Billboard with pegs attached which have different depths creates “animated” shadows as daylight changes.

http://thegoodlife.wwf.ca/Home.cfm

Stefan Sagmeister’s exhibition, Things I Have Learned In My Life So Far, opens at the Deitch Gallery on January 31, 2008 and will run through February 23, 2008.

“Things I Have Learned In My Life So Far, an interactive exhibition by Stefan Sagmeister, opens at Deitch Projects on January 31, 2008. The exhibition will include works that have a life of their own, transforming throughout the exhibition as viewers engage with them. Things I Have Learned In My Life So Far is timed to coincide with the release of a new book of the same title, which surveys Sagmeister’s illustrious career.”

via www.deitch.com

Kayrock Screenprinting, our old neighbors on Kent St., are collaborating with artists on a series of monthly hand-printed books.

Stefán Kjartansson has a new display face available called Black Slabbath. We had a chance to use a dub plate / cdr last summer on a poster and felt like it handled very well, getting the crowd at PS1 and agnes b. jumping. (thanks Israel)  It really is the heaviest typeface in the world and has razor thin lines cutting through geometric shapes. Nigel says to turn it up to 11 in adobe illustrator for best results.

Review by Brian Sholis

[...]By contrast, unremitting pain characterizes the pictures in Darfur: Twenty Years of War and Genocide in Sudan, edited by Leora Kahn for the nonprofit organization Proof: Media for Social Justice. The volume presents the work of eight acclaimed photojournalists and the beseeching testimony of aid agency workers, noted writers, and a handful of celebrities; proceeds from its sales will be donated to Amnesty International and the Genocide Intervention Network. If the chilly formalism of the North Korea pictures testifies to the Dear Leader’s control over his population and his country’s visitors, the presence of so many emaciated, fly-ridden bodies mere inches from the camera lenses indicates that whatever order once held in this arid African plateau has now irredeemably collapsed. Yet the photographic depiction of even the most lawless, unprecedented situation adheres to decades-old visual convention: a regular alternation of somber black-and-white and vividly colored pictures; a preponderance of children and the elderly; stark outlines of malnourished, brittle bodies graphically contrasted with sand and dirt; and long lines of displaced people stretching into the distance.[...] via pring mag.

Brian Sholis is an editor at Artforum and is the coeditor of The Uncertain States of America Reader (Sternberg Press, 2006).