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Henry Varnum Poor: Commemorating 125 Years
Henry Varnum Poor: Commemorating 125 Years by Ron Michael, Curator, Birger Sandzén Memorial Gallery Extended Essay - August 2012 Seeking Beauty Henry Varnum Poor is an important name not only for those interested in the history of Kansas or American art, but for Angular detail of Self Portrait, circa those who celebrate bountiful lives. Determined to follow his own 1917, lithograph, size unknown. path, he was committed to a life based on unadorned pursuits and a constant search for beauty. He once wrote to friend and fellow artist Birger Sandzén, “I want to make beautiful things so as to make our living as beautiful as possible.”1 Developing and using his multi-faceted talents, he also lived a life of great variety. At various times in his life he combined one or more professions as an artist, craftsman, builder, writer, teacher, organizer, administrator, evaluator and more. He was the perennial “jack-of-all-trades,” or perhaps more appropriately, a “renaissance man.” Just within the arts he explored a vast array of differing media – oils, watercolors, ceramics, pastels, drawings, frescos, etchings, lithography, woodworking, textiles, and illustration. He seemed to turn everything he touched into art. Perhaps nowhere is this better evident than the house he designed and constructed near New City, New York. Dubbed Crow House it was conceived as a place of comfort for his family – away from, but still accessible to, the bustling metropolis of New York and other Eastern cities. As he continued to write in his letter to Birger Sandzén, “The joy and satisfaction in making the house has been tremendous, and the future work of carving and painting our huge beams and stones will be great. -
PUNK/ASKĒSIS by Robert Kenneth Richardson a Dissertation
PUNK/ASKĒSIS By Robert Kenneth Richardson A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY WASHINGTON STATE UNIVERSITY Program in American Studies MAY 2014 © Copyright by Robert Richardson, 2014 All Rights Reserved © Copyright by Robert Richardson, 2014 All Rights Reserved To the Faculty of Washington State University: The members of the Committee appointed to examine the dissertation of Robert Richardson find it satisfactory and recommend that it be accepted. ___________________________________ Carol Siegel, Ph.D., Chair ___________________________________ Thomas Vernon Reed, Ph.D. ___________________________________ Kristin Arola, Ph.D. ii ACKNOWLEDGEMENTS “Laws are like sausages,” Otto von Bismarck once famously said. “It is better not to see them being made.” To laws and sausages, I would add the dissertation. But, they do get made. I am grateful for the support and guidance I have received during this process from Carol Siegel, my chair and friend, who continues to inspire me with her deep sense of humanity, her astute insights into a broad range of academic theory and her relentless commitment through her life and work to making what can only be described as a profoundly positive contribution to the nurturing and nourishing of young talent. I would also like to thank T.V. Reed who, as the Director of American Studies, was instrumental in my ending up in this program in the first place and Kristin Arola who, without hesitation or reservation, kindly agreed to sign on to the committee at T.V.’s request, and who very quickly put me on to a piece of theory that would became one of the analytical cornerstones of this work and my thinking about it. -
King Mob Echo: from Gordon Riots to Situationists & Sex Pistols
KING MOB ECHO FROM 1780 GORDON RIOTS TO SITUATIONISTS SEX PISTOLS AND BEYOND BY TOM VAGUE INCOMPLETE WORKS OF KING MOB WITH ILLUSTRATIONS IN TWO VOLUMES DARK STAR LONDON ·- - � --- Printed by Polestar AUP Aberdeen Limited, Rareness Rd., Altens Industrial Estate, Aberdeen AB12 3LE § 11JJJDJJDILIEJMIIENf1r 1f(Q) KIINCGr JMI(Q)IB3 JECCIHI(Q) ENGLISH SECTION OF THE SITUATIONIST INTERNATIONAL IF([J)IF ffiIE V ([J) IL lUilII ([J) W §IFIEIEIIJ) IHIII§il([J) ffiY ADDITIONAL RESEARCH BY DEREK HARRIS AND MALCOLM HOPKINS Illustrations: 'The Riots in Moorfields' (cover), 'The London Riots', 'at Langdale's' by 'Phiz' Hablot K. Browne, Horwood's 1792-9 'Plan of London', 'The Great Rock'n'Roll Swindle', 'Oliver Twist Manifesto' by Malcolm McLaren. Vagrants and historical shout outs: Sandra Belgrave, Stewart Home, Mark Jackson, Mark Saunders, Joe D. Stevens at NDTC, Boz & Phiz, J. Paul de Castro, Blue Bredren, Cockney Visionaries, Dempsey, Boss Goodman, Lord George Gordon, Chris Gray, Jonathon Green, Jefferson Hack, Christopher Hibbert, Hoppy, Ian Gilmour, Ish, Dzifa & Simone at The Grape, Barry Jennings, Joe Jones, Shaun Kerr, Layla, Lucas, Malcolm McLaren, John Mead, Simon Morrissey, Don Nicholson-Smith, Michel Prigent (pre-publicity), Charlie Radcliffe, Jamie Reid, George Robertson & Melinda Mash, Dragan Rad, George Rude, Naveen Saleh, Jon Savage, Valerie Solanas, Carolyn Starren & co at Kensington Library, Mark Stewart, Toko, Alex Trocchi, Fred & Judy Vermorel, Warren, Dr. Watson, Viv Westwood, Jack Wilkes, Dave & Stuart Wise Soundtrack: 'It's a London Thing' Scott Garcia, 'Going Mobile' The Who, 'Living for the City' Stevie Wonder, 'Boston Tea Party' Alex Harvey, 'Catholic Day' Adam and the Ants, 'Do the Strand' Roxy Music', 'Rev. -
