Category Archives: Book

Everywhen: The Eternal Present in Indigenous Art from Australia


8 x 10.5 inches
228 pages
Typeset in Neutral
Printed on Arctic Volume White in Belgium by Die Keure
Designed with Steven Waldron, Adam Sherkanowski and Becky Hunt
Published by Harvard Art Museums and Yale University Press
ISBN 978-0-300-21470-3

Indigenous concepts of time play a critical role in the works of many contemporary Indigenous Australian artists. Everywhen: The Eternal Present in Indigenous Art from Australia showcases prime examples, featuring many works of art that have never before been exhibited outside Australia. The book provides a cultural framework to help understand these objects, emphasizing the importance of the land, the rich narratives that cleave to it, and the art it inspires. It is organized around four central themes: ancestral transformation, ritualized performance, seasonality, and remembrance. Six essays and sixty works highlight many of the most significant Indigenous Australian artists of the last forty years, from Rover Thomas and Emily Kam Kngwarray (both former representatives at the Venice Biennale) to the visual and performance artist Christian Thompson. Also included are examples of related historical objects and a technical examination of traditional Indigenous bark paintings.

Available in the Harvard Art Museums shop.


5.5 x 7.5 inches
180 pages
Typeset in Neutral
Printed on Munken Polar Rough and Magno Silk in Belgium by Die Keure and bound in the Netherlands by Van Mierlo
ISBN 978-1-891771-65-1

Produced to commemorate the opening of the new Harvard Art Museums, this book highlights how the new facility’s architecture and design advance the museums’ mission to encourage close study of original works of art, enhance access to the collections, support the production of original scholarship, and foster university-wide collaboration across disciplines. It is a story about how the architecture responds to the museums’ programs and priorities.

Available in the Harvard Art Museums shop.



MATERIAL exists as a platform for the artist’s voice. Each issue brings together a different group of artists who write, as well as a new collaboration with a graphic designer. During the production of this third issue, our designer Zak Jensen put forth the idea of concatenation—the act of linking together, or the state of being joined. The cover (Eight Takes Sense—Yes, Hooks a Kitchen House, A Surrealists’ Leash, Visual Oeuvres…) is a concatenated sentence which employs one word from the title of all eleven texts, and also functions as the table of contents for the journal.

Concatenation (c.1600, from L.L. concatenatus, pp. of concatenare “to link together,” from com- “together”+ catenare, from catena “a chain”) seemed an appropriate word for our editorial method. An unlikely assemblage of texts becomes connected through this process; uncanny linkages emerge. Wyeth appears twice. Performances interact. In this issue: voices that duel, voices that parrot, voices that hypothesize, translate, and meditate, voices that speak simultaneously. As Roland Barthes writes, we have assembled these textual events, as “pleasure in pieces; language in pieces; culture in pieces,” to build upon one another into something new.*

This third issue includes contributions from Farrah Karapetian, Paul Zelevansky, Renee Petropoulous, Nate Harrison, James Welling, Natalie Häusler, Harold Abramowitz, Shana Lutker Stephanie Taylor, Alice Könitz, Frank Chang, and Emily Mast.

Get a copy online from MATERIAL, Textfield, Motto Distribution, or at a bookstore near you (if you’re in Amsterdam, Basel, Berlin, Copenhagen, Chicago, Geneva, Lausanne, London, Los Angeles, Malmö, New York, Paris, San Francisco, Seattle or Zurich)!

*Roland Barthes, The Pleasure of the Text, trans. Richard Miller (New York: Hill and Wang, 1975), p. 51

Perspecta: The Yale Architectural Journal

Perspecta 45: Agency

Editors Kurt Evans, Iben Falconer and Ian Mills
designed with Mylinh Trieu Nguyen

Architecture has always been intimately intertwined with its social, political, and economic contexts; major events in world history have had correspondingly dramatic effects on the discipline. The Great Depression, the fall of the Berlin Wall, and Hurricane Katrina, for example, were all catalysts for architectural response and resulted in a diversification of the architect’s portfolio. Yet far too often, architects simply react to changes in the world, rather than serving as agents of change themselves.

This issue of Perspecta — the oldest and most distinguished student-edited architectural journal in America — takes a broader view, using the concept of agency to explore the future of architecture. The retreat from liability, the barricade of theory, and the silos of specialization have generated a field that is risk-averse and reactive, rather than bold and active. Instead of assuming that architects can only throw up their hands in despair, the editors of this issue of Perspecta invite them to roll up their sleeves and get to work.

In Perspecta 45, prominent architects, scholars, and artists investigate how architects can become agents for change within their own discipline and in the world at large.

Contributors: Eeva-Liisa Pelkonen, Nader Tehrani, Ines Weizman, Jaime Lerner, Urban-Think Tank, Stefano Boeri, Peter Eisenman, Michael Osman, Darryl Collins, Vann Molyvann, Enrique Ramirez, Rania Ghosn, Victor Van Der Chijs, Bjarke Ingels, Jan Kempenaers, Andrew Shanken, Keller Easterling, Timur Galen, Perspecta 45 & Pierluigi Serraino, Thomas Auer, Joshua Vanwyck & Erik Olsen, Preston Scott Cohen, and Ariane Lourie Harrison

Perspecta is the Yale Architectural Journal, published by the Yale School of Architecture and distributed by the MIT Press. Get it at the MIT Press or Amazon or maybe even a physical bookstore like Hennessey + Ingalls in LA, William Stout in San Francsico, or McNally Jackson, Spoonbill & Sugartown, St. Marks Bookshop, and Van Alen Books (among others) in New York.

The Book Remains the Same

I love this GIF Mylinh made of the Yale MFA Photography Catalog we designed last year. You can see more images of the book in this previous post.

Harpur Palate

With Ben Critton, a new design for the biannual literary journal, Harpur Palate. This issue, Summer & Fall 2011, is the first in what we’ve proposed to be an ongoing system using one different color for each publication. Winter & Spring 2012 is coming soon.

“Thesis Book”

Harpur Palate

Ben and I are working on a whole new design for SUNY Binghamton’s literary journal, Harpur Palate. The first issue of our design is coming soon! For now, here’s the new mark.

YALE G.D. MFA ’11 Reception












Here (finally) are some pictures and a video of our show from the day of the reception. First photo is Ruby‘s. All the other photos with people in them, as well as the video, are courtesy of Glen Cummings. The photos without people were taken by (and copyright of) Sandra Burns. See more here.

Not to be Reproduced


Book 1


Book 2