 
caro (Australia)
 
 
feb.24 04
 
hi david i toke the book today(!) from my country (gr)
i was ready to buy it from amazon… but the book came here at the right time!
 
anyway… this book… how can i say… bring me back to a new inspiration..
to change the thinks in my work.. in my life… to change the way to do the most thinks…
to put some ideas in right way… the right claim for this book is ‘free your mind’ !
 
thanks for all,
Kostis
 
 
feb.12 04
 
jack babiloni
David Carson made history in magazines and many people can’t stand envy, especially bad (conventional) designers.
 
DC was and IS the king of typographers and I thank him because he made bad writers to look masters and when I see his work I feel alive, tense and emotionally touched.
 
Nothing in world graphic design (except my work and Jennifer Sterling’s) seems to be as alive as his.
 
Thank you for reinvent the beauty, Mr Carson!

feb.5 04
 
Mr. Carson,
Judging from the number of letters and e-mails I saw printed in your latest book, I assume you get quite a few letters like this. Regardless, I still wanted to write you to tell you what an inspiration your work has been. When it was first hinted at that you would be doing the graphic design for Nine Inch Nails’ album The Fragile, I looked you up online and ended up purchasing your book as soon as humanly possible. I loved what I saw then, and I continue to love your work. It’s easy to forget that our world is simply made up of intricate shapes and colors, and your work emphasizes the simplicity AND the intricacy of this concept. It makes you think, and thrills the senses all at once. Thank you for the work you do, and here’s to many more years of Fotographics!
–
Chris Brightly
 
 
feb.5 04
 
David, or whoever will read this. You are the inspiration ITEM for my work. I am a graphic designer, and your work was the subject of my Masters degree. 3 years are past since I finished my studies, and I still remember almost every word of your books, article, etc. Thank you for changing my visual point of view.
 
Yiannis Hadjipanayis
GraFik Designer – VISual Communicator
 
 
the first Email/review of trek.
 
“Grande Carson! this is the book we were waiting for!
it deserves a special place in our studio’s library
 
thanx
 
alex
art force thesign
italia”
 
 
hi david_
just dropped by @ artazart_paris for a copy of trek.
love it
dreamed through some of the speads last night (!!!)
which means that it goes way down deep. bravo.
 
 
TREK is great, its the best ive ever seen as a design-book. and, it is art, art because you made it to a personal book. i feel more respect then ever for you, because you brought your live to a closer look. beginning with lots of pics about the surf and about your son and daughter,they are really sweet, because of the arriving of the kitchen to tortola… the small things that matters. sorry, my english is to bad to put it in right words what your life-work means to me…
 
and i also see in the book some sadness, some hard times you must have been going through…and it reflects some pages, for me…but its art so its just my interpretation…
 
i truly love the book, respect you more then ever… and hope to meet you one day for at least a cup of coffee.
 
sven


The first Probes review on Amazon.

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The first Probes review on Amazon.
5 stars on amazon
 
“a beautiful, insightful book for the post-literate era, December 5, 2003
High praise to Gingko Press for such a beautiful book in both construction
and graphics, a retrieval and development on the original Quentin Fiore
collaborations of the sixties. And this is no ordinary book of quotations,
organized by topic or chronology. Each quote indeed acts as a probe for the
reader, and of the reader; and collectively each of the hundreds of isolated
insights echo and haunt the others. The effect is similar to the famous
Monday night seminars; close the book and you are not quite sure what you’ve
learned, but walk around and the way you see the culture has been changed.
For the literati, there is an introduction and an important essay by W. T.
Gordon describing McLuhan’s debt to de Saussure’s linquistics. But this is
not a book for the scholars and their after-the-crime-has-been-committed
analysis. This is a book for the streets, not the ivory tower, for the poets
and novelists, the misfits and malcontents of the digital consensus. It’s a
good review for those familar with McLuhan, and should be a fine
introduction to a new generation of independent media scholars.


branding

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archive: review-branding:


From my hotel room in Frankfurt.

