In a radical shift in its business model, Getty Images is now allowing users to embed watermark-free images on websites and blogs free of charge
An option to "Embed this image" has been added to images on the Getty site. Choose this option and users are given an embed code (similar to those used on YouTube) whereby the image can be embedded on the users' site without any watermark. Instead, the image will carry a link back to Getty and a credit for the image and its photographer. Usage is restricted to editorial purposes.
As with YouTube, however, the linked content may be deleted at any time leaving users with a blank space on their site.
It's a radical departure for Getty but one that follows a similar model to Imgembed, which we reported on last year, a service created by the same Singapore team behind Creative Finder and Design Taxi.
US site The Verge (read their full post here) quotes Craig Peters, a business development executive at Getty Images, on the rationale behind the move. "Look, if you want to get a Getty image today, you can find it without a watermark very simply," he says. "The way you do that is you go to one of our customer sites and you right-click. Or you go to Google Image search or Bing Image Search and you get it there. And that's what's happening… Our content was everywhere already."
Peters argues that if Getty provides a clear, legal path for using its images, publishers will take it, thus opening up new revenue streams for both Getty and photographers. Once images are embedded (using an iframe code) the company can in the future collect data on users and even implant ad messages replicating the success that YouTube has had with pre-roll advertising and 'buy here' options.
That functionality isn't being employed as yet but appears to be one of a number of opportunities Getty is thinking about. But in the meantime, the embed option will at least credit both Getty and the photographer. "The principle is to turn what's infringing use with good intentions, turning that into something that's valid licensed use with some benefits going back to the photographer," The Verge quotes Peters as saying, "and that starts really with attribution and a link back."
Here's what Getty's Ts & Cs say about the usage of embeddable images: "Where enabled, you may embed Getty Images Content on a website, blog or social media platform using the embedded viewer ... Not all Getty Images Content will be available for embedded use, and availability may change without notice. Getty Images reserves the right in its sole discretion to remove Getty Images Content from the Embedded Viewer. Upon request, you agree to take prompt action to stop using the Embedded Viewer and/or Getty Images Content. You may only use embedded Getty Images Content for editorial purposes (meaning relating to events that are newsworthy or of public interest). Embedded Getty Images Content may not be used: (a) for any commercial purpose (for example, in advertising, promotions or merchandising) or to suggest endorsement or sponsorship; (b) in violation of any stated restriction; (c) in a defamatory, pornographic or otherwise unlawful manner; or (d) outside of the context of the Embedded Viewer.
Getty Images (or third parties acting on its behalf) may collect data related to use of the Embedded Viewer and embedded Getty Images Content, and reserves the right to place advertisements in the Embedded Viewer or otherwise monetise its use without any compensation to you."
It's a fascinating move by Getty, especially if/once they start to explore the potential of data collection and embedding ad messages. Photographers will be wondering when and how the promised new revenue will appear.
The final day of Design Indaba featured some moving, funny and uplifting presentations rom Stefan Sagmeister, Alt Group's Dean Poole and South Africa's most treasured photographer, David Goldblatt. Here's a look at some of the best bits...
89plus - art, post 1989
Following a talk from Ivory Coast architect Issa Diabate was a group of South African artists from new platform and research project, 89 plus. Founded by curators Simon Castets and Hans Ulrich Obrist, 89plus supports artists born in 1989 or later, after the birth of the internet and the fall of the Berlin Wall.
This age group represents half the world's population and for South Africans, it's a generation that has grown up post-apartheid. The first 89plus exhibition, Poetry Will Be Made By All, was recently launched in Switzerland and will feature 1000 books by 1000 poets over two months, presented in displays designed by artists, designers and architects (more info here).
Images (top and above): Jody Brand
Among the 89plus artists speaking were Kyla Philander - a videographer and musician who uses film to address social inequality and racism and Jody Brand, a photographer and art director who captures South African street and club culture on her blog, Chomma (slang for friend).
Dean Poole - simplicity and constraint
After a talk from Danish designers, Alt Group's Dean Poole delivered an excellent presentation on his love of language, simplicity - and holes. Beginning with a playful look at the letters of the alphabet (which those who attended AGI Open in London may remember), Poole explained the concept behind the studio's award-winning identity for Auckland Art Gallery Toi o Tamaki.
