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The competition that spotted Stefan Sagmeister, James Victore, and Mike Mills when they were but wee design/art powerhouses-to-be is back for its eleventh go-round. Behold Young Guns 11, the Art Directors Club‘s international, cross-disciplinary, portfolio-based competition to identify the young creative vanguard. By “young,” they mean 30 or under, and by “creatives,” they mean those doing great things in graphic design, photography, illustration, advertising and art direction, environmental design, film, animation, video, interactive design, object design, and/or typography. What’s so special about Young Guns? It recognizes an individual, and considers a body of work, not a single ad or design. Also, you get a really cool cube if you win. Young Guns 11 is open to ADC members and non-members worldwide. A jury of past ADC Young Guns will select the 50 winners. Entries will be accepted beginning today, so get ready to take your shot.

New Career Opportunities Daily: The best jobs in media.

Magazines gusty enough to enlist chairs as cover models are far too rare these days, and so it is with pleasure that we tell you about a brand new shelter magazine: Departures Home & Design. The stand-alone publication debuts just in time for ICFF and NYCxDESIGN with a May issue (pictured) fronted by Dror Benshetrit‘s Peacock chair, the feat of felt plumage he pulled off in 2009 for Cappellini.

This is the first brand extension for Departures, the magazine that mails to holders of platinum and centurion American Express cards, and comes packaged with the May issue of the flagship publication. “We’ve wanted to do a real home and design magazine that’s published for true luxurists, whose interests are global and whose style is not built solely around name-brand designers but created organically through their own sense of self, their particular passions and desires,” says Departures editor-in-chief Richard Story, who may have coined the term “luxurists.” Inside, alongside ads by the likes of B&B Italia, Roche Bobois, and Baccarat are features such as “The Master of Accumulation,” a look into the private quarters of W alum-turned-Barneys creative director Dennis Freedman; a celebration of midcentury Honolulu; and a feature on the Persian gardens of L.A.’s Nazarian family.

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Need a nudge to get moving on the graphic novel you’ve been writing and/or drawing in your head for years? First, seek inspiration from Code Monkey Save World. The graphic novel in-progress–based on the songs of Jonathan Coulton, written by Greg Pak, and drawn by Takeshi Miyazawa–is poised to clear $200,000 in Kickstarter funding (five times it original goal). According to the creators, the project was born last November after Pak joked on Twitter about writing a supervillain team-up comic based on Coulton’s characters. Coulton tweeted back “DO IT.” And so they did. You can, too, and the Mediabistro mothership is here to help with an online course that promises to move your graphic novel out of your head and onto the page–and beyond. Marvel Comics veteran Danny Fingeroth leads the eight-week learning adventure, which will take you from devising a proposal and writing word balloons to surviving Comic-Con and handling Hollywood. Learn more and register here.

New Career Opportunities Daily: The best jobs in media.

More than a year after declaring Chapter 11 bankruptcy, Kodak has made a deal to sell the camera film business on which it was founded, among other assets. As part of a $2.8 billion settlement agreement with its largest creditor, the U.K. Kodak Pension Plan (KPP), the company’s personalized imaging and document imaging businesses will be spun off under new ownership to KPP. The deal, announced today and subject to the approval of the U.S. Bankruptcy Court, will also give Kodak $650 million to help it emerge from bankruptcy.

So what is actually set to be spun off? You may recall that Kodak recently sold its digital imaging patents for $525 million and then pulled a Polaroid by licensing the Kodak brand name to Los Angeles-based JK Imaging for consumer products such as digital cameras, pocket video cameras, and portable projectors (having shuttered the Kodak digital cameras business last year), as it moves to focus on commercial imaging. The business units involved in the KPP deal are Personalized Imaging, which includes retail photo kiosks and dry lab systems, photographic paper and workflow solutions, still-camera film products, and “event imaging solutions,” which allows theme parks to sell garishly framed souvenir photos to fresh-off-the-rollercoaster patrons. The deal will also divest Kodak of its document imaging business, a line of scanners, software, and professional services.

