with Marlene McCarty
Following a number of contemporary activist movements typography acts as guideposts to explore the contemporary political and social consciousness. At the moment resistance to the perfect well-designed and corporate look of computer generated typography seems to be trending. Though in some cases some groups recognize the benefits of branding there is a greater impulse to move away from possible subliminal association with big industry or advertising. This is a notable shift away from strategies used in the late twentieth century. At a time when the ubiquitous access to professional digital typography seems well within reach of all activist groups there is a growing reluctance to use those tools. What does this tell us?
About Marlene McCarty
Marlene McCarty has worked across various media since the 1980s. She was a member of the AIDS activist collective Gran Fury and was the co-founder of the trans-disciplinary design studio Bureau along with Donald Moffett. In 1990 Gran Fury participated with some scandal in the 1990 Venice Biennale Aperto. Gran Fury’s work was recently on view at the MCA Chicago and the Walker Art Museum. McCarty’s work has been seen in exhibitions at 80WSE, the New Museum, the Brooklyn Museum, the Bronx Museum, ICA London, as well as a drawing retrospective at the Royal Hibernian Academy in Dublin. She designs film titles for a hobby. McCarty’s work is in numerous collections including MoMA, NY, MoCA, LA, Queen’s Museum and the Cooper Hewitt. The Sikkema Jenkins and Co. gallery represents her work. McCarty designs film titles as a hobby, She is recipient of a Guggenheim Fellowship, a Pollack-Krasner Grant, the Richard Diebenkorn Fellowship, and, as Gran Fury, an honorary Doctorate from Massachusetts College of Art. McCarty is an Associate Professor at NYU Steinhardt.