Inspired by visual word play, experimental poetry and sculptors that work with language, Alt Group created a visual system based around the word art. By reducing the subject to three letters, Pool said he wanted to create a simple message that anyone could understand. The system has been applied to merchandise, wayfinding and communications and offers a flexible, playful scheme.
Poole also discussed condensing the story of an opera into one simple symbol when designing an identity for New Zealand Opera (see image, top) and the studio's fantastic work for experimental theatre group Silo - for which they created ‘emoticon' logo marks referencing tragedy and comedy theatre masks.
Funny, engaging and entertaining, Poole's parting thought was to go out and do something different, or "give the world a bit of a wobble".
Man building his house, Marselle Township, Kenton-on-sea, shot by David Goldblatt.
David Goldblatt - a life's work
His talk was followed by photographer David Goldblatt, who discussed the stories behind some of his most iconic portraits and received a standing ovation from the audience.
Offering a fascinating insight into his 50-year career Goldblatt spoke about photographing victims of police brutality, township residents and political figures including Nelson Mandela during apartheid.
He also presented his work photographing offenders at the scene of crimes they were imprisoned for - including a victim of corrective rape who was jailed for 3 years after being falsely accused of armed robbery - and his close-up series of body parts from the mid-70s.
His work remains a powerful and poignant reminder of the country's recent past and it was inspiring to hear Goldblatt's insights on his images and their subjects.
Stefan Sagmeister - on happiness
The final speaker of this year's conference was Stefan Sagmeister, who delivered an uplifting talk on happiness.
Showing examples of typographic installations, motion graphics and short films created with studio partner Jessica Walsh, as well as examples from his brilliant exhibition, the Happy Show:
He shared some surprising insights based on research into what makes us happy. Climate, age and life conditions play only a small role but marriage and religion can make us considerably happier.
Speaking of his experiences filming the Happy Film, his documentary on happiness which is now at rough cut stage, he also provided some tips based on what he had discovered from scientists, pyschologists and a trip to Bali. Singing in groups, making friends and taking part in non-repetitive activities will improve our happiness, but procrastinating and not doing the things we intended to will make us unhappy - some simple yet sound advice.
Day 2 of Design Indaba featured talks from Pentagram designer DJ Stout, South African photographers Zanele Muholi and Nandipha Mntambo and AlmapBBDO creative director Marcello Serpa....
DJ Stout - the importance of place
Stout discussed how his Texan upbringing has influenced his work: showing evocative imagery of cowboys, rural landscapes, horses and cattle - accompanied by music from Texan composer Graham Reynolds, who played piano live on stage – he discussed his family’s ranching heritage, common perceptions of Texans and writing and designing a book about baseball team the Alpine Cowboys, which his father once played for.
Citing examples of his editorial work for Texas Monthly and the Museum of Fine Art in Houston, he said he often played on perceptions of Texans in his design – such as a cover which featured Governor Ann Richards astride a Harley Davidson:
And one illustrating an article on big hair that featured a local woman who styles her own in the shape of a cowboy hat. He also showed a beautiful photography project with Mary Ellen Mark capturing small town rodeos, and a visual identity for Kentucky city Lexington, which he created with Michael Bierut. Rather than design a logo for the city, the pair created a giant blue horse sculpture (seen top) - a reference to a portrait by a famous Kentucky artist, and the city's famous blue grass.
Interspersed with video footage of cowboy poets reciting verse and moving shots of damage caused by a wildfire in the state in 2011, it was a sentimental speech but an entertaining one. Stout is the only Pentagram partner based in Texas, but said he could see the influence of each of his colleagues’ upbringings and surroundings in their work, whether from Taiwan or New York and urged other creatives to embrace their roots: “A sense of place is so important to graphic designers and what we do. If we forget who we are and where we’re from and focus on being too global then something gets lost,” he said.
Marcello Serpa – the golden rules of advertising
Marcello Serpa, creative director of Almap BBDO also delivered a talk this morning on what he has learned from 30 years of advertising.
Serpa started with two golden rules: be simple and be unpredictable. Every ad should be reduced to one simple idea, he said, showing examples of simple but effective AlmapBBDO campaigns for Cesar, Havianas and the diet drink Guarana, which won the Grand Prix in Cannes in 1993.
