“What, all three of them?” I hear you ask. Well, yes, kind of. Because they can be (often inherently) connected. I touched on performance as a design research methodology, when I talked about defamiliarisation and design as research methods. Indeed, via performance ethnography, it is hard to avoid the connection. But performative methods have long […]Performance, ethnography and design as research methods — Communication & Graphic Design Research
Overview ‘The Future Is Now’ is an exhibition that comprises of multiple artefacts and scenarios that speculated on what humanitarian operations could look like in 2030. The IFRC Solferino Academy and Open Lab at Newcastle University collaborated with an array of design agencies and curators to bring this exhibition to life. This exhibition is the result of extensive horizon […]Designing the First Humanitarian Futures Exhibition — Carlos Alvarez
This past May, the AIGA New York board met via Zoom to discuss potential board members recommended through our Call for Nominations.
“How do you get through the rest of the nomination application if their portfolio is bad?” one board member quipped as we discussed the merits of candidates.
“Yeah and also, how do we know if someone is cool?” another added. I was speechless. In a previous meeting, we’d agreed that bringing on non-designers and non-visual creatives was of a high priority. Why would a person’s “coolness” and portfolio (or lack of one) be a factor for inviting them to a team of community volunteers?
“I didn’t join the board to be best friends with people or to discuss the finer points of their craft. I joined to serve the broader design community and I hope that’s why we’re all here,” I countered, finally finding my words.
As a Black designer, I’m no stranger to my work quality being questioned. But it’s especially jarring to exist as a Black person who can see what’s going on behind closed doors. Unfortunately, my experience is not unique and this is especially true when surveying the shared experience of Black designers who have left “America’s professional organization for design” known as AIGA. During my tenure within AIGA, I’ve come to realize that it’s impossible to create sufficient change inside an organization that actively perpetuates racism towards people who look like me. It’s time for me to walk away, but before I do, I want to share what I’ve learned about AIGA’s history and pattern of not supporting Black designers.
A quiet but staggering statistic: Eight percent of all men and 0.5 percent of women experience some form of colorblindness.
What can design do to help them?