April Greiman

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April Greiman
April Greiman Portrait 2024.jpg
April Greiman (2024)
Born (1948-03-22) March 22, 1948 (age 76)
NationalityAmerican
OccupationDesigner
Known forOne of the first designers to embrace computer technology as a design tool
Notable workDesign Quarterly #133: Does it Make Sense?, Pompidou, MOMA, LACMA, SFMOMA, 1986
Website aprilgreiman.com madeinspace.la

April Greiman (born March 22, 1948) is an American designer widely recognized as one of the first designers to embrace computer technology as a design tool. Greiman is also credited, along with early collaborator Jayme Odgers, with helping to import the European New Wave design style to the US during the late 70s and early 80s." [1] [2] According to design historian Steven Heller, “April Greiman was a bridge between the modern and postmodern, the analog and the digital.” “She is a pivotal proponent of the ‘new typography’ and new wave that defined late twentieth-century graphic design.” [3] Her art combines her Swiss design training with West Coast postmodernism. [4]

Contents

Greiman finds the title graphic designer too limiting and prefers to call herself a "transmedia artist". Her work has inspired designers to develop the computer as a tool of design and to be curious and exploratory in their design approach. Her process includes typelayering, where words and letters are sandwiched and layered, but also appear to float along with other 'objects in space' such as: color swatches, illustrations, lines, mapping, photographs, shapes, among other visual assets. She creates a sense of depth and dynamism, in particular, by combining graphic elements through making extensive use of Apple Macintosh technology. [4] Los Angeles Times called her graphic style "an experiment in creating hybrid imagery ." [5]

Early life and education

Born on March 22, 1948, metropolitan New York, April Greiman grew up in Wantagh, Long Island and later Woodcliff Lake, NJ. Her father was an early computer programmer, systems analyst at Lightolier where he introduced the first main-frame computer into Lightolier's business, and later, founder and president of The Ventura Institute of Technology. [6] Her mother, Renee, was a dancer and dance teacher in collaboration with the Fred Astaire Dance Studio. Her only sibling, Paul, became a meteorologist and specialist in climatic and atmospheric interplanetary modeling. [7]

From 1966-70 Greiman was an undergraduate at the Kansas City Art Institute, and studied graphic design, photography and ceramics. In 1970-71 Greiman continued her postgraduate studies at the Allgemeine Kunstgewerbeschule Basel, now known as the Basel School of Design (Schule für Gestaltung Basel) in Basel, Switzerland (1970–1971). As a student of Armin Hofmann and Wolfgang Weingart, and she was influenced by the International Style and by Weingarts' introduction to the style later known as New Wave, an aesthetic that moved away from a Modernist heritage. [8]

Career

During the 1970s, she rejected the belief, among many contemporary designers, that computers and digitalization would compromise the International Typographic Style; instead, she exploited emergent technologies and the Basic Chance Principle [9] as integral parts of digital art, a position she has held throughout her career.

After completing her postgraduate studies in Switzerland, Greiman moved to Philadelphia and became an Associate Professor at the Philadelphia College of Art, (now known as University of the Arts) [10] and worked as a freelance designer in Philadelphia and New York City. Utilizing her aesthetic that "...blends technology, science, word and image with color and space...". [11] [12] Greiman worked on projects with Emilio Ambasz, Curator of Design at the Museum of Modern Art.

In 1976 Greiman moved to Los Angeles, after a brief stint as a freelancer with a corporate design agency in Century City, and established the studio, April Greiman, Inc. [13] and became a leading figure of the emergent California New Wave.

Upon Greiman's relocation from New York City to Los Angeles, she met designer-photographer Jayme Odgers, who became a significant collaborator. In 1978 they designed a famous Cal Arts poster that became a seminal design of the California New Wave. [14] [15] They also collaborated on a poster design for the 1984 Los Angeles Olympics. In 1981 they created an iconic poster of running legs silhouetted against a square of bright blue sky that was published in 1982 in advance of the 1984 Olympics. [16]

In 1982, Greiman was appointed Director of the design department at the California Institute of the Arts, also known as Cal Arts. [17] In 1984, she lobbied successfully to change the department name to Visual Communications, as she felt the term “graphic design” would prove too limiting to future designers. At Cal Arts she had the opportunity to experiment with new technology where she had access to an analog computer, synthesizer and video equipment set up by the instructor and famed artist, Nam June Paik, and investigated in greater depth the effects of technology in her own work.

