On Fame and Work
Tuesday, June 19th, 2012
Matthew Leibowitz, General Dynamics, 1965
Noreen just took on the job of AIGA Los Angeles president for the second time. She served as president over a decade ago, and decided it was time to step back into the role. Of course, there were people who immediately claimed she was doing this for the fame and glory. And to those people I say, “(insert extremely offensive swearing here.)” If any glory is to be had, that happened on the first go-around. The second term is risk. She could just walk away and be remembered as a great president from the past.
As for fame, I don’t understand why anyone would put him or herself through that much work and stress for something so transitory. Over the years, we’ve been called media whores, PR hounds, and the Paris Hiltons of design. I prefer to think of us as the Donny and Marie of design, and just keep trying to make good work.
This is what I think about fame and design: famous designers are like famous dentists. There are famous dentists. I don’t know them. After all, we are designers, not George Clooney. Contrary to common thought, being famous does not translate into people handing you checks or offering sex (well, for some it does).
A couple of years ago at the Academy Awards, we sprinted along the red carpet to reach the Kodak Theater. It’s scary. There are lots of people yelling in the stands and lots of press taking photos. Normal people run from this. Actors wave to the crowd and encourage them, soaking up as much attention as possible. This wasn’t simply, “I love my fans.” It was a extreme version of “LOVE ME PLEASE!” I know designers can be needy, but not like that.
What’s important, the only thing that matters in the end is the work. Matthew Leibowitz is not one of the names design students regularly reference. There are no monographs or critical essays on his work. But, today, almost 40 years after he died, I still show his work as examples of great design. He pulled together a range of forms from minimal geometry to Victorian etching. There is a sense of Dada and Surrealism in his work. It always manages to walk that fine line of European modernism and American eclecticism.
I don’t know what Leibowitz thought about design celebrity. If he was applauded when he entered a room or ignored isn’t relevant. What is left is a remarkable body of inspiring work.
If you’d like to know more about Matthew Leibowitz visit some of these fine websites:
http://www.uartsgd.com/GD40/Leibowitz/MatthewLeibowitz.html
http://aqua-velvet.com/2010/09/matthew-liebowitz-general-dynamics-1965/
http://www.thisisdisplay.org/features/matthew_leibowitz_visual_translator/
http://library.rit.edu/gda/designer/matthew-leibowitz
- Matthew Leibowitz, 1944
Matthew Leibowitz, album cover
Matthew Leibowitz, paper promotion, 1968
Matthew Leibowitz, brochure cover, 1940s
Matthew Leibowitz, General Dynamics, 1965
Matthew Leibowitz, album cover, 1958
Matthew Leibowitz, General Dynamics, 1965
Matthew Leibowitz, Fortune magazine cover, 1947
Matthew Leibowitz, Philco book cover
Matthew Leibowitz, Philco book spread
Matthew Leibowitz, album cover, 1958
Donny and Marie Osmond
