LIVD is an annual print publication produced in the Pacific Northwest, dedicated to the intersection of art, design, culture and how these influence lived experience. Created and designed by Meredith, the publication includes contributions from professional artists, designers and the wise – many of whom do not participate in the dominant mechanisms of culture production. LIVD pays hommage to the inspiring and idealistic efforts of the early twentieth century avant-garde, balancing the academic with the personal and experimental.
The publication exists in a limited edition print run of 150 for each volume. It is also archived through the Portland State University library, and each volume is available to the public approximately two years after the print release.
To extend the reach of the publication, the twitter feed keeps pace with real-time issues and information.
Volume 15.1 of LIVD (entitled “Oh, Sherrie”) focuses on the intersection of Sherrie Levine’s work, feminism and identity. Topically, the authors vary in their responses, some more direct – as in Nicole Dyar’s (graduate student) commentary and social criticism on the American cultural phenomenon of appropriating one’s identity from social media, and how this results in identity being authored by culture rather than the self. Sarah McCoy (educator and letterpress studio entrepreneur) rectifies a noticeable gap in graphic design history, that of early colonial women printers who are largely ignored by existing scholarship. Hayden Roma (undergrad student at PSU) approaches Barbie as inherently and entirely revisionist. Lisa Jarrett’s (educator and artist) lovingly poetic view on experience touches deeply upon longing and memory.
Volume 15.2 of LIVD (entitled “Letting Go”) includes articles responding to the following prompt: Screwing up, failure, vulnerability… that sort of thing. Again, topically the authors vary in their responses, yet all are working towards understanding failure and vulnerability as it underpins a creative practice. Nick Kuder (designer and educator) starts off with fantastic insight into the workings of stigmergic systems. Artist Roz Crews follows, in an interview with Caleb Misclevitz (designer) on taking risks and not taking risks. Portland Designer Nimi Einstein’s piece centers around xenophobia, and LA designer Tamar Rosenthal crafts a response. Nimi and Tamar have never met in person, but share a similar cultural heritage, their viewpoints offer an interesting insight into the current struggles between Israelis, Palestinians and American descendents. Interspersed throughout the publication are poems on contemporary existence from Doctor Kobra. Doctor Kobra has also included a graphic piece calling for hugs.