 
Right side remainds me of Rothko a bit (1999). Digital print from 35mm photograph on archival paper by David Carson
 
Branding Carson.What do you do next when you’re one of the world’s most famous graphic designers? Teal Triggs looks at David Carson’s transformation from designer to digital artist.
 
from”Graphics International” Issue 88, 2001
 
The name of David Carson became synonymous with what was considered to be cutting-edge graphic design in the early1990s. His unmistakable ‘experimental’ editorial design work for lifestyle and music magazines such as Surfer, Transworld Skateboarding, Beach Culture, Blue and Ray Gun gained him worldwide acclaim, as did his television commercials for global corporations such as Nike, Pepsi and Microsoft. At the pinnacle of his popularity, Carson’s trademarks became a cold bottle of beer, a long queue of adoring fans (male and female) and a felt-tip marker, which heused for autographing anything from T-shirts to books. This was the graphic-designer-as-rock-star, living an itinerant life of wall-to-wall airport lounges, luxury hotel rooms and limousines-before Carson, only British designer Neville Brody had come close to occupying such a rarefied position. When Brody met Carson in 1994 for Creative Review’s now famous Face to Face interview and remarked that for him, Carson’s work represented the ‘end of print’, the challenge was set. As the 1990s played out, Carson took ‘the end of print’ as his mantra, using it as the title for one of the most successful design books of all time and, in its wake, becoming the focus of numerous heated typo/graphic debates. But what else could be expected from someone whose work teeters precariously between the usually well-defined bound-aries of art and graphic design?
 
Some six years after The End of Print was first published, David Carson is still managing to maintain his controversial position.While he is no stranger to exhibiting in museums abroad, appearing as part of a group show held in a commercially led fine-art gallery is somewhat different. The venue is the Marlborough Fine Art Gallery, located in one of London’s more expensive shopping districts. The show is titled “CD:1,Contemporary Dialogue: 1″, and features the work of six recent fine-art graduates from the RCA and Goldsmith’s. These are painters and sculptors who, the gallery proclaims, “eschew the current trend towards video and installation.” Equally, the gallery sees David Carson’s inclusion in this show as breaking from the norm, as he is neither British norart-college trained. However, he does represent the gallery’s continued interest in promoting graphic art-a tradition that began in the 1950s. At the same time, despite being a household name in graphic design, David Carson is virtually unknown withhim the contemporary British art world.
 
Nicola Togneri, who represents Marlborough Fine Art, comments that showing the work of graphic designers in an art gallery has recently become much more acceptable. She explains: “The subject matter of much of David’s work appeals to a younger audience. He is really very much about the ‘now’” Although he still commands a tremendous amount of respect from his fellow designers, it is debatable whether Carson’s work would be considered by them to be anything remotely resembling ‘cutting-edge’. By including him among these up-and-coming British artists, the gallery hopes to introduce Carson to a new audience of art aficionados. In so doing, it hopes to prompt some sort of dialogue about exactly what is happening “now”-be it in the discipline of fine art or graphic design.
 
In either case, the work on show suggests that Carson is far from rejecting the roots of his early experimental design work. Here, in a series of letter press prints, overprited posters, press proofs and photographic prints, Carson’s interest in the process of making and collecting are still very much in evidence. Visually, this work is not so very different from the early image-making he did for Ray Gun-the collages constructed out of elements of found paper, printed graphic ephemera or blurred photographs that highlight the graphic minutiae of the street. Immaculee Conception (2001), for example, is both a found poster as well as an experimental surface for Carson’s overprinting of red-inked typographic forms. One of the more interesting pieces in the show, the screenprint plays upon what might be read as a provocative juxtaposition of David Carson’s name with an engraving of a French mid-19th century Madonna, enshrined by plump cherubs.
 
The majority of the work on show is not really new, either in terms or its content or direction. For example, some of the photographs have already been published in Carson’s book Fotografiks, including From my Hotel, Frankfult. Right Side reminds me of Rothko, a bit. (1999), Lights (1999) and New York Subway. On the Way to Coney Island (1999). The subject of the letterpress work is also familiar. Forming a sort of typographic variation on a theme, David Carson’s name appears repeatedly as a visual element on psters advertising workshops such as those held at the Ecole Cantonaled’Art de Lausanne, Switzerland. Likewise, the recycling of letterforms continues in his more recent experimental letterpress work. Carson suggests that this was a matter of convenience: “The type just happened to be around.” Although the text was familiar, the design process involved in these overprinted pieces on found paper was not. Carson explains: “I spent time in Barcelona doing lithographic work on these big stone pieces, where you literally got up there, put the paint on and did the whole thing. I’ve come late to this process, but I found it fascinating. I wouldn’t say this is the new work. The new work is the old work, in a sense. It’s discovering a new technique, and it’s moving into fine art.”
 
