Brand

In the previous display of this exhibition, the work itself stood out against the traditional gallery setting of white walls, and the occasional color. We wanted to spread the art all over the gallery. We chose five bright, almost neon colors taken directly from the work in the show.

The shapes also came from Friedman’s work. The triangles were used as a nod to tradition while excluding the extremely symmetric square. The “bang” came from Friedman’s balance of chaos with rules. The zigzag is an iconic shape in much of Friedman’s work, even hanging in his own home. Together they create a funky yet clean system.

Design

When designing the window, I created several sketches, planning out how to use the shapes. A goal of mine was to create a layered, interactive composition. The idea of movement was crucial.

In addition, we brought in typography based on a poster of Friedman’s which inspired the show.

However, after much planning and sketching, we realized the best composition for the show would come from live instinct.

Creation

The construction and installation process was a combination of improvised decisions and meticulous planning.

We carefully measured out, cut and painted each shape, but hung them according to our own design instinct.

We used guidelines to perfectly center the text for “Modernism” but played with the placement and tracking of the word “Radical.”

In the end, our process not reflected the show, but was inspired by the creation of the pieces in the show.

The Final Window

Composed of bold shapes, the final window pushes bright colors and unique type out to the audience. The lively shapes move in the wind, pulling people into the gallery, transitioning the outer world into the inner mind of Dan Friedman.