A New Program for Graphic Design is the first communication-design textbook expressly of and for the 21st century. Three courses—Typography, Gestalt and Interface—provide the foundation of this book.

Through a series of in-depth historical case studies (from Benjamin Franklin to the Macintosh computer) and assignments that progressively build in complexity, A New Program for Graphic Design serves as a practical guide both for designers and for undergraduate students coming from a range of other disciplines. Synthesizing the pragmatic with the experimental, and drawing on the work of Max Bill, Beatrice Warde, Muriel Cooper and Stewart Brand (among many others), it builds upon mid- to late-20th-century pedagogical models to convey contemporary design principles in an understandable form for students of all levels—treating graphic design as a liberal art that informs the dissemination of knowledge across all disciplines. For those seeking to understand and shape our increasingly networked world of information, this guide to visual literacy is an indispensable tool.

David Reinfurt (born 1971), a graphic designer, writer and educator, reestablished the Typography Studio at Princeton University and introduced the study of graphic design. Previously, he held positions at Columbia University Graduate School of Architecture, Planning and Preservation, Rhode Island School of Design and Yale University School of Art. As a cofounder of O-R-G inc. (2000), Dexter Sinister (2006) and the Serving Library (2012), Reinfurt has been involved in several studios that have reimagined graphic design, publishing and archiving in the 21st century. He was the lead designer for the New York City MTA Metrocard vending machine interface, still in use today. His work is included in the collections of the Walker Art Center, Whitney Museum of American Art, Cooper Hewitt National Design Museum and the Museum of Modern Art. He is the co-author of Muriel Cooper (MIT Press, 2017), a book about the pioneering designer.

Author: David reinfurt (Ed.)

Publisher: Inventory Press

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The Serving Library Annual comprises a number of individual “Bulletins” organized around a theme for an international audience of designers, artists, writers, and researchers. Newly published by ROMA Publications in a yearly format, this inaugural issue is realised in collaboration with Public Fiction, a journal and exhibition-maker based in Los Angeles. It deals with acts of civil disobedience and other forms of resistance, particularly in view of the relationship between entertainment and power. Contributors include Hilton Als, Tauba Auerbach, Anne Carson, Mark Leckey, Adrian Piper, Frances Stark, and Martine Syms.

Public Fiction’s next project, which runs broadly concurrent to this new Annual’s lifespan, is named The Conscientious Objector — a multifaceted endeavour commissioned by West Hollywood City Council that unfurls in parts from September 2017 to April 2018. Curated by Public Fiction founder Lauren Mackler and Serving Library editor Francesca Bertolotti-Bailey, The Conscientious Objector comprises a series of “commercials” produced by artists for public access TV, an exhibition of artworks and performances at the MAK Center for Art and Architecture’s Schindler House in West Hollywood, and the present publication.

 

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Bulletins of The Serving Library #3, Stuart Bailey, Angie Keefer, David Reinfurt (Eds.), published by Sternberg Press.

With contributions by Andrew Blum, Bruno Latour, Graham Meyer, Pierre-André Boutang, David Reinfurt, Chris Evans, Jessica Winter, Ian Svenonius, Angie Keefer, Francis McKee, Benjamin Tiven, Louis Lüthi, Dexter Sinister, and Laura Hoptman

This issue of Bulletins of the Serving Library doubles as a catalog of sorts to “Ecstatic Alphabets/Heaps of Language,” a group exhibition curated by Laura Hoptman at the Museum of Modern Art, New York, from May 6 to August 27, 2012. It is a *pseudo*-catalog in the sense that, other than a section of images at the back, it bears no direct relation to the works in the exhibition. Instead, the bulletins extend in different directions from the same title, and could be collectively summarized as preoccupied with the more social aspects of Typography.

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The Last Dot Dot Dot
02.11.2010, 6pm
Forde, Geneva

20. in which Dot Dot Dot tries—finally—to be as direct
as possible about what it’s come to stand for and what it
thinks it’s gonna do about it.

The journal with the never-ending title (and always-changing subtitle) announces its end (with a full stop). Stuart Bailey and David Reinfurt from Dexter Sinister invite you to mourn the twentieth and final Dot Dot Dot Magazine at Forde. Drinks will be served and a film projected.

La revue au titre sans fin (et au sous-titre changeant) annonce sa fin (point final). Stuart Bailey et David Reinfurt de Dexter Sinister vous invitent à venir porter le deuil du vingtième et ultime numéro de Dot Dot Dot Magazine à Forde. Des verres seront servis, un film sera projeté.

And always / et toujours
Forde Motto
a bookshop conceived with / une librairie conçue avec
Motto Distribution.

And,
on 03.11.2010, at 6pm
opening of Dexter Sinister’s exhibition Re-applied Art (04 – 24.11.2010)
LiveInYourHead, Institut curatorial de la Head – Genève, Rue du Beulet 4, 1203 Genève.
With Seth Siegelaub et Daniel McClean, David Reinfurt et Stuart Bailey (Dexter Sinister) & Delphine Bedel.

Forde
4 place des volontaires
CH-1204 Genève
+41 (0)22 321 68 22
forde.usine@gmail.com
mer.-sam. / 14h-19h

www.fordesite.com