Greiman began acquiring her own equipment beginning with a first generation half-inch video camera. This led to working with the Quantel Paintbox. By observing this new and innovative equipment, Greiman applied this knowledge to early low-resolution tools, such as Amiga and Apple Inc. (formerly Apple Computer Inc.).

An early adopter of computer technology, as noted in Apple's Mac @ 30 video, [18] in February 1984 in Monterey, California, Greiman attended the first TED Conference, or Technology, Entertainment, and Design conference that featured several notable speakers including demos of the compact disc, co-developed by Philips and Sony, and one of the first demonstrations of the Apple Macintosh computer by Alan Kay which inspired her to acquire her first computer, the Macintosh computer. [19] [20]

In 1986, Greiman was invited by The Walker Art Center to produce Issue 133 of Design Quarterly entitled: Does It Make Sense? [21] [22] The edition was edited by Mildred Friedman and published by the MIT Press & Walker Art Center. Using MacVision, a combination hardware/software interface to digitize still frames from a video camera or VCR, [23] Greiman re-imagined the magazine as a fold-out artwork. The nearly three-by-six foot print carefully unfolds three times across and nine times down revealing a life-sized image of Greiman's outstretched naked body adorned with symbolic images and text. Does It Make Sense? was a provocative gesture, which "emphatically countered the objective, rational and masculine tendencies of modernist design," Greiman has said about the artwork's unusual format and title, "the sense it has for me is that it’s new and yet old,… it’s a magazine, which is an artwork, which is an object, which is… crazy.” Does It Make sense? also launched the Walker Art Center's new Everyday Art Gallery [24] and part of many institution and museum collections. [25]

In 1988 in MacWorld's [26] [ circular reference ] First Annual Mac Masters Art Competition, Greiman was awarded Fine Arts First Prize (A) for her Pacific Wave Sculpture, [27] a project produced for the Fortuny Museum in Venice, Italy, for the museum's Pacific Wave Festival, an exhibition celebrating California graphic designers September 27 – December 27, 1987. [28] : 39  Greiman also designed the official poster, Pacific Wave, [29] for the festival, now in several museum collections [30] including LACMA, [31] and featured in The Getty's marketing for 2024 PST ART: Art & Science Collide, an initiative with arts institutions across Southern California. [32]

In 1995, the US Postal Service issued a 32-cent Women's Suffrage commemorative stamp designed by Greiman to commemorate the Nineteenth Amendment to the United States Constitution (Women's Voting Rights). [33] The stamp went on sale nationwide on August 28,1995. The stamp was printed by Ashton-Potter USA, Ltd. (established in 1925 in Canada by the Ashton and Potter families) in the offset printing / intaglio (printmaking) process and is included in the collection of the National Postal Museum of the Smithsonian Institution. [34]

In 1997, Greiman and her husband, architect Michael Rotondi, purchased Miracle Manor, a 1940's motel in the Desert Hot Springs on top of Miracle Hill, with naturally hot and cold mineral springs discovered over 100 years ago. Innovatively restored and turned it into a retreat showcased their three-dimensional design as an oasis of the spirit with "pool and buildings with a purity equal to the desert's." [35] Celebrating the subtle forms and textures of the desert, sky, and waters. [36]

In 2005, Greiman established her current Los Angeles-based design consultancy Made In Space. [13]

Notable projects listed below.

Teaching

In 1982, Greiman became the Director of the Visual Communications Program of the California Institute of the Arts’ design department. [37] In 1992, she was adjunct faculty at the Southern California Institute of Architecture until 2009 when she moved on to the Woodbury University School of Architecture until 2018.[ citation needed ] In Spring 2020, Greiman became a tenured professor of design at the University of Southern California Roski School of Art and Design. [38]

With four honorary doctorates, April Greiman is seen as one of the "ultimate risktakers" for her unorthodox and progressive approach to design by embracing new technologies. [39]

Honors and Awards

Notable Works and Accomplishments

Greiman in collaboration with RoTo Architects on BBAC, an aquatic sports community center with Made In Space's project scope of public art, signage, and wayfinding. Bbac2.jpg
Greiman in collaboration with RoTo Architects on BBAC, an aquatic sports community center with Made In Space's project scope of public art, signage, and wayfinding.

