Mission control

Rob Trostle

1. I would like to use a set of raw materials that are at home in the realm of the art world and exhibitions, but use them in an unexpected way. Materials as form.

2. I do not want the exhibition to have the appearance of being finished.

3. I would like to have a environmentally friendly exhibition. Is it possible for the content to be delivered only when necessary rather than sitting around all the time?

4. I would like the exhibition to have a personalization aspect.

5. Can there be a record of what it took to create the exhibition

6. I would like online documentation of the process.

7. Publicity

DEPARTMENTS

• Documentation
  
• Publicity
  
• Waste
  
• Assembly
  
• Planning

Eric Nevin

Goal: to create a space for conversation. A good conversation

• is two-way (not a monologue),
  
• takes place over time (changes from beginning to end),
  
• gets away from you (enter in the middle, it’s halfway done).

The conversation would not only be between ourselves (designer designer, work work) but between designers and the viewers (/participants) who attend. In some ways, it could even be a literal conversation, say between two people using chat clients.

The conversation need not be overly serious, but it should be rich and multi-layered.

Samantha Haedrich

tangible

• a website to document our efforts. not only to provide a window for whomever isn’t present, but also a site that has a life of it’s own
  
• to create an exhibit that allows a viewer to linger, that invites interaction, and offers something to take away (catalogue, buttons, maybe each person contributes to a publication)

conceptual

• an exhibit that recognizes design’s awkward position in a gallery setting
  
• an exhibit that recognizes the larger moment and the smaller moment we are working in
  
• i don’t see any reason to connect our work, or our working processes other than that we are all students here
  
• keep in mind: “The danger of the age is that too many kinds of people will fail to realize that the separateness of the parts is as important as the connection of the parts. The parts must no possibly be derived from each other, but must be made to look like a good set. This is equally true of the parts of a poem and the parts of society.”

Roles

• Budget
  
• Website
  
• Oversight
  
• Materials
  
• Media Outreach
  
• Documentation

Kate Howe

I would the like the GD 2007 GDMFA show to be fun, theatrical, and make a
relevant statement about the world today. I would like it to be an event/
product/ piece that has a marketing/ communication component built in, and
proliferates through various media channels. The exhibition should exists as an
event and as a myth.

Michael Gallagher

I would like to pursue ways of making the exhibition into a living thing, something that grows and changes and evolves over time. It would be nice to create a space that people could use

Jiminie Ha

To create a space that is not aligned with the conventions of an exhibition; interest in how the exhibition (work and space) can evolve and progress over time, and not remain static. Interest in working within the constraints that are provided (meaning no outsourcing).

Brad Blondes

I am interested in creating a space that challenges the way we think about exhibition design and how graphic design is exhibited in a gallery space. I feel if there is tension between the work and the space itself, viewers would consider the exhibition more than once, meaning they would do a sort of double-take, or quintuple-take in their minds. I am also interested in using found/borrowed/recycled materials to our advantage, and that these materials are transformed from everyday objects into beautiful/functional manifestations of our work and ideas.

Romy

To create a cohesive space. To work together without watering down our strong ideas. To be playful. To explore how space can be designed. To allow constraints like time and budget to be opportunities to be creative.