Edited by Gerda Breuer, Julia Meer. Text by Sabine Bartelsheim, Gerda Breuer, Ute Brüning, Jochen Eisenbrand, Ellen Lupton, Julia Meer, Ada Raev, Bettina Richter, Patrick Rössler, Martha Scotford, Judith Siegmund.
Flexi, 7.25 x 9.25 in. / 608 pgs / illustrated throughout. | 12/31/2012 | In stock ISBN 9783868591538 | $55.00
Text by Barry Bergdoll, Leah Dickerman, Benjamin H.D. Buchloh, Brigid Doherty, Hal Foster, Charles W. Haxthausen, Andreas Huyssen, Michael Jennings, Juliet Kinchin, Ellen Lupton, Christine Mehring, Detlef Mertins, Marco De Michelis, Peter Nisbet, Paul Monty Paret, Alex Potts, Frederic J. Schwarz, T'ai Smith, Adrian Sudhalter, Klaus Weber, Christopher Wilk, Matthew S. Witkovsky.
Clth, 9.5 x 12 in. / 328 pgs / 510 color. | 12/11/2009 | Not Available ISBN 9780870707582 | $85.00
Published by Jovis. Edited by Gerda Breuer, Julia Meer. Text by Sabine Bartelsheim, Gerda Breuer, Ute Brüning, Jochen Eisenbrand, Ellen Lupton, Julia Meer, Ada Raev, Bettina Richter, Patrick Rössler, Martha Scotford, Judith Siegmund.
Why do so few women feature in the history of design? Why is it still the case that so few women speak at conferences? How have previously celebrated female designers come to be “forgotten”? Are women judged today solely on the basis of their quality of work? In recent decades, female graphic designers have been working actively and successfully, but the longstanding identification of creative genius with masculinity has--with a few exceptions--prevented women from receiving recognition in the official annals of design history; even today, only a tiny percentage of active female designers enjoy public acclaim. This opulently illustrated volume sets out to repair this omission. Women in Graphic Design 1890–2012 presents the most significant female designers and traces their paths to professionalization and acclaim, through short biographies, essays and conversations with well-known contemporary female designers such as Irma Boom, Paula Scher, Sheila Levrant de Bretteville, Julia Hoffmann, “Swiss Miss” Tina Roth Eisenberg, Katja M. Becker, Anna Berkenbusch, Heike Grebin, Gisela Grosse, Miriam and Nina Lambert, Iris Utikal and Judith Grieshaber. Also included are key writings by contemporary and historical designers such as Paula Scher, Sheila Levrant de Bretteville, Natalia Goncharova, Ellen Lupton, Martha Scotford, Véronique Vienne, Astrid Stavro and Alissa Walker.
Published by Walker Art Center. Edited by Andrew Blauvelt, Ellen Lupton. Text by Ian Albinson, Rob Giampietro, Jeremy Leslie, Alexander Ulloa, Armin Vit. Contributions by Steven Heller, Peter Hall.
Graphic design has broadened its reach dramatically over the past decade, expanding from a specialized profession to a widely deployed skill. The rise of user-generated content, new methods of publishing and systems of distribution, and the wide dissemination of creative software have opened up new opportunities for design. More designers are becoming producers--authors, publishers, instigators and entrepreneurs--actively employing their creative skills as makers of content and shapers of experiences. Featuring work produced since 2000, Graphic Design: Now in Production explores the worlds of design-driven magazines, newspapers, books and posters; the entrepreneurial spirit of designer-produced goods; the renaissance in digital typeface design; the storytelling potential of film and television titling sequences; and the transformation of raw data into compelling information narratives. The catalogue features important original essays by leading designers that tackle themes such as the changing roles of reading and writing within the context of new technologies and self-publishing; the nature of design labor and production, from blue-collar handcraft and making to white-collar design thinking and strategy; and the impact and influence design programs and schools have had on shaping the direction of contemporary graphic design. Co-organized by Walker Art Center and Cooper-Hewitt National Design Museum, Graphic Design: Now in Production is conceived as a visual compendium in the spirit of the Whole Earth Catalogue. It features posters, info graphics, fonts, books, magazines, film titles, logos and more, interspersed with a variety of small texts delving into specific project details, excerpted artists' statements, interviews and published manifestos, technical details, and new and old technologies and tools.
Published by Cooper Hewitt, Smithsonian Design Museum. Text by Abbott Miller, Ellen Lupton, Andy Grundberg.
Design for a Living World was developed by The Nature Conservancy, one of the world's leading conservation organizations, in order to raise global awareness about the impact and promise of sustainable sourcing. Ten prominent designers, including Kate Spade, Issac Mizrahi, Yves Béhar, Hella Jongerius and Ted Muehling were invited to create objects using only sustainably grown and harvested materials from some of the world's most beautiful and ecologically precarious places. Each of these landscapes supports its own distinct ecosystem and provides crucial livelihoods to local communities; each one is threatened by the effects of climate change and global economics--deforestation, overdevelopment and other destructive forces. Design for a Living World illuminates the complexity and vitality of raw materials at their source, including the people and cultures that actually produce them. The above designers were selected for their willingness to experiment and for their record of active engagement with issues of sustainability and social justice. In addition to presenting the designers' sketches, models and finished objects, Design for a Living World features original photographs by award-winning photojournalist Ami Vitale, who traveled around the world to document the many landscapes explored in this volume.