He also showed more recent work for Getty and Volkswagen, including the charming 85 seconds and Love to Bingo:
And offered some professional advice for young agency staff and senior creatives, including:
"There are no 25-year-old generals". Too many young people in advertising are aiming to be creative directors before they are ready. Good work should be rewarded with money and not with titles before they are due.
Never work for someone who isn’t better than you. Everyone should work for someone they respect, admire and can learn from.
Be hard on work – not on people.
Don’t ask from your team what your client asks from you - in particular, don’t make unreasonable demands or be vague about what you want.
Be wary of marketing intelligence – in particular, costly research and reports that can lead to clichéd campaigns or unnecessarily complicated concepts.
Not everything that’s new is good and not everything that’s good is new. Great work is timeless, and trends pass.
Always consider two questions when planning a campaign: ‘What am I trying to say?’ And ‘Is this relevant to the consumer?’
Caitlin and I by Zanele Muholi. Image: Muholi & Stevenson Johannesburg/Cape Town
In the afternoon session, three South African artists who consider themselves visual activists presented their work: photographer Zanele Muholi, performance artist Ati Patra Rugha and sculptor and photographer Nandipha Mntambo.
Muholi has won several awards for her work documenting South Africa's LGBT community. After working as a reporter, she spent years documenting hate crimes in the country and set up not for profit organisation the Forum of Empowerment for Women and Inkanyiso, a platform that allows other South Africans to document LGBT life.
Muholi's photography series also include portraits of gay weddings and intimate shots of same sex couples. Her aim is to raise awareness of gay rights and "produce art that pushes a political agenda," she said.
Nandipha Mntambo's work combines sculpture, fine art and performance art and explores female identity and the human body. In one series, she created cowhide moulds of her mother's body to challenge ideas of attraction, repulsion and gender, and in others, she explores mythology and mythological creatures such as the minotaur. She also travelled to Europe to train as a bullfighter for project, Praça de Touros:
Rugha discussed his recent project, the Future White Women of Azania, which explores ideas of identity and nationhood through myth. It was a diverse selection of work but a fascinating look at contemporary South African artists who are producing experimental and thought-provoking art.
This afternoon also offered a preview of this year’s Expo (including clothing, homeware and art prints from African designers) and a talk from Stefan Scholten – one half of Dutch product and interior design team Scholten + Baijings. The pair deconstructed and re-built the Mini One for Milan furniture fair Salon del Mobile in 2012, and the resulting product, the Colour One Mini, is on display at the conference centre alongside process sketches and swatches.
Tomorrow is the final day of the conference, with talks from Stefan Sagmeister, David Goldblatt and Alt Group's Dean Poole...
First launched in 2010, the Museum of London's Streetmuseum app has just been updated with 103 new locations. And to mark the update, a series of 'hybrid' images showing historic and contemporary views of the capital have also been released...
Developed once again with creative agency Brothers and Sisters, the new app has improved functionality and the option to order prints of some of the images featured from Museum of London's website. (Our post on the app's launch four years ago is here.)
As before, the app works across various sites in London. When users open up Streetmuseum on an iPhone, a map reveals their position and details the locations of where the nearest "hidden histories" are. Using it in-situ, with the phone's camera and the '3D view' enabled, the app then overlays a historic image from the Museum's extensive photographic collection over the screen.
To mark the increased points from which the images ranging from 1868 to 2003 can be accessed, the museum has released 16 hybrid images of London, nine of which are shown here.
According to the Museum the images for the 2014 update were taken by renowned late 19th and 20th century photographers including Henry Grant, Wolfgang Suschitsky, Roger Mayne and George Davison Reid, and include locations in London "which have changed dramatically in the intervening years", such as Blackfriars station c.1930, Victoria Station in 1950, the view of London's skyline from Tower Bridge c.1930, and Brick Lane in 1957.
"The new locations also expand to the suburbs and outer boroughs of London," say the Museum, "from Richmond mods in 1964, Brent Cross road construction in the 1970s to Ealing Suffragettes in 1912 – providing an even more comprehensive reach for the app."
Streetmuseum 2.0 can be downloaded for both iPad and iPhone here. Caption information supplied by the Museum of London.
