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COOPER-HEWITT NATIONAL DESIGN MUSEUM PRESENTS: HALL OF FEMMESR. C. L. P. ANSEL // GOLDBERG // BASSMAN // SCHER // Legendary art director Carin Goldberg started Lillian Bassman began Paula Scher began her Ruth Ansel, when she her professional career her career as an design career at was just 24, she at the end of the 1970s assistant to Alexey Atlantic and CBS became co-art as a designer at CBS Brodovitch at Harper’s Records in the 1970s. directors of Harper’s Television and CBS Bazaar in the early In 1984, she cofounded Bazaar with Bea Feitler. Records. She was 1940s, at the epicenter Koppel & Scher, and in She later went onto awarded the prestigious of the American 1991 joined the design serve as art director at AIGA Gold Medal in magazine culture’s firm Pentagram as a The New York Times 2009, an honor Golden Age. In 1945, partner. Scher has Magazine in the 1970s considered to be the she was appointed art worked with identity and Vanity Fair in the highest in America director for the newly and branding systems, 1980s, each time recognizing an launched Junior environmental being the first woman exemplary career Bazaar, a fashion graphics, packaging to hold those in graphic design. magazine for and publication designs positions. Ansel will be Goldberg has been a teenagers which, under for a broad range of inducted into the Art member of the Alliance her direction, clients. She was Directors Club Hall of Graphique functioned as an inducted into the Art Fame later this fall. In Internationale (AGI) experimental workshop Directors Club Hall of Hall of Femmes: Ruth since 1999. that became a hot-bed Fame in 1998, and was Ansel, the celebrated In November 2010, a for young creative awarded the designer gives an retrospective of her talents such as Richard profession’s highest intimate work and career was Avedon, Robert Frank honor, the AIGA medal, retrospectives of her exhibited at Musée and Paul Himmel. in recognition of her life and works, talking Géo-Charles, Bassman later took up contributions to the about a professional Échirolles, France. She photography at the design field in 2001. career extending over is one of the first suggestion of Alexey Five years later, she 50 years where she recipients of the Art Brodovitch himself, and was awarded the Type has worked with and Directors Club went on to become an Directors Club Medal nurtured talents such Grandmasters iconic photographer for significant as Marvin Israel, Award for Excellence in of her generation. Her contributions to the Alexey Brodovitch, Education (2008). photographs have been life, art, and craft of Richard Avedon and exhibited around the typography. Annie Leibovitz. Ruth world and published into Ansel has been a part THU th two books. Still working of the biggest shifts in at the age of 93, Lillian THU th editorial history. OCT. 7:00 pm 6 Bassman is currently DEC. 6:30 pm finishing her third book, 8 THU st due out next year. SEP. 1 6:00 pm THU rd NOV. 37:30 pm Located at: Hall of Femmes is a project initiated by Swedish design studio Hjärta Smärta to draw attention to 2 East 91st Street women art directors and graphic designers. A book series is being produced within the project, New York City each book portraying a designer and her work through in-depth interviews and images..
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  • Design Ruth Ansel, the Legendary Art Director, Sits Down with Carol Kino

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  • KKV-Raumplan BF-190107-DE-LY.Indd

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    #, Philadelphia College ofArt expresses its gratitude to those foundations ivithout ivhose major, sponsoring grants this exhibition and catalogue could not have been achieved: The American Metal Climax Foundation; The Catherwood Foundation; The Samuel S. Fels Fund. In addition, generous supporting gifts from the following are gratefully acknou'ledged: Mr. and Mrs. George R. Bunker; The William Randolph Hearst Foundation; Mr. Morton Jenks; Saks Fifth Avenue. The exhibition and catalogue have been produced hv the Philadelphia College ofArt in collaboration with, the Smithsonian Inslilulion, Washington, D.C. April 7, 1972 Philadelphia. Pennsylvania ALEXEY BRODOVITCH ANDmS INFLIIENGE firing the winter of 1969 I had an opportunity to visit Alexey Brodovitch in le Thor, a small, quiet town in the south of France. I had gone there to tell him that the College had wanted to give him a degree and an exhibition, and that we hoped this still might be possible. That first meeting was strange and compelling. Outside that day, there was a clear winter light, and inside his back-lit room, all was shadowed and Brodovitch himself scarcely more than a silhouette, indistinct but also somehow very much a presence. Strained courte- sies in French and English began the visit, but soon gave way to another level of intensity, alwavs just below the surface of what we said. In that simple, lean room, this gaunt and ravaged man. ill and half-paralyzed, anguished by a recent and terrible accident to his son, was by turns gallant and passionate, courteous, friendly and desperately alone. It was impossible to remain aloof from him; he had a way of compelling involvement.
  • The Place to Be

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  • Article About Bea Feitler from Mais Magazine (KA0014 000018)

    Article About Bea Feitler from Mais Magazine (KA0014 000018)

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  • Avertissement Ce Texte Est La Reproduction À L'identique De Mon

