Ray of Light

Each term, I curate and install the ArtCenter Graphics Gallery. It's exciting to see the breadth of work produced, and get a sense of the tone of the department. A couple of terms ago, as I was waiting for a batch of posters to arrive, I wandered into the Alyce de Roulet Williamson Gallery, which is behind the student gallery. The exhibition was Ray Eames: In the Spotlight. Now this is a case of discovering something wonderful in your own backyard. I've walked by the gallery several times a week, but was always too busy to stop. Boy, that was dumb.

When I finally stepped in, I was shocked to find the best exhibition I've seen in years. After multiple visits to the great museums of Europe and New York, this was the one collection that inspired me the most. The exhibition highlights Ray's work, not just more Eames LCW chairs. It contains the incredible collections in her drawers, the rack of slide carrousels, her early artwork, even her own incredibly tailored dresses. The density of visual ephemera is remarkable. This isn't an exhibition for minimalists. But there is a rigor and tightness to the chaos, and an unrelenting sense of optimism. Even the Computer House of Cards talks about the beginnings of things and the possibilities of technology.

Of course, I wanted to buy many of the items, but since it was a gallery exhibition, they said no. That seems very unfair.

Sean Adams

Sean Adams is the Chair of the undergraduate and graduate Graphic Design Program at ArtCenter, founder of Burning Settlers Cabin studio, and on-screen author for LinkedIn Learning/Lynda.com He is the only two term AIGA national president in AIGA’s 100 year history. In 2014, Adams was awarded the AIGA Medal, the highest honor in the profession. He is an AIGA Fellow, and Aspen Design Fellow. He has been recognized by every major competition and publication including; How, Print, Step, Communication Arts, Graphis, AIGA, The Type Directors Club, The British Art Director’s Club, and the Art Director’s Club. Adams has been exhibited often, including a solo exhibition at The San Francisco Museum of Modern Art.

Adams is an author of multiple magazine columns, and several best-selling books. He has been cited as one of the forty most important people shaping design internationally, and one of the top ten influential designers in the United States. Previously, Adams was a founding partner at AdamsMorioka, whose clients included The Academy of Motion Picture Arts and Sciences, Disney, Mohawk Fine Papers, The Metropolitan Opera, Los Angeles County Museum of Natural History, Richard Meier & Partners, Sundance, and the University of Southern California.

Surprised by Joy

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Each term, I pull the Art Center Graphics Gallery together. It's exciting to see the breadth of work produced, and get a sense of the tone of the department. At the end of the Spring term as I was waiting for a batch of posters to arrive, I wandered into the Alyce de Roulet Williamson Gallery, which is behind the student gallery. The current exhibition is Ray Eames: In the Spotlight. Now this is a case of discovering something wonderful in your own backyard. I've walked by the gallery several times a week, but was always too busy to stop. Boy, that was dumb.

When I finally stepped in, I was shocked to find the best exhibition I've seen in years. After multiple visits to the great museums of Europe and New York, this was the one collection that inspired me the most. The exhibition highlights Ray's work, not just more Eames LCW chairs. It contains the incredible collections in her drawers, the rack of slide carrousels, her early artwork, even her own incredibly tailored dresses. The density of visual ephemera is remarkable. This isn't an exhibition for minimalists. But there is a rigor and tightness to the chaos, and an unrelenting sense of optimism. Even the Computer House of Cards talks about the beginnings of things and the possibilities of technology.

Of course, I wanted to buy many of the items, but since it was a gallery exhibition, they said no.

Liberty and Freedom in Grids

I like odd grids. How’s that for a catchy opening at a cocktail party? Probably not too good. Nevertheless, complicated and unexpected grids are wonderful. One of my favorite examples is the structure for the book, The World of Franklin and Jefferson, created for the exhibition of the same name. United States Information Agency and the American Revolution Bicentennial Administration proposed the exhibition with funding from IBM. The exhibit toured New York, Paris, Warsaw, London, Mexico City, Chicago, and Los Angeles and was one of the last major works completed by the Eames Office. The accompanying book’s structure is, let’s be honest, bizarre. There are almost no margins. The italic captions have their own column in the center of the page. The images seem to invade the text like wild animals. Clearly, there is a structure under here I do not understand. But I love it. It’s a world of wackadoodle grids. Now, that’s a good title for a new design book.