From this month De Nederlandse Opera, the Dutch National Ballet and The Amsterdam Music Theatre will operate as one organisation, the Dutch National Opera & Ballet, with a new identity created by Lesley Moore (original designers of Mark magazine among other things). We talk to the studio's co-founder Alex Clay about the project
The Dutch National Opera & Ballet officially adopted its new name on February 17. The two companies (opera and ballet) will keep their own brand names, but from now on will operate together as one house, operating out of the same building which opened in 1986.
Design: Lesley Moore. Animation: Simon Francois. Music: Machinefabriek (Rutger Zuydervelt)
CR: The Dutch Opera, National Ballet and Amsterdam Music Theatre have merged to form the Dutch National Opera & Ballet, each keeping its own name but operating as one house, that sounds like a tricky issue to resolve as a designer. What was the reason for retaining the two names? Did you try to persuade them to operate under just one?
AC: Opera and ballet are very different art forms which draw different audiences, although there is some overlap. We felt it was important to respect those differences. So we were on one page with the client on keeping the separate names. At the same time they were looking for a visual identity which tied everything together. That was indeed a challenge to resolve; a typographic solution putting emphasis on the art forms came out of that.
CR: Can you explain a little more about the 'storytelling' concept which underpins the identity?
AC: In essence, storytelling is what both opera and ballet are about. Both art forms are strongly influenced by tradition and history. To really appreciate opera and ballet we believe that some knowledge is important. As an institution, National Opera & Ballet wants to educate their audience in order to make them get the most out of it. The themes of the art forms are often universal, as relevant to us now as they were 300 years ago. Both the National Ballet and the National Opera are focussed on translating those themes to the 21st century.
The Dutch National Opera & Ballet also has ambitions to share more of what happens backstage with their audience. Traditionally the focus has been solemnly on the performances. What is shown on stage is world class, but to really grasp that it is important to understand what has been done to get there. From the artistic choices being made, the military-like repetitions, the historical research, the workshops and the craftsmen behind every performance.
Visually, we translated these multiple stories into layers on top of each other. As a story has a certain chronology, the layers do too. The layering also refers to the nature of theatre; on- and backstage.
Season brochure cover
CR: Can you explain how the identity system works?
AC: The logo works as a frame, creating space for the story being told at that specific moment. Top left [on the website and posters] is always the typographic logo, bottom left always the icon of the theatre.
CR: Why was it felt necessary to include a drawing of the building in the lock-up?
LM: An important aspect of the new strategy, is to focus more on the location as a hub for creation, production and presentation. Until now the theatre itself has been very anonymous, despite the success of the two companies. The icon of the building emphasizes this shift, and illustrates the brand architecture; one house, two art forms.
CR: What is the typeface used and why did you choose that one?
LM: The main typeface is Edward (Our Type), a 'descendant' of Edward Johnston's typeface for the London Underground. Johnston's typeface was based on Roman inscriptions which still forms the basis for our alphabet today. Using craft and tradition as starting point for a contemporary expression fits well with the mentality of the Dutch National Opera & Ballet. And it is something we strive for with the design of this identity.
CR: Petrovsky & Ramone's images are beautiful - what is the extent of their involvement? How will their work be used beyond the website?
LM: From the very start, we knew that photography would be play an important part in the identity. Hence the logo as a frame. When we proposed the overall concept for the campaigns, the keyword was 'movement'. Traditionally, the focus had been static images. Communication is moving more and more towards online, and considering the nature of the art forms, 'sound and motion' seemed like a logical step to take. We wanted to use video as a starting point, and extract still images from that when needed. Petrovsky & Ramone were among the names on the shortlist we proposed to do the job, and we are very excited about what has come out of it. Their background is mainly fashion, which gives an edge to the imagery which suits what happens on stage.
It's interesting to see how some of the more forward thinking opera and ballet companies around the world have been utilising spectacular imagery on their websites. The New York City Ballet and New Zealand Opera, for example, both feature stunning, full-screen images to emphasise the promise of the experience they offer.
The new Dutch National Opera & Ballet site is a beautiful addition to that trend. Faced with a tricky brief, the identity works well both online and on posters with the 'layered' element top left quickly and simply identifying the art form while the main lock-up, running bottom left, emphasises the merged offer of the institution.
Our March issue is a craft special and examines how a range of creative work was made, including Maya Almeida's underwater photographs and a 3D-printed slipcase by Helen Yentus. We also explore the science behind Jessica Eaton's extraordinary images, and go behind-the-scenes of new ads for Schwartz and Honda...
