MCA Freedom Principle Exhibition poster designed in collaboration with Masato Nakada, under the directorship of Dylan Fracereta. The Exhibition, The Freedom Principle: Experiments in Art and Music, 1965 to Now links the vibrant legacy of the 1960s African American avant-garde to current art and culture.
Right-side: 1-color on blue Astrobright stock, 18” x 24”
Art Center Graduate Center for Critical Practice Fall Events 2014 poster designed in collaboration with Jennifer Rider and Megan Lynch.
This volume of the publication is about the metaphorical door.
The content is collage work about earth and time made into a book. It takes on another life for the Coco show at Human Resources in Chinatown. The collage book becomes performative as I turn each page for a video projection. Original test was final work. The vimeo is a mash-up of one of my collage books from the original test.
A quotation surfaced during the process and I used it as a prompt… “Love consists in this, that two solitudes protect and touch and greet each other.” — Rainer Maria Rilke
The original video was art directed and produced by Laura Bernstein, Ania Diakoff, Kate Johnston and Julie Moon. Additional edits made by myself.
Images of the catalog printed on the occasion of the exhibition, Confetti Confidential, printed at Paperchase Press / Los Angeles. Typeset in Heimat Sans and Hinterhaus.
Thank you to Sarah Gottesdiener, Skunkworks, Edens Herbals, Studiomoto, Infoshop LA, Nicole Katz & Mathew Swenson, and all of our collage guests, including Eileen Hsu, Thea Lorentzen, David Karwan and John Weiss.
Confetti Confidential is an exhibition about the bonds generated and strengthened through shared moments of creation. The exhibition showcased the varied work of five friends who met in design school and hold a weekly collage evening. Through the process of cooking, eating, discussing and making, they have created a body of work that represents friendship and intimacy, as well as a dedication to personal expression, material exploration, and artistic discovery. We invited those to join as we celebrated and contemplated the unfolding of these poetic evenings.
Confetti Confidential is work by Laura Bernstein, Lucy Cook, Ania Diakoff, Kate Johnston and Julie Moon.
The exhibition opened April 1, 2014 at Human Resources in Chinatown, Los Angeles.
April 5th from 7-9 pm included a party with food and drinks by Eden's Herbals
April 8th from 8-10 pm included a Closing evening of collage-making, open to the public
A three-color screenprinted poster commemorating Machine Project's Open Field Winter & Summer residency at Walker Art Center in Minneapolis.
MCA Freedom Principle Exhibition poster designed in collaboration with Masato Nakada, under the directorship of Dylan Fracereta. The Exhibition, The Freedom Principle: Experiments in Art and Music, 1965 to Now links the vibrant legacy of the 1960s African American avant-garde to current art and culture.
1-color, 18” x 24”
Collage submissions for Kate Johnston’s PANTS : Concerning bifurcated garments, etc.
A risograph printed poster edition to be included in a set of 12, using the typeface, Wonk designed by David Karwan. The posters were exhibited in All Possible Futures, a design exhibition curated by Bay area designer and educator Jon Sueda, exploring speculative work created by contemporary designers (Jan 14 — Feb 13, 2014).
Ephemera for a design show, Letter by Letter. The 2-color risograph printed covers are secured by multi-colored rubberbands. Students from my visual language system’s class at Chaffey College come together for a letter project with USC’s typography class.
Kevin Stadler and I worked together on the Letter by Letter show under the directorship of Mitchell Syrop and Haven Lin-Kirk.
A poster mailer for the CalArts Experimental Sound Practices program, under the directorship of Scott Taylor.
Full-color on Newsprint, 11" x 22.5"
A two-color screenprinted poster for visual artist, Kamau Patton's Composition for Photoelectric Array and Ambient Light for Machine Project's residency at Walker Art Center. Designed in collaboration with Jennifer Rider.
When technologies are evolving and the apathy, negligence, misuse, and lost passion of photography exists, how can a revival of photography take place in contemporary graphic design?
This project is a response to a kind devaluation of photography in design; the form created through the analysis of examining historical and contemporary photographers and art directors.
'I Have Returned to Find This (For the Future): A Graphic Designer Rethinks Photography,' is critical to this thesis because it explores how generated photographic imagery can exist and be appropriated within the container of the page, and coincide with graphical elements. For the body of work suspended in this medium, the designer has switched from the role of form maker to the role of art director, making decisions with the use of photography in a graphical voice.
This collection of work is a model for generating and remixing. It surrounds a practice of thinking regarding the frame and the container, pieces of ubiquity and isolating the obscure, organic elements, the geometric, and the dichotomies of controlling and letting go. What sustains my interest is being able to isolate or abstract the most beautifully nuanced and obscure properties of the photographic object, (as in kinds of materiality, lighting conditions, color studies, etc.) Through 100 explorations, poetic visualizations of nature and traces of Los Angeles surface. Among layers of conscious and unconscious decisions, what has been generated, connotes a type of poetic response to what it means to be in a moment and to come to certain acceptances of time.
One of two bluelines with a one-color screen for photographer, Arthur Ou, of the CalArts Visiting Artist Series, designed in collaboration with designer, Megan Lynch. We shot photographs of concrete fence and rail patterns of Los Angeles neighborhoods. We were interested in how Arthur Ou used mundane subjects combined with chemical processes to disrupt and redirect the viewer's eye; his philosophy being, "to preserve, to elevate, to cancel", addressing the legacy of modernist art and photography's predominant role in visual culture.
A 3-color screen printed edition for the CalArts Theater production, The Bitter Tears of Petra Von Kant, in collaboration with designer Megan Lynch. The design was influenced by the production's costume design samples as well as the production set design, inspired by fashion designer, Florence Broadhurst.
A blueline for the performance of the complete collection of solo violin works by Andrew Tholl.
The Paul Branch Visiting Artist Series screen-printed editions for photographer, Uta Barth. The intention was to experiment with using the artist's photographic forms by visualizing space and illuminating qualities. The overprinting achieves the artist's interest in experimenting with a depth of field, focus, and framing to take photographs that are suggestive rather than descriptive. Both the poster design and artist's intention services the idea of testing memory, intellect, and habitual responses to an interior landscape.
I generated photogram characters in the CalArts darkroom for use in a poster design about Wabi Sabi philosophy.
This publication is a redesign of the original, 'Julius Schulman: Palm Springs'. Design decisions were influenced by Schulman's photography, mid-century architecture and desert color conditions.
This historical publication parallels the lives and work of Karel Martens & Theo Van Doesburg. Theo Van Doesburg experiments with new technologies and processes for his practice while Karel Martens looks at old technology for a new practice.
Hi! I'm an Los Angeles-based designer and educator.
(323)547-1982
I can be contacted at: lucy_cook@sbcglobal.net.