Punk's Division of Labour
Cadernos de Arte e Antropologia Vol. 6, No 1 | 2017 I Wanna Be Your Punk: DIY e culturas underground Design it Yourself? Punk’s Division of Labour Dr Russ Bestley Electronic version URL: http://journals.openedition.org/cadernosaa/1219 DOI: 10.4000/cadernosaa.1219 ISSN: 2238-0361 Publisher Núcleo de Antropologia Visual da Bahia Printed version Number of pages: 71-87 Electronic reference Dr Russ Bestley, « Design it Yourself? Punk’s Division of Labour », Cadernos de Arte e Antropologia [Online], Vol. 6, No 1 | 2017, Online since 01 April 2017, connection on 19 April 2019. URL : http:// journals.openedition.org/cadernosaa/1219 ; DOI : 10.4000/cadernosaa.1219 © Cadernos de Arte e Antropologia CADERNOSDESIGN IT YOURSELF? PUNK’S DIVISION OF LABOUR AA Dr Russ Bestley1 London College of Communication, United Kingdom Punk’s do-it-yourself call to arms led to a widespread adoption of the rhetoric, if not always the practice, of independence from traditional means of production. During the early period of punk’s development in the United Kingdom, a distinct division of labour can be seen in the impact of an ‘anyone can do it’ DIY ethos on a range of activities.2 hese range from live performance to the creation and manufacture of punk artifacts (clothes, posters, lyers, fanzines, records). While some of these areas ofered new opportunities for amateur producers, within more technical areas of manufacturing, including the physical production of records, do-it-yourself could only have a nominal impact. Many punk groups did not have access to sound recording technologies, and even of they did, they would have to hand over the cutting and pressing of vinyl to a professional outit. -
“Uproar!”: the Early Years of the London Group, 1913–28 Sarah Macdougall
“Uproar!”: The early years of The London Group, 1913–28 Sarah MacDougall From its explosive arrival on the British art scene in 1913 as a radical alternative to the art establishment, the early history of The London Group was one of noisy dissent. Its controversial early years reflect the upheavals associated with the introduction of British modernism and the experimental work of many of its early members. Although its first two exhibitions have been seen with hindsight as ‘triumphs of collective action’,1 ironically, the Group’s very success in bringing together such disparate artistic factions as the English ‘Cubists’ and the Camden Town painters only underlined the fragility of their union – a union that was further threatened, even before the end of the first exhibition, by the early death of Camden Town Group President, Spencer Gore. Roger Fry observed at The London Group’s formation how ‘almost all artist groups’, were, ‘like the protozoa […] fissiparous and breed by division. They show their vitality by the frequency with which they split up’. While predicting it would last only two or three years, he also acknowledged how the Group had come ‘together for the needs of life of two quite separate organisms, which give each other mutual support in an unkindly world’.2 In its first five decades this mutual support was, in truth, short-lived, as ‘Uproar’ raged on many fronts both inside and outside the Group. These fronts included the hostile press reception of the ultra-modernists; the rivalry between the Group and contemporary artists’ -
Constructing the Temporal and Spatial in Commercial Punk Imagery
This is a repository copy of Punk’s dead knot: Constructing the temporal and spatial in commercial punk imagery. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/109284/ Version: Accepted Version Article: Trowell, I.M. (2016) Punk’s dead knot: Constructing the temporal and spatial in commercial punk imagery. Punk & Post Punk, 5 (2). pp. 181-199. ISSN 2044-1983 https://doi.org/10.1386/punk.5.2.181_1 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ P dead knot: constructing the temporal and spatial in commercial punk imagery Abstract: This article analyses two deliberately constructed visual artefacts broadly classed within the punk style; a photograph from 1976 and a 30 second commercial from 2016. -
British Art Studies March 2019 Theatres Of
