{"id":123510,"date":"2018-03-27T13:42:06","date_gmt":"2018-03-27T17:42:06","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=123510"},"modified":"2018-03-28T15:04:10","modified_gmt":"2018-03-28T19:04:10","slug":"oliver-mundays-graphic-design-with-a-conscience","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2018\/03\/27\/oliver-mundays-graphic-design-with-a-conscience\/","title":{"rendered":"Oliver Munday\u2019s Graphic Design with a Conscience"},"content":{"rendered":"

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Perhaps the most striking images in Oliver Munday\u2019s new monograph, Don\u2019t Sleep<\/em><\/a>, appear just before the title page. On the left-facing page is a nineteenth-century map of the Senate floor. On the page opposite is an illustrated cross section of the hull of a slave ship, scaled to the same size as the Senate and in the exact same semicircle shape. This encapsulates Munday\u2019s design work: arresting juxtapositions, an engagement with the political, and above all, a deliberate, understated presence. As heavy as the visuals are, Munday\u2019s hand is light. The images speak for themselves.<\/p>\n

Don\u2019t Sleep <\/em>is a powerful survey of thirty-three-year-old Munday\u2019s career thus far. The title, which asks readers to stay alert to the implicit and explicit messages of an image-saturated culture, also calls to mind \u201cwokeness.\u201d Though Munday is hesitant to call himself an activist, he readily acknowledges the role of design in various social movements, from May 1968 to Cold War Cuba. Munday\u2019s editorial illustrations, posters, and book jackets draw attention to social-justice issues\u2014and awareness is the first step in making change. He is after, as he says, \u201cthe thing that makes you stop and think for just one extra moment.\u201d\u00a0<\/p>\n

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Munday is responsible for the covers of Colson Whitehead\u2019s The Underground Railroad <\/em>and Margo Jefferson\u2019s Negroland, <\/em>as well as Elif Batuman\u2019s The Idiot <\/em>and Nathan Hill\u2019s The Nix.<\/em> He is a fixture in the pages of The New Yorker, <\/em>the New York Times, <\/em>and The Atlantic, <\/em>and he has designed numerous iconic covers for Time\u00a0<\/em>magazine. <\/em>The table of contents in Don\u2019t Sleep<\/em> reads like an accounting of the thorniest problems facing America today: Criminal Justice, Race, Democracy, Education, Environment, Heritage, History, Economy, Health, Foreign Policy, War. Working in a variety of styles that draw on his constructivist influences but also street art, Pop art, and collage, Munday\u2019s illustrations tackle everything from the Israel-Palestine conflict to the Flint water crisis. Also on display is his work for nonprofits like Cuba Skate, the Baltimore Urban Debate League, and Dave Eggers\u2019s 826 D.C.<\/p>\n

The standout section, Heritage, is a visual essay. In these pages, we are confronted by a stock photo of the White House, blocked from view by a blank check; a statue of a Civil War soldier posing proudly with an automatic weapon; and the Washington Monument repurposed as a giant pillory. In other images, Munday, like Kehinde Wiley, imagines black bodies into classical Western art and architecture. One image replaces the bust of Alexander von Humboldt in Central Park with one of Kalief Browder, the teenager who spent three years on Rikers Island after being wrongly accused for stealing a backpack. (Browder committed suicide two years after his release.) \u201cKalief Browder is a hero,\u201d Munday says. \u201cHe was an explorer, just like Humboldt, only he was forced to explore the darkest recesses of our broken criminal-justice system. I wanted to imagine a world where we honor those who suffered wrongly.\u201d<\/p>\n

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Munday grew up in Washington, D.C. His mother worked as a fund-raiser for different causes, and his father was in real estate. After they divorced, his mother married a personal-injury lawyer, and the family suddenly \u201cjumped up a rung on the class ladder.\u201d Though some accused Munday\u2019s stepfather of being an ambulance chaser, he was actively involved in the community, winning a high-profile case for the families forced to evacuate their homes by a fuel spill at a BP Amoco gas station in Southeast Washington. Munday remembers the reporters and cameramen that occasionally showed up at the law firm, and the seeming intrigue of civic engagement.<\/p>\n

After a brief and unsuccessful stint at St. John\u2019s, a Catholic JROTC school, Munday transferred to Woodrow Wilson High. Wilson had a reputation. Though located in the affluent, predominantly white neighborhood of Tenleytown, due to school closings and rezoning it also served all of Southwest Washington north of the Anacostia River, which was predominantly black. Munday\u2019s mother worried about him falling into \u201cthe wrong crowd.\u201d In the eighties, the school was notoriously violent. The social issues plaguing D.C. played out in the hallways. Teachers were beat up. A principal was thrown out of a window. Key figures in the eighties D.C. hardcore scene had gone to Wilson, including Ian MacKaye of Minor Threat and Fugazi, whose recollections of his time there involved a classroom catching fire and a kid bringing a shotgun to school. \u201cSocially,\u201d Munday writes in the preface to Don\u2019t Sleep, <\/em>\u201cI was often the only white boy\u2014a novelty\u2014and I enjoyed being considered down. <\/em>As I got older, the distinction proved complicated. An internal tension took hold \u2026 Our home and its abundance of unused rooms were hard to explain.\u201d<\/p>\n

