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Dan Friedman’s home as a “visual laboratory” (left)“In ourrelationshipbetween 1972and 1977 sheopened me to herspirit and her wayof thinking withthe heart.”- Dan Friedman
about the emerging potentialof multimedia, our ideas pale incomparison with Terminator2, a U2 concert of the latestLas Vegas hotel. I believe it is aprofession in an identity crisiscaused by over-specialisationand deep polarisation.PR: When did you first meetApril Greiman?DF: I had been in Basel four orfive years earlier than Greiman,who knew of my work at Yalethrough Weingart. I met her, asyou did, when we were teachingat Philadelphia College of Art in1972. She replaced me at PCAwhen I could no longer continueto commute by air every weekfrom Yale.Clearly we all influenced eachother. At that time there werefew people interested in sharingnew ideas about typographyand design theory. Back in theearly 1970s, even in Philadelphia,there was an incestuous Baselinfluence. Even more thanWeingart, Greiman approachedher work with spontaneity andintuition. In our relationshipbetween 1972 and 1977 sheopened me to her spirit and herway of thinking with the heart,while I probably influenced herby relating design to broadertheoretical or cultural issues andseeing typographic compositionsas metaphorical environments.PR: There have been enormouschanges between your graphicidiom of the 1970s and youcurrent work – for instanceArtificial Nature or ArtAgainst Aids.DF: When a visual idiom or stylebecomes so overpowering thatyou can’t tell the differencebetween one project andanother, that makes me feeluncomfortable. In the 1970s,when such an idiom becameassimilated into other people’swork, it lost its inherentmeaning for me. I never stoppedbeing a graphic designer,but I definitely put it in thebackground. I never stoppedbeing aware of what was goingon in the world of graphicdesign, but I was able to lookat it as an outsider, which gaveme more perspective. When atlast I had a really interestinggraphic design project to pursue,I was able to do so without allthe visual baggage so manydesigners carry with them. Iwas able to enter into these newprojects with an approach whichI think is more appropriate tothe audience, the content andour times.PR: What do you mean by‘Radical Modernism’?DF: Modernism is a philosophywhich emerged in the latenineteenth century. It was aconcern with the way peoplecould improve the quality of theirlives, using all means includingnew technology and design.It would be an evolutionaryprocess and will continue aslong as we are motivated tomake such improvements. Whenthe ‘look’ of Modernism wasappropriated by industry andnamed the International Style, itlost moral authority. We shouldtry once again to be fun-lovingvisionaries; we should return to abelief in a radical spirit – the ideathat design is something that canhelp improve society and people’scondition. Radical Modernism,therefore, is my reaffirmationof the idealistic roots of ourmodernity, adjusted to includemore of our diverse cultures,history, research and fantasy.(37)Dan Friedman
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