British Art Studies March 2019 Theatres of War: Experimental Performance in London, 1914–1918 and Beyond Edited by Grace Brockington, Impermanence, Ella Margolin and Claudia Tobin British Art Studies Issue 11, published 25 March 2019 Theatres of War: Experimental Performance in London, 1914–1918 and Beyond Edited by Grace Brockington, Impermanence, Ella Margolin and Claudia Tobin Cover image: Film still, The Ballet of the Nations, 2018.. Digital image courtesy of Impermanence. PDF generated on 2 August 2019 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. A joint publication by Contents Beyond London & the War, Grace Brockington Beyond London & the War Grace Brockington Authors Senior Lecturer in the History of Art at the University of Bristol Cite as Grace Brockington, "Beyond London & the War", British Art Studies, Issue 11, https://dx.doi.org/10.17658/issn.2058-5462/issue-11/beyond Introduction The life of the little theatres continued long after the war and their influence spread far beyond the limits of their studio audiences. -
Sex Pistols Quiz: Questions and Answers
kupidonia.com Sex Pistols Quiz: questions and answers Sex Pistols Quiz: questions and answers - 1 / 4 kupidonia.com 1. When was "Sex Pistols" formed? 1975 1977 1979 2. Which band did "Sex Pistols" evolve from? "Acme" "Strand" "Saw" 3. Who was not an original member of "Sex Pistols"? Johnny Rotten Sid Vicious Steve Jones 4. Which song did Andy Allan feature on? "Silly Thing (single version)" "Belsen Was a Gas" "The Great Rock 5. When did the Sex Pistols publicly signed with A&M Records? 1977 1978 Sex Pistols Quiz: questions and answers - 2 / 4 kupidonia.com 1981 6. When was "Holidays in the Sun" released? 1983 1981 1977 7. What was the name of the band that Glen Matlock formed after leaving "Sex Pistols"? "Strand" "Rich Kids" "Club Punk " 8. Who did Sid Vicious meet in 1977 and the band thought she was bad for him? Vivienne Westwood Nancy Spungen Jamie Reid 9. When did the Sex Pistols release "God Save the Queen"? 1976 1977 1982 Sex Pistols Quiz: questions and answers - 3 / 4 kupidonia.com Sex Pistols Quiz: questions and answers Right answers 1. When was "Sex Pistols" formed? 1975 2. Which band did "Sex Pistols" evolve from? "Strand" 3. Who was not an original member of "Sex Pistols"? Sid Vicious 4. Which song did Andy Allan feature on? "Silly Thing (single version)" 5. When did the Sex Pistols publicly signed with A&M Records? 1977 6. When was "Holidays in the Sun" released? 1977 7. What was the name of the band that Glen Matlock formed after leaving "Sex Pistols"? "Rich Kids" 8. -
The Museum of Modern Art 11 West 53Rd Street, New York 2937-7 Telephone: Ci Rcle 7-7470
THE MUSEUM OF MODERN ART 11 WEST 53RD STREET, NEW YORK 2937-7 TELEPHONE: CI RCLE 7-7470 FOR IMMEDIATE RELEASE POSTERS BY E. MCKNIGHT KAUFFER^ The Museum of Modern Art, 11 West 53 Street, announces that an Exhibition of Modern English Architecture and an Exhibition cf Prsters by E. McKnight Kauffer will open to the public Wednesday, February 10. Both exhibitions have been directed by Miss Ernestine M. Fantl, Curator of the Museum's Department of Architecture and Industrial Art. In addition, two galleries of the Museum will be devoted to recent acquisitions: one will contain abstract works given to the Museum by its Advisory Committee; the other, miscellaneous from various donors gifts/. The acquisitions and the two exhibitions will remain on view through Sunday, March 7. E. McKnight Kauffer is represented by 85 of his commercial posters in the exhibition. These range from a poster done in 1917 for a large department store, Perry and Toms,tc a poster done in 1936 for the London Transport, Special Areas Exhibition, and in cludes posters for department stores, railways, museums, oil companies, airplanes, telephones, etc, Edward McKnight Kauffer is an American artist who has had his greatest success in England. He now lives and works in London. He was born in Great Falls, Montana, in December 1890, His child hood was spent in Evansville, Indiana, where he went to a public school only as far as the 8th grade. After that he joined a travelling theatre company as assistant scene painter and at 17 went to California with the late Frank Bacon of Lightnin1fame and worked on a ranch. -
London Transport Posters: from Publicity Materials to Museum Exhibits