Collections

Collections of the Cooper Hewitt Design Museum, Museum of Modern Art (MOMA), San Francisco Museum of Modern Art (SFMOMA), Los Angeles County Museum of Art (LACMA) and Centre Pompidou

Monographs

Keynote Speeches

Professional Societies and Positions

Solo Exhibitions

Exhibition view of Greiman's solo exhibition Drive-by Shooting: April Greiman Digital Photography at the Pasadena Museum of California Art, 2006. Drive-byshooting.jpg
Exhibition view of Greiman's solo exhibition Drive-by Shooting: April Greiman Digital Photography at the Pasadena Museum of California Art, 2006.

In 2006, the Pasadena Museum of California Art mounted a one-woman show of her digital photography entitled: Drive-by Shooting: April Greiman Digital Photography. [53] Greiman was also in the major group show at Centre Georges Pompidou in Paris called Elle@Centre Pompidou. [54] In 2007, Greiman completed her largest ever work: a public mural, Hand Holding a Bowl of Rice, spanning "seven stories of two building facades marking the entrance to the Wilshire Vermont Metro Station in Los Angeles." [55] In 2014, Greiman collaborated with the London based artist-run organization Auto Italia South East along with a group of artists including Metahaven, in an exhibition POLYMYTH x Miss Information. The exhibition program was included in the external listings for Frieze Art Fair. [56] In 2023 Greiman co-curated with Stacie B. London, and included her artwork in It's About Time, a multidisciplinary group art exhibition of 17 artists at The Brand Library & Art Center, September–November 2023. [57] [58]

Installation view from group exhibition Designing Modern Women 1890-1990, Museum of Modern Art, (MoMA), New York, NY, October 5, 2013 - October 19, 2014 Designing Modern Women April Greiman.jpg
Installation view from group exhibition Designing Modern Women 1890–1990, Museum of Modern Art, (MoMA), New York, NY, October 5, 2013 – October 19, 2014

Selected Group Exhibitions

Greiman designed the identity and stationery system for Coop Himmelb(l)au, a cooperative architectural design firm, known for their experimental, complex, and asymmetrical approach to architecture. Chbl construction vest.jpg
Greiman designed the identity and stationery system for Coop Himmelb(l)au, a cooperative architectural design firm, known for their experimental, complex, and asymmetrical approach to architecture.

Selected Clients

Does It Make Sense?, Greiman, known for her experimental use of media, photographic collage, and still video imagery, was commissioned to create Issue 133 of Design Quarterly, published by the Walker Art Center, 1986. DQ133.jpg
Does It Make Sense?, Greiman, known for her experimental use of media, photographic collage, and still video imagery, was commissioned to create Issue 133 of Design Quarterly, published by the Walker Art Center, 1986.

Posters

Billboard for the exhibition Graphic Design in America designed Greiman, who was also featured in the traveling exhibition, 1989. Graphic Design in America-billboard.jpg
Billboard for the exhibition Graphic Design in America designed Greiman, who was also featured in the traveling exhibition, 1989.