On top of all that we look at the BBC's new iWonder platform, review the Design of Understanding conference and books by Wally Olins and on the Ulm School of Design, and Paul Belford explains the power behind one of the most famous posters from Paris 1968.
The March issue of Creative Review will be available to buy direct from us here. Better yet, subscribe to make sure that you never miss out on a copy – you'll save money, too. Details here.
Opening the issue, our Month in Review section looks back at the The Lego Movies' 'ad break takeover'; Black + Decker's new identity; the return of the Old Spice guy; and the debate around the new Squarespace Logo service.
Daniel Benneworth-Gray raises a sleep-deprived toast to working through the night; while Michael Evamy's Logo Log salutes the Mobil identity on its 50th anniversary.
Our craft features begin with a look at the work of underwater photographer, Maya Almeida. Antonia Wilson talks to her about what it takes to create her beautiful images...
And Helen Yentus, art director at Riverhead Books in New York, talks us through her radical 3D-printed slipcase she recently designed for a special edition of Chang-Rae Lee's novel, On Such a Full Sea. (Yentus also created this month's cover.)
Rachael Steven looks at the thinking behind iWonder, the new online storytelling platform from the BBC...
...While six of the objects that appear in BarberOsgerby's In the Making show at the Design Museum are featured – each one 'paused' midway through its manufacture and beautifully shot by György Körössy (two pound coin shown, above right).
Antonia Wilson also talks to photographer Jessica Eaton about the process behind making her stunning images of cubic forms.
And Eliza Williams discovers how over a hundred sacks of spices were blown up in a new ad for Schwartz...
... while a more sedate approach is explored in a behind-the-scenes look at Honda's Inner Beauty spot from Wieden + Kennedy.
We also look at why VFX is becoming more invisible, and (above) look at the latest trends in packaging.
In Crit, Nick Asbury reviews Wally Olins' new book, Brand New...
...Mark Sinclair reports back from the recent Design of Understanding conference...
... and Professor Ian McLaren looks at a new book on the influential Ulm School of Design, which he attended in the early 1960s.
Finally, this month's edition of Monograph, free with subscriber copies of CR, features photographs of Norfolk by designer Pearce Marchbank.
The March issue of Creative Review will be available to buy direct from us here. Better yet, subscribe to make sure that you never miss out on a copy – you'll save money, too. Details here.
A collaborative project from photographer Jason Orton and writer Ken Worpole, documents the changing landscape of the Essex coastline. We talk to Orton about his work as a photographer and the beauty of the forgotten landscape...
The book traces a rich history of cultural tradition and artistic heritage, connecting social-historical contexts and patterns human settlement with the changing ecology of the region. Worpole explores how writers and artists have been drawn to the area, since, post WWII, perceptions of the aesthetics of Englishness have shifted away from a romanticised view of rural life, and attention and value has turned towards contested eastern shorelines.
Orton's photographs echo this, capturing these unique landscapes, and often liminal spaces, where town meet country and land meets sea. They depict vast "edgelands" of ambiguous coastline, new hybrid spaces, occasionally dotted with familiar relics of past human activity - windswept estuaries, bleak and beautiful marshlands, industrial and military ruins, and overgrown, abandoned outhouses.
In many of these depopulated and now wild landscapes, there is a sense of both desolation and wonder. As Worpole suggests, "at the tide's ebb, there can be an overwhelming sense of emptiness in a world bereft meaning", but also, "a sense of wonder at the edge of things is plainly evident in children when they first encounter the sea. There is no landscape in the world as magical - or whose spaces are so immeasurable - as a tidal beach."
CR: Can you tell me a bit about your background - how did you first get into photography?
JO: I was brought up in a small village just outside Plymouth. After studying at Essex and Warwick Universities I worked for a government quango for five years, and then took a Diploma in Photojournalism at the London College of Printing. I worked as a editorial photographer for newspapers including The Telegraph and The Financial Times and then shifted direction, concentrating on long term personal projects.
When I moved to London it was important for me to get to know the city in a way that would enable me to cope living there. I began to use photography as a way of understanding the place.
CR: What were your earliest creative influences and interests?
JO: If I'm honest I don't think I was particularly creative when I was young, and I can't recollect having a camera until my late teens. However, being brought up in a small village by the sea, I was always exploring the landscape and coastline nearby.