London Transport posters: from publicity materials to museum exhibits Thesis submitted for the degree of Doctor of Philosophy at the University of Leicester by Amornchat Sermcheep School of Museum Studies University of Leicester November 2020 Abstract London Transport posters: from publicity materials to museum exhibits by Amornchat Sermcheep This PhD thesis traces the museum’s repurposing of publicity posters into museum exhibits from a material cultural perspective. Its aim is to understand how the values and meanings of advertising materials transform as their functions and purposes are altered. In so doing, this thesis employs object itineraries as the theoretical framework, using the London Transport Museum’s collection as a case study. This thesis argues that the values and meanings of London Transport posters change but each point in the transformation is integrally connected to one another. Through the examination of the purposes and narratives of poster exhibitions and the curating process, the change and connection in values and meanings are manifested at both the visual and material levels, such as within a poster design as well as across different material forms. By examining the criteria for selecting London Transport posters for display and their materialities, this thesis also reveals the diversity of the material forms bearing a single poster design and provides insight into the impact of object materialities, especially their multiplicity, on both collection management and exhibition making. Further, this thesis engages the primary data with debates about the notions of object originality and authenticity. It argues that museums interact with original objects in certain ways in order to maintain, manifest and highlight the authenticity of these objects. -
The Highs and Lows of Modernism: a Cultural Deconstruction
The Highs and Lows of Modernism: A Cultural Deconstruction Emma West Thesis submitted for the degree of Doctor of Philosophy (Critical and Cultural Theory) School of English, Communication and Philosophy Cardiff University January 2017 Summary Over the past two decades, scholars have shown that the modernist ‘Great Divide’ between high and low culture is culturally-constructed, reductive and oversimplified. Yet, despite these critical disavowals, the field of modernist studies is still informed by the Divide’s binary systems of evaluation and classification. ‘High’ and ‘low’ texts are studied in isolation and modernism is privileged over popular culture. This thesis argues that we must address the Great Divide’s structure if we are to move beyond it. The Divide is underpinned by three structural myths: that of essence (texts are inherently high or low), mutual exclusivity (texts are either high or low) and precedence (high texts come before low ones). Over the course of four chapters, this study seeks to define, challenge and reconfigure the Great Divide, exploring new approaches which allow us to study texts from across the cultural spectrum together. After an initial chapter which maps out the Great Divide in early-twentieth-century Britain, the following three chapters interrogate the structural myths in turn. Chapter 2 disputes the myth of essence, arguing that both ‘little’ and ‘popular’ magazines are shaped by external factors; Chapter 3 considers travel posters, showing that they exhibit apparently mutually-exclusive aesthetic and publicity functions at once; and Chapter 4 examines the extent to which innovations in mass-market fashion predated their modernist counterparts. -
To Download a Brave New World Catalogue
A BRAVE NEW WORLD BRITISH ART IN THE 20TH CENTURY 1 A BRAVE NEW WORLD BRITISH ART IN THE 20TH CENTURY Gerrish Fine Art By Appointment 35a Jermyn Street, London SW1Y 6DT 0207 871 3089 [email protected] www.gerrishfineart.com Members of the International Fine Print Dealers Association (IFPDA) 2 3 TWOTWO YOUNG YOUNG RADICALS RADICALS GAUDIER-BRZESKAGAUDIER-BRZESKA & & BOMBERG BOMBERG 4 5 HENRI GAUDIER-BRZESKA (1891-1915) HENRI GAUDIER-BRZESKA (1891-1915) Signed by Brodzky and numbered ‘imp. 31/50’ in black This is the only linocut produced by the sculptor Henri ink. Printed on thick wove paper. It is unlikely the projected Gaudier-Brzeska. In his 1933 biography, Brodzky wrote, edition of 50 was completed. Printed posthumously. ‘Brzeska saw me at work, cutting designs at my home, and he decided to do some also. Being near Christmas time he Collections: V & A; British Museum; Metropolitan cut a version of his ‘Wrestlers’ to be used as a card’. Museum of Art; The Art Institute of Chicago; Princeton University Art Museum; Museum of Fine Arts Boston; Gaudier based his design on a 1914 plaster relief of the Harvard Art Museums same subject now in the permanent collection of the Museum of Fine Arts Boston. Gaudier-Brzeska’s interest Literature: Carey & Griffiths, ‘Avant-Garde British in the subject of wrestlers was inspired by his visits to the Printmaking 1914-1960’, British Museum Publications London Wrestling Club, off Fleet Street, in 1912-1913. Ltd, 1990, cat. no. 18, p. 45 He made numerous drawings from life there, and wrote, in a letter to Sophie Gaudier Brzeska dated December 1912: ‘Last night I went to see the wrestlers – God! I have seldom seen anything so lovely – two athletic types, large shoulders, taut, big necks like bulls, small in the build with firm thighs and slender ankles, feet sensitive as hands, and not tall.