    Avertissement Ce Texte Est La Reproduction À L'identique De Mon

    Avertissement Ce texte est la reproduction à l’identique de mon mémoire de maîtrise soutenu en 1979. J’ai décidé de ne pas le réviser mais de le livrer tel quel, bien que nombre de passages me semblent aujourd’hui discutables, simplistes, parfois même erronés. Pourtant, certaines lectures, quoiqu’un peu maladroites et empreintes d’un certain romantisme, gardent, me semble-t-il, une valeur et proposent des pistes que je ne renie pas. Enfin, c’est un témoignage sur une époque de l’écriture photographique. Il faut se rappeler qu’en 1979 nous disposions de peu d’outils théoriques et de bien peu d’exemples de travaux universitaires sur la photographie susceptibles de guider le chercheur débutant. La lecture symbolique et la mise en relations assez fruste entre formes visuelles et formes sociales et politiques nous tenaient lieu de méthode. Quant au travail classique d’histoire de l’art, il était, sur des photographes contemporains, quasi-impossible en l’absence d’accès aux archives (et dans mon cas malgré des efforts non négligeables). C’est ainsi que j’ai travaillé en tout et pour tout sur deux volumes d’images, la monographie Aperture de Diane Arbus, seule publication de ses images à l’époque, et The Americans de Robert Frank, heureusement ré-édité l’année même où je préparai le mémoire. Quant aux ressources bibliographiques, je n’y ai eu accès que parce que je vivais à l’époque à Toronto. Cela eût été totalement impossible en France. Enfin ce travail témoigne, avec naïveté mais sincérité, d’une époque où, après avoir pratiqué la photographie parfois de manière très poussée une génération de jeunes gens tentait d’inscrire la photographie dans le paysage universitaire.
  • Resources for BEING THERE Art Assignment # 1

    Resources for BEING THERE Art Assignment # 1

    Resources for BEING THERE Art Assignment # 1 Please watch and read the selected videos and articles about the artists Barbara Kruger and Jenny Holzer. These resources will provide you with context about their work before you begin answering the next set of questions. Sampling and Appropriation Video https://www.youtube.com/watch?v=6dIQW4DRrp8 Barbara Kruger: In Her Own Words Video https://www.youtube.com/watch?v=8xi9qQb2SHU SUPREME and Barbara Kruger Video https://www.youtube.com/watch?v=z9NZSt-r6BI Barbara Kruger Article https://awarewomenartists.com/en/artiste/barbara-kruger/ Jenny Holzer Article https://www.thecut.com/2018/10/women-and-power-jenny- holzer.html Jenny Holzer ART 21 Video https://art21.org/artist/jenny-holzer/ Jenny Holzer Nowness Video https://www.youtube.com/watch?v=pKIQNbuIqpE Please consider these questions before engaging with the forthcoming worksheet on Barbara Kruger and Jenny Holzer. 1. How does Barbara Kruger’s use of advertising styles critique the motivations of contemporary consumer culture? 2. If advertising asks questions to compel us to consume more products, what might Kruger’s work compel us to think about? 3. What is the definition of a “truism”? 4. Jenny Holzer once said, “I used language because I wanted to offer content that people—not necessarily art people—could understand.” Many of Jenny Holzer’s public works use language resembling the style of commercial signs on the street and on the internet. How does Holzer’s style compare and contrast to Kruger’s? 5. Have you ever borrowed text from another piece of writing, such as a song, a poem, or a reference book, to place in a work of art? If so, how did you incorporate it? 6.
  • Diane Arbus Born 1923 in New York

    Diane Arbus Born 1923 in New York

    This document was updated November 25, 2020. For reference only and not for purposes of publication. For more information, please contact the gallery. Diane Arbus Born 1923 in New York. Died 1971 in New York. EDUCATION 1955-1957 Studied photography with Lisette Model, New York 1928-1940 Ethical Culture Fieldston School, New York SOLO EXHIBITIONS 2020 Diane Arbus: Photographs, 1956-1971, Art Gallery of Ontario, Toronto, February 22 – May 17, 2020 2019 Our Lady of the Flowers: Diane Arbus | Carol Rama, Lévy Gorvy, Hong Kong, September 26 – November 16, 2019 [two-person exhibition] 2018 Diane Arbus Untitled, David Zwirner, New York, November 2 – December 15, 2018 Diane Arbus: A box of 10 photographs, Smithsonian American Art Museum, April 6, 2018 – January 27, 2019 [catalogue] 2017 Diane Arbus: In the Park, Lévy Gorvy, New York, May 2 – June 28, 2017 2016-2019 diane arbus: in the beginning, The Metropolitan Museum of Art, New York, July 12 – November 27, 2016 [itinerary: San Francisco Museum of Modern Art, San Francisco, January 21 – April 30, 2017; Museo de Arte Latinoamericano de Buenos Aires Malba, Buenos Aires, July 14 – October 9, 2017; Hayward Gallery, London, February 13 – May 6, 2019] [catalogue] 2016-2018 Diane Arbus: American portraits, National Gallery of Australia, Canberra, June 6 – October 30, 2016 [itinerary: Lake Macquarie City Art Gallery, Booragul, Australia, July 9 – August 20, 2017; Heide Museum of Modern Art, Bulleen, Australia, March 17 – June 17, 2018; Art Gallery of South Australia, Adelaide, Australia, July 16 – September