CR: How would you describe your aesthetic?
JO: Possibly warped! I believe that my notion of what is a beautiful landscape is somewhat different from what is usually considered beautiful. I have no strong desire to photograph grand, dramatic, ‘sublime' landscapes. I have an interest in visually representing the overlooked landscape. They are generally places where there is some evidence of former human activity (through farming, mining, industry etc.).
CR: What draws you to landscape photography in particular?
JO: I still believe that photography, and particularly landscape photography, has an important role in establishing concrete knowledge about a particular place. I am interested in how photography can be used as a counter to those who would prefer to treat certain types of landscape as having no intrinsic value. Beyond photography, I am interested in what people value within a landscape, the ways that they connect with the landscapes around them, and how photography can explore the relationship between landscape, history and memory.
The Wells Fireworks Factory project in Dartford, Kent, (pictured above) had a focus on how nature constantly re-appropriates forgotton spaces. These corrugated iron sheds, which for obvious reasons were spaced apart from one another, survive in an overgrown landscape of elder bushes and buddleia. How do structures like these feature in debates about what should be preserved in landscapes that are earmarked for regeneration? I would argue that they constitute an important part of the post-war history of Dartford Marshes and should be preserved in some form. Unfortunately, developers frequently see landscapes like these as blank canvases that can be cleared or levelled flat. The specifics of place are something that they'd prefer not to deal with.
CR: How would you describe your process, including collaborative projects such as recent publication The New English Landscape?
JO: First and foremost I'm a walker. It's the desire to walk a landscape that sometimes manifests itself in the making of these photographs. But not always. It is very rare that I visit a landscape with a pre-determined idea about how I will photograph it. I like to re-visit them and then see how the photography develops over time. I like the idea of a how a particular landscape can work its way into people's consciousness.
The New English Landscape explores the relationship between text and photographs. The writer, Ken Worpole, and I have worked together on several previous projects and intuitively share similar interests, pre-occupations and approaches to visual and historical details. Our starting point is that text and photographs should work independently, although our common interests inevitably mean that there is often an affinity between the two. We walk together on a regular basis and some of those walks have been the starting point for collaborative projects.
CR: Where do you find inspiration?
JO: I would probably say that most of it comes from outside of photography, although there are of course photographers whose work has inspired me, notably the British landscape photographer Jem Southam.
But inspiration can come from simple encounters. I was recently spending time in Plymouth and one morning while walking into the city centre I met a woman who does the same walk on a weekly basis. She was aware of the subtlest changes in the landscape, and was concerned about the implications - it's that intense connection with a landscape and place that inspires me.
CR: What items are in your must have kit?
JO: Not much in the must have kit... Ordnance Survey Map, two cameras, including a Mamiya 7ii film camera with 65m and 80m lenses, film, light meter, bananas, nuts and raisins.
CR: What is the best thing about being a photographer now? And the worst?
JO: Not sure that I see things in terms of best/worst. I'm curious about what goes on around me, and photography allows me to satisfy that curiosity. And every now and again I get paid for being curious!
CR: Are you working on anything at the moment?
JO: I'm working on a commission for the GLA (Greater London Authority), developing a series of photographs that are loosely based around walks made along tributaries of the River Thames. These will form part of a primer document for a project called the All London Green Grid. As I've already done quite a lot of the photography for this commission, the recent flooding hasn't really affected the work, although this might well be different if I was starting from scratch now.
The New English Landscape by Jason Orton & Ken Worpole is published by Field Station and is available to buy here.
Photographs: Hornsey Island, Essex, Mar 2013; Maylandsea, Essex, Feb 2013; Maylandsea, Essex, Feb 2013; three images from the Wells Fireworks Factory project, Dartford, Kent; Mersea Island, Essex, Feb 2013; Maylandsea, Essex, Feb 2013; Hornsey Island, Essex, Mar 2013; cover and spreads from The New English Landscape.
The ICA has invaded London shopping venue Dover Street Market for the latest instalment in its 'Off-Site' series of events. Designed by Julia, the show offers a fascinating look at some rarely seen material from the Institute's archives.
Dover Street Market now houses luxury clothing and accessories but between 1950 and 1968, it was home to the ICA and is allegedly the birthplace of op art, pop art and brutalist architecture.