Published by Cooper Hewitt, Smithsonian Design Museum. Text by Sarah D. Coffin, Gail S. Davidson, Ellen Lupton, Penelope Hunter-Stiebel.
The movement known as Rococo began in eighteenth-century France, and has infused design objects with a sinuous, organic, and sensuous impulse for three centuries. Rococo dominated French design from 1730 to 1765, during the reign of Louis XV. Rococo ideas, transmitted by prints, objects and the traveling designers themselves, quickly spread to England, the Netherlands, the German states, Italy and America. Rococo resurfaced in England under the flamboyant George IV and in France during the Second Empire. Its most significant revival occurred in the design concept known as Art Nouveau. In the twenty-first century, the Rococo spirit has burst forth once again as a creative force. Rococo: The Continuing Curve, 1730-2008, featuring essays by international scholars and over 380 color illustrations, traces the movement within the historic continuum.
Published by Cooper Hewitt, Smithsonian Design Museum. Text by Ellen Lupton, Cara McCarty, Matilda McQuaid, Cynthia Smith.
Why design now? As issues of ecology and sustainable living continue to gain in urgency and topicality, design has come to the forefront of the arts as the discipline best equipped to meet today's challenges. Designers around the world are rising to this clarion call by creating products, buildings, landscapes, messages and more that address important social and ecological problems. Why Design Now? National Design Triennial accompanies the fourth installation in Cooper-Hewitt, National Design Museum's acclaimed National Design Triennial exhibition series. Designed by Michael Bierut, a partner in the award-winning design firm Pentagram, Why Design Now? is the first Triennial book to be truly international in reach, with 134 designers and projects in more than 44 countries. With eight essays by four Cooper-Hewitt curators, project profiles and more than 350 color illustrations, many of which have never been published before, Why Design Now? offers a glimpse into contemporary innovation, and an up-to-the-minute survey of what progressive designers, engineers, entrepreneurs and citizens are doing in diverse fields and at different scales. Many of the featured works have influenced other designers by proposing new methodologies or by pioneering new techniques; also included are practical solutions already being implemented as well as experimental ideas designed to inspire further research. Each of the selected works--from a soil-powered table lamp to a post-petroleum urban utopia--celebrates the transformative power of design.
Published by The Museum of Modern Art, New York. Text by Barry Bergdoll, Leah Dickerman, Benjamin H.D. Buchloh, Brigid Doherty, Hal Foster, Charles W. Haxthausen, Andreas Huyssen, Michael Jennings, Juliet Kinchin, Ellen Lupton, Christine Mehring, Detlef Mertins, Marco De Michelis, Peter Nisbet, Paul Monty Paret, Alex Potts, Frederic J. Schwarz, T'ai Smith, Adrian Sudhalter, Klaus Weber, Christopher Wilk, Matthew S. Witkovsky.
The Bauhaus, the school of art and design founded in Germany in 1919 and shut down by the Nazis in 1933, brought together artists, architects and designers--among them Anni and Josef Albers, Herbert Bayer, Marcel Breuer, Lyonel Feininger, Walter Gropius, Johannes Itten, Vasily Kandinsky, Paul Klee, László Moholy-Nagy, Lilly Reich, Oskar Schlemmer, Gunta Stölzl--in an extraordinary conversation on the nature of art in the industrial age. Aiming to rethink the form of modern life, the Bauhaus became the site of a dazzling array of experiments in the visual arts that have profoundly shaped the world today. Bauhaus 1919-1933: Workshops for Modernity, published to accompany a major multimedia exhibition, is The Museum of Modern Art's first comprehensive treatment of the subject since its famous Bauhaus exhibition of 1938, and offers a new generational perspective on the twentieth century's most influential experiment in artistic education. Organized in collaboration with the three major Bauhaus collections in Germany (the Bauhaus-Archiv Berlin, the Stiftung Bauhaus Dessau and the Klassic Stiftung Weimar), Bauhaus 1919-1933 examines the extraordinarily broad spectrum of the school's products, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theater and costume design, painting and sculpture. Many of the objects discussed and illustrated here have rarely if ever been seen or published outside Germany. Featuring approximately 400 color plates, richly complemented by documentary images, Bauhaus 1919-1933 includes two overarching essays by the exhibition's curators, Barry Bergdoll and Leah Dickerman, that present new perspectives on the Bauhaus. Shorter essays by more than 20 leading scholars apply contemporary viewpoints to 30 key Bauhaus objects, and an illustrated narrative chronology provides a dynamic glimpse of the Bauhaus' lived history.