New Career Opportunities Daily: The best jobs in media.

(Photos from left: Fred Ernst and courtesy Veuve Clicquot)

April is not the cruellest month when you’ve got a Pritzker and projects in progress on most continents. It’s just one more month to collect commissions, continue the epic battle against jetlag, and receive awards. Two recent honors of note: Rem Koolhaas is this year’s recipient of the Dutch state prize for the arts, the Johannes Vermeer Award, while Zaha Hadid has been declared the the winner of the 41st Veuve Clicquot Business Woman Award, an honor that we hope comes with a lifetime supply of bubbly. Koolhaas will receive the Johannes Vermeer Award, a €100,000 prize that is mainly to be used for the realization of a special project, at an October 21 ceremony at the recently reopened Rijksmuseum in Amsterdam. Past winners of the award, established in 2008 to honor artists working in the Netherlands and across all disciplines, include photographer Erwin Olaf and artist Marlene Dumas.

Meanwhile, over in London, Hadid–that’s “Dame Zaha” to you–bested fellow finalists Thea Green (Nails Inc.) and Dorothy Thompson (Drax) to win the Veuve Clicquot Business Woman Award, which honors successful businesswomen who share the qualities of the savvy Madame Clicquot, known for her enterprising spirit, courage, and determination, according to the company. “When I started my career in architecture it was very much a male dominated industry, but in recent years I’ve seen a growing number of talented female architects join the profession and succeed,” said Hadid in accepting the award, which includes a silver trophy shaped as a La Grande Dame bottle (pictured) and a case of the real stuff. “This Veuve Clicquot Business Woman Award shines a light on our achievements; and I hope it encourages more women to continue with the profession.”

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Richard Misrach, “November 20, 2011, 3:36 PM” (2011). Courtesy Fraenkel Gallery.

“I grew up in L.A. and went to Berkeley from ’67 to ‘71. I started out as a math major and ended up in psychology, but that was also when Berkeley was just going insane. I didn’t take formal classes in photography at all. I started taking photographs of tear gassings on the Berkeley campus with my uncle’s camera….I was being exposed to Berkeley street riots and the politics of the time, which was very important to me, but I was also being exposed to the f/64 school of photography—Ansel Adams, Edward Weston, Dorothea Lange—and I was just falling in love with photography, so I found that that combination of social, political engagement along with my passion for the aesthetics of the medium of photography were coming together very fast and hard. For the last forty years I think my work has reflected those two polarities, and it’s been sort of interesting the way they have been pushed. They’ve never really reconciled—art and politics.”

-Richard Misrach today at Paris Photo Los Angeles, in an on-stage conversation with John Divola and curator Douglas Fogle. Misrach’s work is on view through June 16 at the Cantor Center at Stanford University. A exhibition of his new largescale photos opens next Saturday at Pace/McGill Gallery in New York.

New Career Opportunities Daily: The best jobs in media.

• “[S]tripped of most traditional linguistic elements, the short film has to move fast, but it must strive not to confuse the viewer with too many objects or jarring cuts,” writes Stephen Apkon in The Age of Image: Redefining Literacy in a World of Screens, new this month from Farrar, Straus and Giroux. The book inspired this short film (above) by Daniel Liss.

• And speaking of short films, the Tribeca Film Festival has selected the winners in its six-second film competition. Watch all of the jury’s top picks in under a minute here.

• It’s the end of an era for Cooper Union, which will begin charging undergraduates tuition beginning next fall.

• The design community and members of the general public are protesting MoMA’s decision to raze the building that Tod Williams Billie Tsien designed for the American Folk Art Museum. The Architectural League drafted this open letter requesting MoMA to provide “a compelling justification for the cultural and environmental waste of destroying this much-admired, highly distinctive twelve-year-old building.”

