THINGS PEOPLE ARE SAYING 

ABOUT THIS BOOK:

“In a genre of its own. It has the quality of professionalism that instantly locates it in the mass-market, yet at the same time its poetic fusions of image and text, achieved with cool precision, are like nothing you usually see in a magazine or book. Not a word, gesture or placement is wasted… The book has a satisfying complexity. It repays close attention… This is a new form of graphic communication that overturns the usual hierarchy.”  Independent on Sunday (November 19, 2000).

 

“A refined and focused book for graphic connoisseurs and contemporary culture junkies alike.”  WGSN.

 

“Looking and reading conflate into images of thought, becoming a genetically modified, distinctively creepy conceptual art… lingers disquietingly, long after you close the covers.”  i-D Magazine.  

 

“The Book addresses one of the most fundamental questions that can be asked of a practice based on the calculated fusion of word and image: in what ways does meaning change when a verbal idea is translated into visual form, or vice versa?”  

Rick Poyner, IDEA Magazine (September 2000).

Fuel Three Thousand

2000

In collaboration with FUEL, Robert produced the book Fuel Three Thousand, published by Laurence King. The design critic Rick Poyner has discussed the genesis of the book and the collaborative process in Obey the Giant: Life in the Image World (Basel and Boston: Birkhàˆuser, 2007), 207-208. 


This provocative, ironic and whimsical book by the cutting-edge marketing concern and creators of Fuel magazine challenges many of our preconceptions about the purpose and scope of graphic media in a world that is increasingly dominated by the visual. Through full-color photography, film stills, innovative design, and thought-provoking text, Fuel 3000 explores the consequences of living and working in a world where the boundaries separating artistic and commercial activities, as well as personal and public spheres, have collapsed or in the process of being dismantled by global forces. What happens when a work of art becomes a commodity? When consumers become producers, and vice versa? How does the value of an object change between the time it is created and the moment it is bought? Today these questions are becoming increasingly relevant but strangely enough, they are the very issues that occupied the greatest minds at the end of the nineteenth century. As enigmatic as it is profound, as arrestingly beautiful as it is intellectually challenging, Fuel 3000 reveals through word and image the strangely cyclical phenomena of production and consumption in a rapidly changing civilization.

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