LIVD is an experimental design publication that comes out annually. The publication is dedicated to the intersection of art, design, culture and how these influence lived experience. Created and designed by Meredith, the publication includes contributions from artists and designers from across the country. LIVD follows the model of early twentieth century experimental designers, as a publication that is meant to present and challenge ideas. Articles range from academic to personal, from poetry to prose.
Each volume is produced in the Pacific Northwest, in a limited edition print run of 150. The print runs are small, to further the preciousness of the printed piece. Each copy uses production methods that make it unique. For example, Volume 15.2 includes risograph overlays. Risographs are custom prints from a machine that is a hybrid of copier and screenprinter.
Digitally, LIVD is archived through the Portland State University library. 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 (designer) 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 (former 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 and risk. 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 their American descendents. Interspersed throughout the publication are poems on contemporary existence from Doctor Kobra. Doctor Kobra’s graphics can also be found in the publication.