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Munday was more interested in basketball, sneakers, and seeing go-go bands like UCB than he was in his studies. The only class he liked was Intro to Computer Graphics. Both of Munday\u2019s paternal grandparents were artists, but he attributes his career to the \u201cthrilling revelation\u201d that \u201cdesign was everywhere, omnipresent to the point of invisibility.\u201d His work directs the eye toward the margins. He took the class four times before graduating high school.<\/p>\n

He studied design at the Maryland Institute College of Art in Baltimore. The state of the city threw the relative privilege of MICA into sharp relief. Munday studied under Bernard Canniffe, a proponent of Blue Collar Design Theory, which encourages designers to partner with local institutions\u2014in Munday\u2019s case, the Johns Hopkins School of Public Health\u2014to take direct action in improving the social conditions of their city. Munday took Canniffe\u2019s class three times and was exposed to Russian constructivism and the work of Emory Douglas.<\/p>\n

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When I ask Munday if he would call himself a propagandist, he pauses longer than most designers might, before acknowledging that he often works for magazines, newspapers, and publishers, meaning he\u2019s usually charged with \u201cselling something.\u201d But he\u2019s careful about what he chooses to sell. \u201cMoral calculation comes into it,\u201d he says. \u201cI\u2019ve turned down a good number of projects because on some level they were working against something I believed in, politically, economically, or socially.\u201d He tells me about buying his first house in the Butcher\u2019s Hill neighborhood of Baltimore just before the market crashed. \u201cHomes were inexpensive, and I got a loan from Wells Fargo with zero money down. And then I ended up underwater.\u201d Years later, when Wells Fargo approached him with a project, Munday turned it down. \u201cIt was one of those moments when you think, Absolutely not,<\/em>\u201d he says. Munday often steers away from potentially lucrative work in branding and advertising in favor of book covers (he worked at Knopf for four years) and editorial illustrations with a political bent.<\/p>\n

Halfway through my conversation with Munday, we realize that neither of us has a solid working definition of the phrase graphic design<\/em>. The first Google hit reads, \u201cThe art or skill of combining text and pictures in advertisements, magazines, or books.\u201d Munday takes issue with the definition. \u201cIt\u2019s not just that. Protest signs are design,\u201d he says.<\/p>\n

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\u201cThe first task of the graphic designer is communication, which often involves language,\u201d he adds. But his own work eschews text whenever possible. When he worked at Knopf, he repeatedly tried to push through book covers with no words on them. He doesn\u2019t have anything against typography; Munday uses images the way writers use words. In his introduction to Don\u2019t Sleep, <\/em>Hilton Als comments that Munday, in his book jackets and editorial illustrations, \u201ccollaborates with the text by finding an element in the writing that invites it \u2026 The excitement his work generates is as old and new as the ancients reacting to the news of the world through alchemy, the beauty that comes when images become words, and words, images.\u201d<\/p>\n

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It\u2019s rare that a monograph can be accurately described as important or necessary.\u00a0Don\u2019t Sleep, <\/em>however, fits the bill. Isolated from their original context and arranged by theme, Munday\u2019s images accumulate power\u2014the power not just to move readers but to move them to action. Don\u2019t Sleep <\/em>is the kind of book that burns through the coffee table it\u2019s left on.<\/p>\n

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Andrew Ridker’s first novel, <\/em>The Altruists, is forthcoming from Viking in 2019. His writing has appeared in the<\/em>\u00a0New York Times, The Paris Review, Guernica, Boston Review, The Believer, St. Louis Magazine, and elsewhere.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

  Perhaps the most striking images in Oliver Munday\u2019s new monograph, Don\u2019t Sleep, appear just before the title page. On the left-facing page is a nineteenth-century map of the Senate floor. On the page opposite is an illustrated cross section of the hull of a slave ship, scaled to the same size as the Senate […]<\/p>\n","protected":false},"author":1188,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[894],"tags":[18598,17402,2967,23548,2099,171,22231,1974,15492,33513,2861,33514,33516,17303,40,25739,183,33515],"class_list":["post-123510","post","type-post","status-publish","format-standard","hentry","category-on-design","tag-alexander-von-humboldt","tag-criminal-justice","tag-democracy","tag-economy","tag-education","tag-environment","tag-foreign-policy","tag-graphic-design","tag-health","tag-heritage","tag-history","tag-kalief-browder","tag-negroland","tag-race","tag-the-new-yorker","tag-the-underground-railroad","tag-war","tag-washington-monumen"],"acf":[],"yoast_head":"\nOliver Munday\u2019s Graphic Design with a Conscience<\/title>\n<meta name=\"description\" content=\"The thirty-three-year-old graphic designer hesitates to call himself an activist, but the table of contents of his new monograph reads as an accounting of America\u2019s thorniest issues.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2018\/03\/27\/oliver-mundays-graphic-design-with-a-conscience\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Oliver Munday\u2019s Graphic Design with a Conscience by Andrew Ridker\" \/>\n<meta property=\"og:description\" content=\"March 27, 2018 \u2013   Perhaps the most striking images in Oliver Munday\u2019s new monograph, Don\u2019t Sleep, appear just before the title page. 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