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Mimmo (Domenico) Cozzolino is an Australian graphic designer and artist best known for his satirical design and research on Australian historic trademarks.

Early life

Domenico Cozzolino was born 1949 in Ercolano, Naples, Italy. With his father, a printer, his family lived on the top floor of a 19th century palazzo. Cozzolino had three younger brothers but the second died at two years old during the 1950s polio epidemic. Having almost completed second year high school (scuola media), in 1961 he migrated, aged 12, with his family on the Flaminia[1] to Australia where his father hoped to find better work opportunities for the three remaining sons.

Melbourne and education

The Cozzolino family disembarked in Melbourne and were transferred to the Bonegilla Migrant Reception and Training Centre before quickly moving to rented rooms in Kensington, Fairfield then Alphington after his father found work in Melbourne as a letterpress machinist. In 1965 they began purchasing a Housing Commission house in West Heidelberg where Cozzolino attended the Technical School from which he graduated as dux of the school. There he was taught by Winston Thomas who inspired his interest in film animation. He studied for a civil engineering diploma at Preston College and there met art student Con Aslanis who was later to become his work partner. Having passed the first year of civil engineering and being awarded a scholarship he instead enrolled in 1968 in the design diploma at Prahran College, taking photography as an elective and graduating in 1970. In 1972 he returned to complete a semester in the Photography diploma with Athol Shmith and Paul Cox.

Career

Cozzolino moved to Sydney in 1971 and started work as studio design assistant to Ricci Eaton at Monad Marketing. He returned to Melbourne for a position as assistant to Eric Maguire, NAS Advertising, before starting his own business in partnership with Con Aslanis. From late 1972 they traded as All Australian Graphics, for which Aslanis created their mascot and brand, the fictitious Greek man/Australian kangaroo hybrid ‘Kevin Pappas’. Eschewing the austere Swiss style, they determined to create design that was distinctly Australian in flavour.

The pair taught design at Phillip Institute of Technology, Bundoora, under Max Ripper and saved to spend 1974 backpacking, mostly together, in Southeast Asia and Europe. On return to Australia in 1975, the Prahran College friends Izi Marmur and Geoff Cook joined the partners’ freelance studio renaming it All Australian Graffiti (AAG), joined a few months later at 20/562 St Kilda Road, Melbourne by Neil Curtis and Tony Ward (a former lecturer of theirs at Prahran). In 1976 a further addition to the advertising design and illustration cooperative was Meg Williams, who had been taught by Cozzolino and Aslanis at Phillip institute. For the promotion of their distinctively Greek-Australian profile, the group designed giveaways in the form of postcards, gingerbread biscuits in the shape of ‘Kevin Pappas’, a poster on an Anzac theme, and one to celebrate the Centenary of The Ashes being played at the Melbourne Cricket Ground in March 1977. That year the group moved to an ex-milk bar at 144 St Kilda Road, St Kilda and their postcards became the material for a book The Kevin Pappas Tear Out Postcard Book (Penguin Books) which became a bestseller for that year with over 24,000 sales. Cozzolino was photographed in a half-suit of kangaroo legs by Rennie Ellis and after a promotional tour of major cities, the costume made a reappearance on top-rating television. The publicity effected a dramatic increase in business to a point at which the pressure caused the group to break up, after which each resumed individual freelancing.

With savings and the financial and moral support of his wife Sue, Cozzolino devoted himself to a book project he had conceived as a student; to assemble a visual encyclopaedic survey of Australian trademarks. He trawled state and national library collections and trademark registers to index the symbols of a majority of Australian brands, and with the help of volunteer assistants and a partner in advertising copywriter Fysh Rutherford they produced a design which they planned to self-publish. Only after the team had received viable numbers of pre-orders for hardbacks from mail-outs did Penguin, who had at first rejected the project, make an offer to publish a paperback edition and released Symbols of Australia in 1980,[2] publicising it aggressively.

Reception

Symbols of Australia drew response not only from the graphic design industry but also elicited popular memory of symbols that had registered on the national subconscious. Helen Garner wrote an editorial piece in The National Times and reviewer Peter Bowler in The Canberra Times greeted the first edition in 1990 as “the ultimate in nostalgia”[3][4] and Bryan Jeffrey, in the same newspaper, responded as keenly to the anniversary edition; 'Symbols of Australia’…offers a collection culled from the past century and beyond which observes our nationalism in everything from visual pun to blatant racism.”[5] The publication won the Best Designed Book award presented by the Australian Book Publishers Association in 1981.[6]. The exclusively and distinctively Australian content attracted attention especially around the time of the nation’s bicentenary[7][8] and was reported as having been a "major influence in the revitalising of contemporary Australian visual design”.[9] Speaking at a design conference in 1999, Cozzolino recalled: ‘When All Australian Graffiti disbanded I decided that I still hadn’t quite fitted into Australian society. So my journey continued with Symbols of Australia . . . most people seeing it as a nostalgic trip down memory lane. I have never seen it like that, and my unconscious motivation was always quite selfish: to find out about the land of Oz so that I could be more Aussie than the Aussies.’