• All is fair (use) in love and appropriation? Artist Richard Prince emerged largely triumphant in yesterday’s appeals court ruling on the copyright case involving his 2008 “Canal Zone” series, which used portraits from Patrick Cariou‘s Yes, Rasta book.

New Career Opportunities Daily: The best jobs in media.

(Photo: Maharam)

After four generations of family ownership, Maharam is changing hands. The beloved New York City-based textiles firm, founded in 1902 by Louis Maharam, is being acquired by Herman Miller for $156 million, the company announced this week. “Much as we’ve struggled with this decision, our philosophical kinship with Herman Miller helped make this difficult step a far easier one,” said CEO Michael Maharam, who along with his brother, Stephen (who serves as COO), will remain active in the day-to-day management of the company for the next couple of years. “Herman Miller’s potential to provide the wherewithal to pursue important new initiatives, as well as an established reach into both retail and international markets and the greatest possible strength of association, offers a powerful lever in achieving our design-centered strategic vision.” Maharam is perhaps best known for its re-editions of iconic 20th century designs, including the work of Anni Albers, Charles and Ray Eames, and Alexander Girard. In recent years the company has developed textiles with collaborators such as Hella Jongerius, Paul Smith, Marian Bantjes, and Sarah Morris.

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Thom Browne is on a roll. Last fall he received the Cooper-Hewitt’s National Design Award for fashion, and a few months later First Lady Michelle Obama sported his necktie-inspired navy silk coat to the inauguration. Now Pratt Institute is honoring the designer with its 2013 Fashion Visionary Award, which in previous years has been bestowed on fashion greats including Ralph Rucci, Narciso Rodriguez, Diane von Furstenberg, and Fern Mallis. Browne will receive the award this evening at the Pratt fashion show, an annual affair that showcases the reliably remarkable thesis collections of seniors in the school’s fashion design program. “No American sportswear designer better represents the aspirations of Pratt fashion than Thom Browne,” said Pratt fashion department chair Jennifer Minniti in a statement announcing the award. “His highly conceptual runway presentations and impeccable craftsmanship have set standards for excellence and originality that push forward and inspire our fashion students to do the same.”

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Famed literary critic Lionel Trilling once described Henry James as a “social twitterer.” Sure, he meant it as an insult, but it makes us feel better about having signed up to twitter ourselves. Look to the UnBeige Twitter feed for up-to-the-minute newsbites, event snippets, links of interest, design trivia, and our exclusive photo of Rem Koolhaas in mid-ponder (it makes for smashing smartphone wallpaper). The mediabistro.com tech wizards have added to the sidebar at right a handful of our most recent word bursts, but you can sign up to follow all of our twittering, and start twittering yourself at twitter.com.

New Career Opportunities Daily: The best jobs in media.

(Photo: Richard Patterson for Design Miami)

The countdown to Basel is on, and this year Design Miami/Basel moves to a new Herzog & de Meuron-designed home in the new permanent exhibition hall. The eighth edition of the Basel fair is also shaping up to be the biggest yet. “We’ll have about fifty percent more galleries than last year,” Design Miami director Marianne Goebl told us during a recent trip to New York. “And we’re expanding our geographical reach. For the first time, in Basel we’ll have a gallery from South Africa, Southern Guild. We’ll also have a first-time participant from Beirut, Carwan Gallery, which will present the work of India Mahdavi.”

A Vitra veteran who took over from founding director Ambra Medda in February 2011, Goebl has succeeded in freshening up Design Miami for an audience that ranges from die-hard design fans to newcomers who strolled over from the neighboring art megafair. “I have this very naïve mission of wanting to communicate to a large audience that design matters,” she says. “Everybody lives with design, whether they want to or not. Not everyone can make choices, but to a certain degree a lot of people can make choices and I think that not enough people do it…until now.” We asked Goebl about how she became interested in design, what’s in store for Basel, and if she believes the 3D printing hype.