The venue hosted some of ICA's best known shows, including exhibitions by Lucian Freud, Pablo Picasso and Jackson Pollock, and was a regular meeting place of the Independent Group, whose members included Richard Hamilton, Eduardo Paolozzi and the architect Peter Smithson.
The exhibition was launched this week to coincide with a Hamilton retrospective at the ICA and Tate Modern and the release of a new book, Institute of Contemporary Arts: 1946-1968. Until April, each of Dover Street Market's six floors will feature large scale photographs, posters and imagery produced during the ICA's 18-year tenure there, including ICA Bulletin covers, Francis Bacon's first ever show covers and posters for various exhibitions held at the site.
ICA executive director Gregor Muir came up with the idea for the exhibition after discovering an old poster bearing the address 17-18 Dover Street. After exploring the ICA archives, he discovered more ephemera dating back to the institute's stay there and asked London agency Julia to design an exhibition using the rarely seen material.
As the site is now home to a busy shop, Julia had to work within the existing furniture and layout, but the agency has done a fantastic job of 'invading' the space while remaining sensitive to its interior.
"It wasn't easy at first - the site is already very busy and full of work by a lot of designers, and we were adding another layer of business on top of that," says Julia co-founder Erwan Lhuissier. "In the end, we think the work we've made integrates with the store pretty well, but there were a lot of situations where we had to adapt to suit the existing layout," he explains.
Key to this was visiting the site with the company responsible for printing the large scale artworks to determine exactly what could be put where, says Lhuissier. "We had to strike that balance between placing the images where they would have maximum impact and hiding some behind furniture to create a kind of narrative through the building," he says.
Dover Street Market regularly hosts art and design installations, but the ICA's is the first to take over every floor of the building. "[Dover Street Market and the ICA] pretty much gave us carte blanche, which was nice, and we had a lot of freedom to add extra elements such as an ICA timeline on the staircase, which provides some context for the show," says Lhuissier. "What's great is that it appeals to two audiences - the people who have visited Dover Street Market to shop and those who are interested in the ICA," he adds.
As the show has been launched to tie in with Hamilton's retrospective, Julia has made references to the artist throughout, such as in the use of black and red graphics, colours which Hamilton often used. ICA shows from the fifties and sixties also provided inspiration for the positioning of images.
"We looked at a lot of shows that were hosted in the space and the artists often used to hang things horizontally, vertically, or from the ceiling. We wanted to reference this and also reflect the idea of an invasion - having things on the ceilings and floors instead of hanging in frames," adds Lhuissier.
The show is one of several Off-Site events staged by the ICA since last summer. In September, it launched a journey through London's sub culture in the basement of the Old Selfridges Hotel, which featured 56 vitrines of art, fashion, design and memorabilia produced by London creatives over four decades - you can read our blog post on it here.
The latest show provides a glimpse into a seminal period in the ICA's history and Julia has done an excellent job of designing the space.
ICA Off-Site is open at Dover Street Market, 17-18 Dover Street, London, W1S 4LT until April 6 - see ica.org.uk for details.
Global creative conference Design Indaba returns to Cape Town on February 26. The line-up so far is impressive, with talks from Thomas Heatherwick, Stefan Sagmeister, Experimental Jetset and photographer David Goldblatt…
The three-day conference turns 20 this year and has earned a reputation as one of the world's biggest creative events, covering graphics, digital media and architecture as well as fashion, product and interior design.The full programme is yet to be released but 40 speakers have been announced so far.
Caitlin and I by Zanele Muholi. Image courtesy of Muholi and Stevenson Johannesburg/Cape Town
Man building his house, Marselle Township, Kenton-on-sea, shot by David Goldblatt.
They include South African photographers David Goldblatt, Nandipha Mntambo and Zanele Muholi. Muholi's latest photography series, Of Love and Loss, is a collection of portraits capturing weddings among South Africa's black LGBT community, on display in Johannesburg from February 14 until April 4.
There is a strong presence from graphics, branding and media firms, too, with speakers from Europe, Australasia and the Americas.
Experimental Jetset's identity for the Whitney Museum and exhibition design for The Printed Book: A Visual History
Amsterdam Studio Experimental Jetset will be discussing their work alongside Sagmeister, who is based in New York; Dean Poole, co-founder and creative director of Auckland studio Alt Group; Tom Hulme, design director at London firm IDEO, Sao Paulo-based AlmapBBDO creative director Marcello Serpa and Wolf Ollins London's managing director, Ije Nwokorie.
