Artist & Title is the design studio of Clayton Vogel.
Clayton Vogel is a designer of exhibitions, graphics, interiors, and furniture. He has worked on exhibitions across the United States, including in New York and Houston, and in Asia.
He received his BFA in Industrial Design from the University of Kansas and received the IDSA Student Merit Award for his thesis in footwear customization. From 2003 to 2008, he was the exhibition designer and installation manager at Asia Society Museum. During his tenure at Asia Society Museum, he designed the critically acclaimed exhibition “Designed for Pleasure: The World of Edo Japan in Prints and Paintings, 1680-1860.” Through his own exhibition design practice in New York, Vogel has continued to work with Asia Society Museum; he designed “Golden Visions of Densatil: A Tibetan Buddhist Monastery” and “Nam June Paik: Becoming Robot.”
In 2009, Vogel became a director at Hufft Projects focusing on residential and hospitality interiors, custom furniture, and project management. He is co-founder and design director of Edwin Blue, a furniture company that specializes in handmade modern furniture. Most recently, Vogel was the exhibition designer for “Life of Cats” at the Japan Society as well as for “Buddhist Art of Myanmar” at the Asia Society Museum.
Design Approach and Phases.
Schematic Design & Ideation
Sketching and sketch modeling are typically the first steps in our creative process. While clients may not see many of these early ideas, they are critical in this phase. Numerous general concepts are also explored through floor plans that can include an object key, color coded sections, and didactic location call-outs. This phase will also include rendered 3D models and elevation details where it helps to communicate design intent.
Once the objects are built out we begin the process of rendering the architecture and objects. As-built dimensions, site photography and digital images of the art works in the exhibition are all utilized. Once the initial design concepts are established in both programs, we lay the design out in plan and elevation where it is required to communicate their intent.
This phase is as important as any other and requires inclusion from the moment we have a basic direction for the exhibit’s design intent. Graphic design is prominent and integral to the exhibition and the museum’s general visual identity. We approach graphics under an over arching umbrella. We think about invitations, title walls, section didactics, and labels as components of a whole and they always develop in tandem. These elements must also compliment and reinforce the curator’s vision and the architecture and furniture.
Well crafted and well lighted casework is vital to giving the artworks a proper stage. Our drawing sets will include fabrication details for wall construction, casework and any decorative elements integrated. We have over 10 years of experience as museum professionals and are familiar with museum archival casework specifications.