Andrew Blauvelt is Curator of Architecture and Design and Chief of Communications and Audience Engagement at the Walker Art Center in Minneapolis. A practicing graphic designer his work has received numerous awards and has been published and exhibited in North America, Europe, and Asia. He has organized numerous exhibitions.


Andrew Blauvelt is Curator of Architecture and Design and Chief of Communications and Audience Engagement at the Walker Art Center in Minneapolis. From 1998 to 2010 he served as Design Director, providing creative direction for the Walker’s communications and publications. In 2009, the Walker received the National Design Award for Institutional and Corporate Achievement from the Cooper-Hewitt National Design Museum. A practicing graphic designer, his work has received more than 100 design awards and has been profiled in such magazines as I.D., Idea, Eye, Surface, Print and Metropolis, and has been exhibited at the Cooper-Hewitt National Design Museum, New York, and the Design Museum, London, among others. His work has been featured most recently in the books Graphic Design Referenced (Rockport), Studio Culture (Unit 01), Area (Phaidon), c/id: Cultural Identity (Laurence King) and Fully Booked (Gestalten).

As a curator of architecture and design at the Walker he has organized exhibitions such as Strangely Familiar: Design and Everyday Life (2003), Some Assembly Required: Contemporary Prefabricated Houses (2005), and Worlds Away: New Suburban Landscapes (2007). As a writer and critic of design and culture, his essays have appeared in numerous journals and publications such as Eye, Emigré, Visible Language and the anthologies Critical Writings on Graphic Design and The Education of a Graphic Designer (Allworth Press). Blauvelt has been a visiting professor in the graduate design programs of the Jan van Eyck Academie, Rhode Island School of Design and Cranbrook Academy of Art. He was Director of Graduate Studies and Chair of the Graphic Design Department at the College of Design, North Carolina State University. He received his MFA in Design from Cranbrook Academy of Art and his BFA in Visual Communication from the Herron School of Art of Indiana University.

Andrew Blauvelt
Designer Finds History, Publishes Book

Andrew Blauvelt takes stock of the graphic design history movement that began in the 1980s.

Andrew Blauvelt
Towards Relational Design

Is there any overarching philosophy or connective thread that joins so many of today’s most interesting and increasingly diverse designs from the fields of architecture, graphic, and product design? I believe we are in the a third major phase in modern design history, moving towards an era dominated by relationally-based design activities.

Andrew Blauvelt
City and Suburb: Worlds Away?

The mutual dependency of city and suburb is both physical and psychological. City dwellers and suburbanites need each other to reinforce their own sense of place and identity despite ample evidence that what we once thought were different places and lifestyles are increasingly intertwined and much less distinct.

Andrew Blauvelt
Over the Rainbow

June marks the start of a month-long series of LGBT Pride celebrations in cities around the United States and the world, as well as the 30th anniversary of the rainbow flag — the de facto symbol of the LGBT community. While the visual and media focus of the celebrations have been the parades, the most enduring element is perhaps the rainbow.

Andrew Blauvelt
The Work of Task

The presence of Task asks, How do you make a magazine for the post-critical, post-movement moment of contemporary graphic design?

Andrew Blauvelt
Modernism in the Fly-Over Zone

The story of Peter Seitz provides one example, and we can rest assured that there are many more stories just like his in cities across the country — modernism in the fly-over zone, if you will — which add a critical human dimension to design's rich cultural heritage.

Andrew Blauvelt
Design's Ethnographic Turn

Although I've been thinking about ethnography and its relationship to design for many years, it still seemed significant that the subject warranted the publication and distribution of its own little booklet to every member of the AIGA. Does this mark some of turning point in the profession at large?

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