How did you become interested in design?
I thought I would end up in the arts, so growing up in Vienna and already when I was a teenager and during my studies [in economics], I always worked in galleries and museums. I interned at the Museum for Applied Arts, worked for an art gallery for three years, and really felt like I wanted this to part of my life, but then designer friends of mine took me to Milan [Salone Internazionale del Mobile] when I was maybe 22. This whole new world opened up and I realized that in design I could find…conceptual thinking, but also something beyond that, which is tangible and really part of everyday life. And I felt that this is what I wanted to be part of.

Since taking over as director in 2011, what have you found particularly surprising about your job or the fair itself?
What I’ve really learned over the last two years–and what I hope to continue in the future–is that Design Miami can speak to different types of people. First there’s an audience of general enthusiasts, people who are just really interested in design. They may not be interested in buying something, but it doesn’t matter. They can just come [to the fair], get all of the information, ask all of their questions, see the material, interact, use it as a forum. And on the other end of the spectrum, we can reach an audience that can actually help fuel the market and help designers to continue their research and to tell their stories. I don’t want to call it two levels, because it’s not necessarily two different levels, but it’s a broad spectrum of audience, and that wasn’t clear to me before I joined Design Miami.

Tell us about Design Miami’s new location for Basel in June.
In Basel this will be Design Miami’s fourth location. It’s like an itinerant fair! It brings a lot of opportunities, because first, it’s a brand new hall with great architecture. It’s part of the fairground of the Basel convention center. They built a bridge across two buildings on a public plaza. There’s a skylight. It’s in the middle of activities. And then the fair will unfold in the bridge. And there’s moments when you can overlook the square, so it’s nice to communicate with the outside world. I would say it is sophisticated, industrial, not at like a sleek, carpeted convention center.

And Design Miami will also have another space, in addition to the main fair?
We’ll have an additional space that we did not have before in Basel, on the ground floor, where we’ll be able to stage a design performance. We’re working with a German designer who collaborates with dancers. It will be about the relationship between the maker and the object. It will be an ongoing thing. Every time you come something else will be happening. And this is something that we would not have been able to do in the fair’s previous location, because we had no room to grow.
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This week, Armani Exchange is hiring a graphic designer for print, while UrbanDaddy needs a visual designer. Hachette Book Group is seeking an art director, and Break Media is on the hunt for a graphic designer. Get the scoop on these openings and more below, and find additional just-posted gigs on Mediabistro.

Find more great design jobs on the UnBeige job board. Looking to hire? Tap into our network of talented UnBeige pros and post a risk-free job listing. For real-time openings and employment news, follow @MBJobPost.

New Career Opportunities Daily: The best jobs in media.

Crank up the LEED Zeppelin, design fans, because Twitter is abuzz with a delightful new hashtag: #ArchitectBandNames. Who wouldn’t want to listen to Edward Durell Stone Temple Pilots or jam out to Jeanne Gang Gang Dance? Have a look at some of our favorites from across the twitterverse:

Chaka Kahn #architectbandnames

— ARCHITECT magazine (@architectmag) April 23, 2013

Favorites so far: R.E.M. Koolhaas, Lana Del Ray Eames, The Holl Steady, Death CAD for Cutie. #ArchitectBandNames

— Gary Hustwit (@gary_hustwit) April 23, 2013

The McKim, Mead & White Stripes #architectbandnames

— Mpls Institute Arts (@artsmia) April 24, 2013

Skid Row, Owings & Merrill #ArchitectBandNames

— UnBeige (@UnBeige) April 24, 2013

Aha Hadid; Neutra Milk Hotel; Charles Rennie Macklemore; Adolph Loos Lobos; #ArchitectBandNames