What is missing, in this ‘new’ old work, however, is the crucial context of the printed page. While a well-established commercial gallery space does offer a new place for it to be viewed, Carson’s narrative structure is subsequently reduced to a selection of single, framed, limited-edition images. Now they appear as isolated moments that say more about Carson and his process of working (and his travels) than they do about the substance of his experience. This may be no bad thing, especially as the formality of the images’ composition and their colour still resonate. But is this enough to warrant placing them on a gallery wall? What has always been successful about Carson’s work as a graphic designer is his ability to integrate image and text in an interesting, if not questionable, fashion. Philip Meggs writes in Fotografiks: “Designers see the page, not the photograph, as the locus of their creative enterprise David Carson formed attitudes about this visual/verbal interface and its potential for expression.” In many ways, for Carson to remove the photograph from its basic context further problematises the work.
 
Which brings us back to the designer as artist, or in this case the artist as designer. Intuition still forms the basis for much of Carson’s image-making. Upon reflection, Carson notes: “The early magazine work was very subjective, reacting to something I had just read, music I listened to, or people I met. Now I am just interpreting that and hopefully reinforcing it’s Ideally, someone would buy my work because it ‘spoke’ to them in some way.” However, Carson is quick to point out that unlike graphic designers, fine artists are not continually asked to justify their work: “People complain that ‘there is no real concept’ or say that ‘it just falls together’. In certain places maybe that is okay, but I think this is where fine artists can pull it off.”
 
In keeping with the conventions of fine-art practice, every print and photograph in the gallery is signed. And, in combination with the repeated use of his name in the works themselves, there is little doubt that this is a branding exercise. Togneri admits: “We are working with a brand identity here. It is high quality, but it is a new brand.” Well, for the art world, maybe. In the age of Naomi Klein’s No Logo, and an ever-increasing publicscepticism towards brands, Carson is a risky prospect. He knows he hasn’t made it quite yet as an ‘artist’ and is finding the lack of feedback disturbing. This was evident on the night of the Gallery’s private view, where Carson remarked: “It is strange to be so anonymous.”
 
So it is no surprise, then, when Carson eventually returns to the subject of his commercial work. His latest project is The Book of Probes, which is a collection of aphorisms and excerpts from of aphorisms and excerpts from Marshall Mcluhan’s own illustrious, albeit controversial career. Carson is the art director and designer on the project and shares a cover credit. He describes the opening sequence: “The book starts out with a big long section of nothing but photographs I’ve taken of cactuses in the desert.” Is this ‘the book as art gallery’?
 
Carson is clearly a Mcluhan fan and is keen to promote this 672-page achievement, which skilfully combines his love of the photographic image and penchant for typographic experimentation. Carson points out that Probes is about introducing McLuhan to a whole new generation of readers in an accessible way. “The book will give some intriguing quotes that look interesting visually For fans who have had some difficulty in reading McLuhan from cover to cover, we’ve created a primer, a teaser of some different thoughts.” The sources of the quotations are listed at the back for those who want to find out more. The book is classic Carson: the dialogue moves seamlessly between designer, author and reader.
 
Exactly what the Marlborough Fine Art Gallery intends the ‘contemporary dialogue’ with Carson to be, is up for grabs. Those who read the design press won’t easily forget the David Carson who has been at the centre of numerous graphic authorship debates. Is Carson attempting to legitimise his seemingly art-based design practice by moving into a gallery context? Or is this merely the next logical step in his brilliant career?
He has already been part of a group of radical designers who unwittingly began to define a visual landscape for the consumer-based youth culture in the 1990s. Is he trying to do the same in the art world of the 21st century?
 


Spreads from The Book of Probes