New Zealand Opera branding & New Zealand New Music packaging by Alt Group
The Happy Show and Standard Charter commercial by Stefan Sagmeister
Creatives attending from other sectors include fashion designer Henrik Vibskov, currently the subject of an exhibition at Helsinki's Design Museum, Heatherwick and Dutch interior design duo Scholten & Baijings. A selection of graduates from leading design schools will also be presenting their work Pecha Kucha style.
Story Corps, a local storytelling project devised by New York media design firm Local Projects. Founder Jake Barton will be speaking at this year's Design Indaba
UK Pavilion at the Shanghai Expo and new look London buses designed by Thomas Heatherwick. Image: Iwan Baan
The conference ends on February 28 and is immediately followed by a South African design Expo running until March 2, showcasing work from emerging creatives and local artists and makers. Music and film programmes run alongside both events with 38 gigs over two nights, and 10 film premieres between February 21 and March 2.
The town of Kiruna in Sweden is on the move, literally. With a nearby iron ore mine now causing cracks and subsidence, a relocation of the entire town down the road is imminent. In a long-term photography project documenting the transition, Klaus Thymann will capture changes from both a geographical and a human perspective, across the landscapes and communities involved.
Kiruna is Sweden's northernmost town, 90 miles south of the Arctic Circle, situated in the province of Lapland. Nearby to the mountainside town sits one of the largest underground iron ore mines, Kiirunavaara, which has been in action for over 100 years.
Early each day, nearly 100 tons of explosives go off 1km underground, often shaking through to the surface into the homes and businesses of the 20,000 residents.
The hollowed-out earth from the mining has now begun to shift and cause fractures which are creeping ever closer to the town, threatening its foundations, and putting buildings at risk of subsidence and collapse.
The decision has since been made to move the town 4km down the road, away from its current site. So far it is 10 years into planning and the beginnings of redevelopment are underway, with the relocation due to progress steadily over the next few decades.
Danish born photographer Klaus Thymann, who will be documenting the move, is also the founder of Project Pressure, a not-for-profit organisation documenting the world's vanishing glaciers through a crowd-sourced archive, and his work often combines image-making, mapping, documentary and exploration.
He first visited Kiruna in 2013, and was intrigued by the complex human and logistical implications of the move. "I have never heard of anything like this and it fascinates me on so many levels," he says. "There is the purely practical and the emotional implications, and I think it says a lot about current society and modern progress that something like this is happening."
LKAB, the state-owned mining company hoping to expand the mine, will be covering the majority of the costs, which will include rebuilding roads, sewage pipes, electricity lines, railways, housing, hospitals, schools, council buildings, commercial properties ...the list goes on.
Some buildings will be demolished and replacements built, however, others including historical landmarks and architecturally significant buildings, such as the Kiruna Church, will be dismantled and reassembled in the new location. Many will be split into several pieces, craned onto lorries, to then be transported slowly on wide, flat roads, and rebuilt as part of the town's new design and location.
Knowing that Kiruna would not survive without the mine - recognising a mutual dependence - many residents are resigned to the move.
However, there has been some resistance, particularly from the indigenous Sami people who have herded reindeer for more than 2000 years in the area. The transformation would significantly reduce grazing land, and the new railway would cut right through the migratory routes.
In addition to this, there has also been various debates between the municipality and LKAB about the fundamentals of city-building that has delayed the project.
Over the next decade, Thymann plans to frequently visit the town, with his main focus being "primarily the transformation." But ultimately, what he finds interesting is, "the questions the whole process will raise in the viewer."
When in Kiruna, Thymann has spoken with residents about his photography project, who responded well to the fact that it is a long-term commitment with multiple visits. However, knowing exactly what the project will bring is another matter, and he is still gathering his own thoughts about the move itself, which in turn may effect how the images turn out down the line.
"To be honest, I have not finished forming a view. It's complex and can be looked at from so many viewpoints," he says. "I do find the whole thing quite strange in a way, and what is almost the weirdest thing is how long this will all go on for. Although I try, it is hard to understand what it must be like to live somewhere where the future is decided, but yet so uncertain."