— jimdatz (@jimdatz) April 24, 2013

The Calatraveling Wilburys #architectbandnames

— Jenny Kutnow (@jennykutnow) April 24, 2013

For some Canadian flavour for #Architectbandnames … ‘Barenaked Gehrys’ and ‘Simple Floor Plan’

— Chris Mulholland (@CJ_Mulholland) April 24, 2013

Notorious B.I.G. #architectbandnames @architectmag @bjarkeingels

— Antoine Bowers (@AntoineBowers) April 24, 2013

NBBJ Geils Band #architectbandnames

— Max Carr (@maxakcarr) April 24, 2013

Tadao Ando Will Know Us By the Trail of Our Dead (worst band name ever) #architectbandnames

— AIA Media Relations (@AIA_Media) April 23, 2013

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Do you excel at explaining phenomena ranging from plate tectonics to nuclear fission using only a pen and a dinner napkin? Doodle double helices—and their accompanying nucleotides? Then listen up, because the American Association for the Advancement of Science (or “triple-A S,” as the cool kids call it) is looking for a new visual Einstein to join the graphics and layout department for its flagship journal, Science, at its Washington, DC, headquarters. Need you be able to tell xylem from phloem, ventricles from atria, a chupacabra from an exasperated kangaroo? Probably not, but be ready to describe how your “proven ability to create sophisticated, high quality visuals” will react with your “strong technology skills in contemporary software packages” to keep the visual standards of Science as high as its impact factor. And don’t forget to balance your equation.

Learn more about this scientific technical illustrator, American Association for the Advancement of Science job or view all of the current mediabistro.com design/art/photo jobs.

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“After so many years of averting the border patrol between the disciplines of art and architecture, while inhabiting both yet claiming to be outsiders, this is the ultimate validation,” said Elizabeth Diller last Wednesday at the Plaza Hotel, as she joined partners Ricardo Scofidio and Charles Renfro in accepting the American Academy of Rome’s Centennial Medal for their exceptional contributions to the worlds of architecture and the visual arts. The trio spent the previous evening at the New York Public Library, where they discussed their interdisciplinary design studio’s renewal of Lincoln Center. We asked writer Nancy Lazarus to attend the event and harvest some memorable quotes. Learn more on May 10, when Diller and Scofidio will be joined by DS+R monograph author Edward Dimendberg for a book talk at the Center for Architecture.

Redesigning Lincoln Center was an epic undertaking that involved a prominent public landmark and a painstaking process that evolved over nearly ten years. Diller Scofidio + Renfro, the design studio behind most of the project, has chronicled their experiences in Lincoln Center Inside Out: An Architectural Account (Damiani). The three principals shared their views on the project and the book at a recent event hosted by New York Public Library and moderated by Barry Bergdoll, chief curator of architecture and design at MoMA. The DS+R trio is just as articulate as they are creative, so here are excerpts from that discussion.

On Lincoln Center’s design:
Diller: The old Lincoln Center was too elitist, solid, and turned its back on the neighborhood and community. We were drawn to the promenade levels where everyone pours out in the middle of events. We wanted to extend that social feeling to the rest of the project. We broke down the edges to enable events in the public spaces. There’s more symmetry now across the public and private spaces.

Scofidio: There were no photos of the old Lincoln Center except the main plaza with the fountain. Someone said that in the 1960s, plazas were designed to be desolate.

On how they approached the project:
Diller: To win the project we showed many ideas, since we tend to think in multiples, with different approaches and solutions. We demonstrated our affection for the place and showed how to take it to the next step. We felt we could do it justice and interpret it for contemporary culture. We wanted to transform Lincoln Center for the logic of our time.

Scofidio: We didn’t go in and say here are the problems we have to correct. We just said we can finish Lincoln Center.
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Admit it. Your seven-year-old nephew could out-HTML tag you any day and you think that a Cascading Style Sheet is something with a thread count. That’s where the Mediabistro mothership comes in. They’ve asked us to tell you about the upcoming online course in HTML. Over four fun-filled weeks, web design design guru Laura Galbraith will guide you through a variety of web page production techniques, from column-based layouts and search engine optimization to semantic markup and advanced CSS styles. The online learning fun begins April 30 (materials are available today), and within a few weeks, you’ll have brought a pre-designed webpage to life through the magic of HTML. Preview the course syllabus and register here.

