Why Norway

This thesis is submitted in partial fulfillment of the requirements for a Dutch Bachelor’s Degree in graphic design. It contains work done from September to December 2014. With the help of supervisors Marjan Brandsma and Dirk Vis.

During my internship in Oslo I went to a symposium at the Art Academy in May 2014, I was introduced to the topic of design criticism in Norway. As a result of the talks I began looking into writings on graphic design. I discovered that there is a lack of writing on Norwegian graphic design history and that it is a topic that was seldom mentioned in newspapers. The lack of information made me curious as to what could be lacking, or missing, and as a result I broadened the scope of my research to international graphic design writing an criticism. I was impressed and intrigued so choosing this as the topic for my thesis was obvious. What was evident to me, however, was my lack of information on graphic design in Norway.

To better understand how the international writings could be related to the graphic design field in Norway. I interviewed Kristina Ketola Bore, a design critic based in Oslo. Martin Biehl daily manager of Grafill, an organization for visual communication, Aslak Gurholt Rønsen from Yokoland, and design historian and Martin Braathen a critic and editor of Arkitektnytt. Conversations that both informed me more about the benefits and potential problems of the lack of written graphic design criticism. James Lowley and Mari Lotherington helped me transcribe and translate the interviews to English.