After publishing a book that continued to generate interest well after 1980, Cozzolino joined David Hughes, with whom he lectured part time at RMIT to register Cozzolino Hughes Design (CHD) at a studio in South Melbourne, and received corporate design work from Shell.[10] CIS Educational, with Cozzolino’s design of their book series Avanti and Sempre Avanti successfully reconfigured teaching of Italian language in Australia through his incorporation of cartoon characters. From 1986–2001 ha partnered with Phil Ellett to form Cozzolino Ellett Design D’Vision (CEDD)[11]

Recognition

While researching for Symbols of Australia, Cozzolino met Honor Godfry of The Ephemera Society in London and in 1987 she invited him to join the committee of the Ephemera Society of Australia 1987 Ephemera Society of Australia (ESA) and contribute design and content to the Ephemera Journal of Australia. In 2019 when he was made Honorary Life Member.


In 1987 Cozzolino joined with Wayne Rankin, Stephen Huxley and others in launching a national professional association for graphic designers Australian Graphic Design Association (AGDA). After considerable commitment to the venture and after it was successfully established he stepped down from its leadership in 1992.

Visual Artist

From 2002 Cozzolino pursued his interest in art photography, video and the use of the scanner to make imagery of found objects, winning the Leica/CCP Documentary Photography Award with the autobiographical series Arcadia del Sud. He undertook an MFA on the relationship between photography, autobiography and archives. In 2019 he exhibited a series of paintings in mixed media on X-ray film at Tacit Galleries.

Exhibitions

  • 2019 Moments, Tacit Galleries, Melbourne (solo)
  • 2012 After I die: archives, autobiography, photography, Postgraduate Gallery Monash University, (solo)
  • 2011 The changing face of Victoria, Dome Galleries, State Library of Victoria, Melbourne (solo)
  • 2010 The Tententen Show, Brunswick Arts Space, Melbourne
  • 2009 I’m Here! – Stencil and Street Inspired Art, Ochre Gallery, Melbourne
  • 2008 Triangle Project: Taebak Discourse, Taebak, Korea,
  • 2008 Celebrating RAMSAR, Conference 2008, Gyeongnam ArtMuseum, Korea
  • 2005 Sub-Urban Shadow-Plays, Walker Street Gallery, Dandenong (solo)
  • 2005 We’re a Weird Mob, Post Master Gallery at Australia Post, Melbourne
  • 2004 Vivid, fortyfivedownstairs, Melbourne
  • 2004 Design: Asian Pacific Design Exchange Exhibition, Design Center Gallery, Osaka, Japan
  • 2003 Arcadia del Sud, Bungay Art House, Melbourne (solo)
  • 2003 Arcadia del Sud, Leica/CCP 2003 Documentary Photography Award, First Prize
  • 2003 Flush: 1990-2003, Band Hall Gallery, Kyneton (solo)
  • 1992 The Lie of the Land, Powerhouse Museum, Sydney
  • 1987 Just Wot!?, an Exhibition of Visual Poetry, Artists Space Gallery, Melbourne
  • 1983 Fotografics from Italy, Seal Club, Melbourne (solo)
  • 1981 See/Hear: an Exhibition of Concrete Poetry, 27 Niagara Lane Gallery, Melbourne
  1. ^ Australia, Supplied: State Library of South (2017-09-03). "1950s Italian migrant ship Flaminia". ABC News. Retrieved 2020-01-04.
  2. ^ Cozzolino, Mimmo; Cozzolino, Mimmo, 1949-; Rutherford, G. Fysh (Graeme Fysh), 1947- (2000), Symbols of Australia (20th anniversary ed ed.), Mimmo Cozzolino, ISBN 978-0-646-40309-0 {{citation}}: |edition= has extra text (help)CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  3. ^ "The ultimate in nostalgia". The Canberra Times. Australian Capital Territory, Australia. 15 September 1990. p. 11 (SATURDAY MAGAZINE). Retrieved 16 December 2019 – via Trove.
  4. ^ "BY THE WAY". The Canberra Times. Australian Capital Territory, Australia. 14 September 1980. p. 3. Retrieved 16 December 2019 – via Trove.
  5. ^ "BEWDY, MIMMO AND BAZZA!". The Canberra Times. Australian Capital Territory, Australia. 7 February 1981. p. 21. Retrieved 16 December 2019 – via Trove.
  6. ^ "Symbols book wins design award". The Canberra Times. Australian Capital Territory, Australia. 27 March 1981. p. 15. Retrieved 16 December 2019 – via Trove.
  7. ^ "Interaction of commerce and culture". The Canberra Times. Australian Capital Territory, Australia. 5 November 1994. p. 50. Retrieved 16 December 2019 – via Trove.
  8. ^ "1985 How they dressed up Australia and put it on sale". The Canberra Times. Australian Capital Territory, Australia. 7 April 1985. p. 6 (GOOD WEEKEND). Retrieved 16 December 2019 – via Trove.
  9. ^ "NOTES AND QUOTES". The Canberra Times. Australian Capital Territory, Australia. 21 February 1985. p. 16. Retrieved 16 December 2019 – via Trove.
  10. ^ Craig McGregor, ‘The Image Makers’ The National Times Australia Day special, January 20-26, 1984, p.25-27
  11. ^ Roslyn Grundy’, Tina Haynes, ‘Doing the logo motion: Moving ahead in the graphic design business doesn’t just mean making pretty pictures; it takes a whole marketing vision. Reports on a two-man team who has just that.’ In The Age, Saturday 30 July 1994, page 13
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