New Career Opportunities Daily: The best jobs in media.

Wisconsin’s Hamilton Wood Type and Printing Museum is the only museum dedicated to the preservation, study, production, and printing of wood type. Admission is free, thanks in part to the all-volunteer staff, and the collection includes 1.5 million pieces of wood type and more than 1,000 styles and sizes of patterns. In addition to a 145-foot wall of wood type–the world’s largest–the museum even has its own Matthew Carter-designed typeface, Carter Latin Wide. “I’m not a printer, least of all a letterpress printer,” the famed typographer has said of first foray into wood type. “But I tried to think like one and imagine a typeface that allowed me to print something in a way that I could not otherwise do.”

The museum recently moved into a new home in Two Rivers, and the race is on to reopening day, planned for this summer. According to director Jim Moran, Hamilton desperately needs funding–and an army of volunteers–to physically move millions of pieces of type, plates, presses, tools, and raw materials. Enter letterpress-loving Neenah Paper, which has launched a “Help Save Hamilton” campaign that will donate to the museum all money raised from a series of limited-edition prints. First up is “Form & Function” (pictured), designed by Two Paperdolls. “I scanned the back of some wood type to achieve an authentic texture,” says Jennifer James of the Philadelphia-based studio, “and adorned the letterforms with ornaments you might find in an ‘old school’ letterpress shop.”

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“The Riedel stemless wine goblet is foul to look at and fouler to drink wine from. Calling it a ‘goblet’ is an insult to me as a good Catholic altar-boy who is used to gleaming silver grails at Mass. If you are so antsy about wine glasses having stems, you should get some old ones without stems–especially those with a square crystal base. The idea that you should worry endlessly about glasses of red wine being knocked over is typically one of those irritating middle-class anxieties best consigned to oblivion. If a glass of red wine is knocked over, then it’s knocked over. We will just have to clean it up. Blotches on tablecloths and carpets are the marks of stylish nonchalance and confidence.”

-Sir David Tang, responding to a reader question concerning Riedel wine tumblers, in his most recent “Agony Uncle” column for the Financial Times

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The awards-gala season is in full swing, and Creative Time is cooking up a night to remember at Brooklyn’s Domino Sugar Factory. The arts organization, which recently trotted out Nick Cave‘s soundsuited steeds in Grand Central terminal, will cap off the month with an April 30 benefit to honor the multitalented Julian Schnabel. Mario Batali is handling the food, daughter Lola is crafting the playlist, and the likes of Laurie Anderson and Al Pacino are lining up to praise the man of the moment in charming yet succinct video tributes. As you prepare to fetch your credit card to buy a ticket (after all, gala proceeds provide nearly a third of Creative Time’s annual budget), watch Anderson’s salute to Schnabel:

New Career Opportunities Daily: The best jobs in media.

A taste of the digital typefaces designed by Hoefler & Frere-Jones.

Shield your eyes from the glare of design talent this evening in New York, as AIGA hosts “Bright Lights.” The annual awards gala will begin with cocktails and conversation, and proceed to celebration and presentation of the coveted AIGA medal, the graphic design world’s highest honor. This year’s crop of James Earle Fraser-designed medallions goes to: John Bielenberg, William Drenttel and Jessica Helfand, Jonathan Hoefler and Tobias Frere-Jones, Stefan Sagmeister, Lucille Tenazas, and Wolfgang Weingart. Not heading to Bright Lights? Play along at home by reading aloud, in your best announcer’s voice, AIGA’s citations (below) of the design luminaries.
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New Career Opportunities Daily: The best jobs in media.