See also

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References

  1. ↑ "Biography, April Greiman". AIGA. American Association of Graphic Arts. Archived from the original on October 18, 2018. Retrieved October 18, 2018.
  2. ↑ Madley, Michelle. "ACAD presents prestigious international designer: April Greiman" (PDF). Alberta College of Art + Design, Calgary, Alberta. Archived from the original (PDF) on December 12, 2010.
  3. ↑ "The Masters Series: April Greiman". School of Visual Arts (SVA). Archived from the original on July 29, 2014. Retrieved June 28, 2018.
  4. 1 2 The Thames and Hudson encyclopaedia of 20th century design and designers. London: Thames and Hudson. 1993. pp.  96. ISBN   0500202699 . Retrieved June 28, 2018.
  5. ↑ "A Designing Woman with Radical Ideas : April Greiman Says Her Graphics Style is 'an Experiment in Creating "Hybrid Imagery" '". Los Angeles Times . October 9, 1988.
  6. ↑ Searles, Jack (April 19, 1994). "Institute of Technology Moves to Larger Quarters". The Los Angeles Times. Retrieved June 27, 2018.
  7. ↑ Greiman, Paul (1981). "A Martian General Circulation Experiment with Large Topography". Journal of the Atmospheric Sciences. 38. American Metrological Association: 3–29. Bibcode:1981JAtS...38....3P. doi: 10.1175/1520-0469(1981)038<0003:AMGCEW>2.0.CO;2 . ISSN   1520-0469.
  8. ↑ McCoy, Katherine (1990). "American Graphic Design Expression: The Evolution of American Typography". Design Quarterly (149): 3–22. doi:10.2307/4091231. JSTOR   4091231. Archived from the original on July 11, 2011. Retrieved March 11, 2011.
  9. ↑ "Chance versus Randomness > A. Some Basic Principles About Chance (Stanford Encyclopedia of Philosophy)".
  10. ↑ https://www.uarts.edu/ [ bare URL ]
  11. ↑ Flask, Dominic. "April Greiman : Design Is History". www.designishistory.com. Retrieved March 11, 2017.
  12. ↑ "Targeted News Service". February 13, 2013. ProQuest   1287348251.
  13. 1 2 "home". madeinspace. Retrieved December 15, 2021.
  14. ↑ Whiteson, Leon (October 9, 1988). "A Designing Woman With Radical Ideas April Greiman Says Her Graphics Style Is 'an Experiment in Creating "Hybrid Imagery"'". Los Angeles Times .
  15. ↑ "Cal Arts". 1978.
  16. ↑ "Poster for the 1984 Summer Olympic Games held in Los Angeles, California".
  17. ↑ Fiell, Charlotte; Peter Fiell (2003). Graphic design for the 21st century. Taschen. p. 244. ISBN   978-3-8228-1605-9.
  18. ↑ Apple - Mac 30 years of innovation , retrieved December 15, 2021
  19. ↑ "Design discussions: April Greiman on technology: Idsgn (A design blog)".
  20. ↑ "Medalists: April Greiman". American Institute of Graphic Arts. Archived from the original on January 2, 2011. Retrieved January 31, 2011.
  21. ↑ http://walkerquarterly.s3.amazonaws.com/DQ-133_April_Greiman.pdf [ bare URL PDF ]
  22. ↑ https://walkerart.org/magazine/design-quarterly-andrew-blauvelt [ bare URL ]
  23. ↑ "MacVision". November 26, 1984.
  24. ↑ "Minnesota by Design – Design Quarterly 133". March 21, 2015. Archived from the original on March 21, 2015. Retrieved December 18, 2023.
  25. ↑ https://www.moma.org/calendar/galleries/5668 [ bare URL ]
  26. ↑ Macworld
  27. ↑ https://vintageapple.org/macworld/pdf/MacWorld_8808_August_1988.pdf [ bare URL PDF ]
  28. 1 2 Greiman, April; Farrelly, Liz (1990). Hybrid Imagery. New York: Watson-Guptill. ISBN   0823025187.
  29. ↑ "Pacific Wave, Museo Fortuny". 1987.
  30. ↑ "April Greiman | Objects in Space | Cooper Hewitt, Smithsonian Design Museum". April 7, 2021.
  31. ↑ "Digital Witness: Revolutions in Design, Photography, and Film".
  32. ↑ "Digital Witness: Revolutions in Design, Photography, and Film".
