The Meeting Modernity series of found photographs is the focus of Néojaponisme’s first traveling exhibition.

Recently unearthed outside of the city of Sano in Tochigi-ken, this series of pictures documents Japan as it engaged with modernization and commercial photography in the Meiji and Taishō Periods. The series is comprised of portrait photography in particular.

The exhibition makes it’s sophomore appearance at Reading Frenzy, a small press emporium and gallery in Portland, Oregon (kitty-corner from Powell’s Books) on this very Thursday. Meeting Modernity is accompanied by a trio of essays by Ian Lynam, W. David Marx, and Matt Treyvaud reflecting the collection of photographs, the history of Japanese photography, commercial art, and Japanese society.

A limited edition of full-color Meeting Modernity postcard sets from the previous exhibition in Los Angeles’ Young Art will be available at Reading Frenzy.

MEETING MODERNITY
January 8–February 1 2009

Opening Reception: Thursday January 8, 2009 6–9pm

More: Reading Frenzy 921 SW Oak St. Portland, OR 97205 If you are in Portland, we heartily encourage you to visit the exhibition.

In other news…

I have an essay that I wrote and design in the latest issue of Idea Magazine about the current state of logo design. The issue is titled “How does graphic design CHANGE?“.

東京を拠点に活動する実業家兼作家、ニコール・フォールのウェブサイト。

Probably the last post of 2008. New work added in Print + Product: boombox & packaging design for Rap-Up and Lasonic’s limited edition ghetto blaster and a one-off skateboard for Lesque. New in Apparel: an old shirt for Point Line Plane.

Also, James Chae interviewed me for Graphic Hug here.

For December, the final month of 2008, Néojaponisme has only been running “2008: The Year in Review” mini pieces, covering various topics from the year that is/was. Within, we discuss the finer points of Japan’s economy, political system, pop culture, and technological progress!

Lesqueのためのスケートボードグラフィック。こちらのデザインは残念ながらボツになったものだが、個人的に非常に気に入っていたので製造してもらった。

Skin Graft Recordsの看板バンド、Point Line PlaneのTシャツグラフィック。

Lasonicと雑誌『Rap-Up』による限定版大型CDラジカセのデザイン。各ユニットのグラフィックに加えて、パッケージングと関連広告もデザインした。

If you happen to be in Sundance country in less than a month, go peep The Clone Returns Home, directed by Kanji Nakajima, executive produced by Wim Wenders, produced by the wondrous Hikari, and graphic design by myself. Hikari and I just returned from a wondrous international sojourn across borders and deadlines to bring the film an updated name and identity informed by JAXA’s early identity explorations as much as Dutch Modernism. If you are in town, GO SEE THE MOVIE! You’ll be pleasantly surprised – it’s in a similar vein to Paris, Texas‘ rheumy/rummy displacement combined with Cha No Aji‘s timing. I’m super-duper-amped to be associated with this film in one fashion or another. I love work from the dawn of sci-fi and this film carries that torch unabashedly while being wide-eyed and beautiful and wholly original. The cinematography is insane and I was happy to give it the graphic workup it so needed.

Someone went and got twin tattoos of the logo I designed for Yacht! Other folks have gotten tattoos of other band logos and artwork I’ve done, but this is the first photographic evidence in the past few years. Good stuff.

I’ll be hanging/working at Grasshut for the next two days from noon thru 7PM. Come on down and chat me up if you are in town. They still have a handful of my sold-out books for sale and I’m happy to sign one for you if you pop in and pick one up.

Also, new boombox/ghetto blaster for Rap-Up available now! Photos once I get them!

The date of the PNCA lecture and workshop has been changed to the 11th of December. That’s tomorrow. If you want in, show up at PNCA Commons at 3PM.

Some new work has been added: the print identity for Néojaponisme and the postcard set for Meeting Modernity.

I will be in Portland for the better part of the month, as well as half of January.

Just finished:  website for Seattle-based film production company, Cross Films. They are the proud parents of Cooper.