I expect that won’t happen soon—if ever. Also, I had been in L.A. two decades by then, April about two months. What are they? To get into the meditative state I felt I needed, it became necessary to work directly. How long has it been since you practiced graphic design? While working together, April and I called our work “blendos”; I’m not sure of the origin of the term. My 6,000-square-foot space with 12 employees was too small and I didn’t want to expand. nb: the same subject covered here, but with a more architectural focus: And promo lives too! It’s been quite an amazing journey, from working with Paul Rand, to graphic design, to photography, to photo-grapher, to entrepreneur, to artist. I wanted a more free, larger visual Weltanschauung. It’s actually a Buddhist concept. Back from the desert in 1976, having not worked for four years, I made a new portfolio for myself from scratch because I needed work. How did Wolfgang Weingart impact your graphic design? I agree that movements (here I would note movements rather than styles) arose as opposition to previous sensibilities. Obviously, your graphic design past is an influence, but what else are you saying with these works? Can you imagine? Prior to the time we met, Cal Arts had hired me to design a flyer that would print and mail for 75¢. [The client] wouldn’t allow me to do the typography. Photograph: V&A, LondonMost of the graphic work in the exhibition is gathered in a section titled “Style Wars.” This is the aspect of postmodern design I know best and I was one of the advisers consulted early in the process at a study day at the V&A. Postmodernism may have dominated the academy for more than a decade, but it was never a term that commanded much public understanding, let alone affection. A copy of New Socialist magazine (1986) with a cover by Brody has been commodified as a T-shirt in the V&A’s shop apparently with the designer’s approval — postmodern irony in action. For example, the Lover/over piece is a constructed example of what I call the Golden Rule of Design: “The solution to the problem lies within the problem,” another direct connection to graphic design thinking. In the late 1970s, during a transitional time in graphic design history, Art Center grad Jayme Odgers helped establish a new look for California design, dubbed The Pacific Wave. Much of the earlier text-based work comes from paronomasia, a play on words. In EGO I used two collaged ‘T’s, one truncated into an ‘L’ to form the word LET. In other words, progress is achieved through opposition. The movement still arouses a surprising amount of disdain, as though it had been entirely indulgent, frivolous, wasteful, aesthetically misconceived and unnecessary. Subtle Profundity Most probably you don’t. In those years, the American designer Jeffery Keedy, who isn’t included in the exhibition, was one of postmodernism’s most vigorous and polemical champions, and a scourge of “zombie modernists” who, in his view, continued to think and design as though postmodernism hadn’t happened.Rudy VanderLans, Emigre no. The exhibition’s curators, Glenn Adamson and Jane Pavitt, offer the same disclaimer in their foreword to the exhibition book: “the reader will not find anywhere in this book, or the exhibition it accompanies, a single handy definition of postmodernism.” That doesn’t mean that the book and (in a necessarily simpler way) the show avoid the issue — they offer many rewarding perspectives on the subject. The deep sense of space shocked me. I favored the gradations, soft colors, graphic textures, Japanese elements, yin-yang and good fortune. Doug Schmidt, a set designer on Broadway, hired us to do a poster announcing his move. Enter Print’s Typography & Lettering Awards today. Perpetually curious about everything design, we report on, curate and celebrate visual culture, the makers of that culture and the expression of graphic design in all its forms and mediums. Large-scale exhibitions in public museums must always strike a balance between doing a subject adequate intellectual justice and appealing to ordinary visitors who are likely to know little or nothing about the theme. She only knew of me as a photo-grapher. April Greiman, Jayme Odgers . It’s entirely fitting that architecture, one of the strongest and most compelling sections, comes first (there’s a terrific room devoted to Venturi and Scott Brown in Las Vegas), but for many visitors it will be pop and rock music, album covers and videos, that first signaled the postmodern “turn.” In 1978, I tuned into the retro-constructivist references on the cover of Kraftwerk’s The Man Machine, the mournful yet oddly exhilarating sense that some version of the future had already occurred, several years before I knew that such a thing as postmodern architecture existed. It certainly doesn’t help that even postmodernism’s proponents, who tended to be theorists rather than artists or designers, were always at pains to say how slippery the concept was, and hard to define. Both you and April Greiman—together and solo—were the epitome of California design. In one he wrote: “To Jayme, my best assistant ever and someone destined to surpass me.” Can you imagine Paul ever saying a thing like that? Sep 1, 2018 - Explore Bahare Soltani's board "Jayme Odgers" on Pinterest. Yes, a direct influence, however it took me decades to make the connection.

Slight correction to your credits under The Man Machine cover image. The work (below) was done prior to my meeting April Greiman. In those early days it was catch-as-catch-can for me. For example, circa 1985, I went to New York to show my portfolio to Capitol Records to get work. If anything it was the opposite—a sense of freedom without rules, without structure or theory. Such a thoughtful question. Knoll was considering me for their graphics. Below, on the right, is another photo-graphic piece I did, only this one was after April and I had parted ways. However, few of these record covers, posters and magazines are very commercial and their audiences, though still consumers, tended to share the work’s ambivalence. Photograph: V&A, London. LOS ANGELES. For me, making an image was generally a tedious affair, usually a photographic background with carefully collaged elements and critical airbrushing (i.e., Cal Arts poster image). For me, the piece we did for WET Magazine, a publication that epitomized West Coast lifestyle at that time, represents our quintessential California Design look. I wish I could say I had some theory, but I can’t. The camera added too many distracting, linear, left-brain decisions—film processing, clean lenses, tripods, lights, etc.—all too mechanical. To me, postmodernism symbolized the end of a linear progression of styles, from one to the next, and began the current period where every style, in every possible combination, is current and practiced by somebody, simultaneously. I was also attracted to the bright, clean colors of the desert light. Not at all. Postmodernism is a rejection of the very idea of objectivity and universal truisms in favor of subjective experience and flexible realities. It was an Asian Invasion at that time in Los Angeles, sushi was everywhere. Daily Newsmagazine and City Guide to Pasadena, California featuring local news, breaking news, events, weather, sports news, schools news, shopping, restaurants and more from Pasadena Now. But any attempt to reduce such an intricate set of cultural factors across so many kinds of art, design and media to a brief, all-encompassing definition would be a misrepresentation. I refused to show the old work that seemed too overtly promotional, plus I was bored looking at it by that time. With a B.A. Trained in Kalte Kunst under Paul Rand, I used those rigid principles in my own design (late ’60s, early ’70s), however, by the mid 1970s, the Miesian “Less Is More” dictum of Modernism had lost its appeal.

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