  33. ↑ Farrelly, Liz (1998). April Greiman: floating ideas into time and space. Watson-Guptill. p. 61.
  34. ↑ "32c Woman Suffrage single".
  35. ↑ Giovannini, Joseph (July 9, 1998). "Design Notebook; Motel Makeover: No Room for Kitsch". The New York Times.
  36. ↑ "Miracle Manor Retreat". October 13, 2015.
  37. ↑ Artsy, Avishay (June 20, 2021). "California Continues to Rewrite the Rules of Design". Hyperallergic. Retrieved December 16, 2021.
  38. ↑ "April Greiman Roski Appointment | Roski School of Art and Design". roski.usc.edu. Retrieved December 16, 2021.
  39. ↑ Carter, Rob (1989). American Typography Today. New York: Van Nostrand Reinhold. p. 56. ISBN   0-442-22106-1.
  40. ↑ "3rd Annual Vesta Awards. Graphic designer, April Greiman, winner. :: Woman's Building". collections.otis.edu. Retrieved December 16, 2021.
  41. ↑ "April Greiman". aiga.org. America Institute of Graphic Arts. Archived from the original on June 27, 2018. Retrieved June 26, 2018.
  42. ↑ "Medalists: April Greiman". American Institute of Graphic Arts. Archived from the original on January 2, 2011. Retrieved January 31, 2011.
  43. 1 2 Ten Years—A Decade of Design—Chrysler Design Awards. Wilton, Connecticut: The Magazine Works, Inc. 2002. p. 98.
  44. ↑ "the Society of Typographic Arts". the Society of Typographic Arts. Archived from the original on December 15, 2021. Retrieved December 15, 2021.
  45. ↑ "STA Honors: April Greiman". Society of Typographic Arts. Retrieved June 26, 2018.
  46. 1 2 Greiman, April; Janigian, Aris (2001). Something from Nothing. East Sussex, UK: RotoVision SA. ISBN   2-88046-547-8.
  47. ↑ Rotondi, Michael; Reeve, Margaret; Greiman, April (1997). From the Center: Design Process at Sci-Arc. New York, New York: The Monacelli Press, Inc. ISBN   1-885254-34-2.
  48. ↑ NEA Annual Report 1987 (PDF). National Endowment for the Arts. 1987. p. 18. Retrieved June 27, 2018.
  49. ↑ Greiman, April (2021). WhiteSpace: April Greiman Photography. Los Angeles: April Greiman. ISBN   978-0-57-887250-6 . Retrieved March 5, 2022.
  50. ↑ Greiman, April (2006). Drive-by Shooting: April Greiman Digital Photography. Los Angeles: Pasadena Museum of California Art/April Greiman – Made in Space. ISBN   1-4243-1448-8 . Retrieved June 27, 2018.
  51. ↑ Farrelly, Liz; Greiman, April (January 1, 1998). April Greiman: floating ideas into time and space. New York: Watson-Guptill Publications. ISBN   0823012018. OCLC   40459397.
  52. ↑ Greiman, April; Poynor, Rick; Arc en rêve centre d'architecture (January 1, 1994). April Greiman: it'snotwhatyouthinkitis = cen'estpascequevouscroyez. Bordeaux; Zürich; New York, N.Y.: Arc en rêve centre d'architecture ; Artemis. ISBN   3760884172. OCLC   31347967.
  53. ↑ "Pasadena Museum of California Art in Los Angeles Past Exhibitions". Archived from the original on February 25, 2011.
  54. ↑ "elles@centrepompidou women artists in the collections of the National Modern Art Museum". Archived from the original on March 15, 2011. Retrieved March 11, 2011.
  55. ↑ "AGI : Members : Greiman". Archived from the original on September 28, 2011. Retrieved March 28, 2011.
  56. ↑ Kay, Jean (November 20, 2014). "An overview of Frieze 2014 on the fringe". AQNB. Retrieved October 11, 2016.
  57. ↑ "It's About Time". July 6, 2023.
  58. ↑ "Brand Art Center's 'It's About Time' Catalogue".
  59. ↑ "Digital Witness: Revolutions in Design, Photography, and Film".
  60. ↑ https://www.moma.org/calendar/galleries/5668 [ bare URL ]
  61. ↑ "Brand Art Center's 'It's About Time' Catalogue".
  62. ↑ Rawsthorn, Alice (October 17, 2011). "With a Big Boost From Technology". The New York Times. ISSN   0362-4331 . Retrieved December 16, 2021.
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