A Study for Conceptual Grid Structure Design Valorie Michelle Brinson Iowa State University
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FOR IMMEDIATE RELEASE: Thursday, May 26, 2011 PHAIDON PRESS AND THE NATIONAL SEPTEMBER 11 MEMORIAL & MUSEUM ANNOUNCE 10TH-ANNIVERSARY EDITION OF THE PHOTOGRAPHY BOOK ‘AFTERMATH: WORLD TRADE CENTER ARCHIVE’ Award-winning Photographer Joel Meyerowitz Chronicles Post-9/11 Efforts Meyerowitz’s Photographs will be included in 9/11 Memorial Museum Marking the 10th anniversary of 9/11, Phaidon Press with the support of the National September 11 Memorial & Museum announced today the publishing of a commemorative edition of the book ‚Aftermath: World Trade Center Archive‛ by Joel Meyerowitz. The 349-page book, which will be published by Phaidon Press in June, is the only existing photographic record of the monumental recovery effort in the weeks and months after the September 11, 2001 attacks. The publication features 400 color photographs from the World Trade Center site, where Meyerowitz was the only professional photographer granted untethered access to ground zero in the months following the attacks. This commemorative edition, which retails for $39.95, features a new cover with an endorsement from 9/11 Memorial President Joe Daniels. The book will be available at the 9/11 Memorial Preview Site, 20 Vesey St. All net proceeds from sales of books, keepsakes and other items at the Preview Site are dedicated to developing and sustaining the 9/11 Memorial. ‚Aftermath is a testament to the heroism and compassion that were so much a part of the recovery effort at ground zero,‛ Daniels said. ‚Joel’s work and dedication presented on the pages of this book is for every American, as a tribute and historical record ensuring 9/11 is never forgotten on future generations.‛ A selection of Meyerowitz’s photographs will be included in the 9/11 Memorial Museum, which opens in 2012. -
Volume 2, Issue 3, Autumn 2018
The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Front Cover Image: Textile Detail of an Evening Dress, circa 1950s, Maker Unknown, Middlesex University Fashion Collection, London, England, F2021AB. The Middlesex University Fashion Collection comprises approximately 450 garments for women and men, textiles, accessories including hats, shoes, gloves, and more, plus hundreds of haberdashery items including buttons and trimmings, from the nineteenth century to the present day. Browse the Middlesex University Fashion Collection at https://tinyurl.com/middlesex-fashion. The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Editor–in–Chief Jennifer Daley Editor Scott Hughes Myerly Proofreader Georgina Chappell Published by The Association of Dress Historians [email protected] www.dresshistorians.org The Journal of Dress History Volume 2, Issue 3, Autumn 2018 [email protected] www.dresshistorians.org Copyright © 2018 The Association of Dress Historians ISSN 2515–0995 Online Computer Library Centre (OCLC) accession #988749854 The Journal of Dress History is the academic publication of The Association of Dress Historians through which scholars can articulate original research in a constructive, interdisciplinary, and peer reviewed environment. The Association of Dress Historians supports and promotes the advancement of public knowledge and education in the history of dress and textiles. The Association of Dress Historians (ADH) is Registered Charity #1014876 of The Charity Commission for England and Wales. The Journal of Dress History is copyrighted by the publisher, The Association of Dress Historians, while each published author within the journal holds the copyright to their individual article. The Journal of Dress History is circulated solely for educational purposes, completely free of charge, and not for sale or profit. -
Liz Falletta ______
Liz Falletta _____________________________________________________________________________________ CONTACT University of Southern California Phone: (213) 740 - 3267 INFORMATION Price School of Public Policy Mobile: (323) 683 - 6355 Ralph and Goldy Lewis Hall, 240 Email: [email protected] Los Angeles, CA 90089-0626 Date: January 2015 TEACHING University of Southern California, Los Angeles, CA APPOINTMENTS Price School of Public Policy Associate Professor (Teaching), July 2014 – present Assistant Professor (Teaching), January 2009 – May 2014 Clinical Assistant Professor, July 2007 – December 2008 Lecturer, June 2004 – June 2007 Iowa State University, Ames, IA College of Design, Department of Architecture Visiting Lecturer, January 2003 – May 2003 University of California Los Angeles, Los Angeles, CA School of Architecture and Urban Design Co-Instructor (with Mark Mack), October 2002 – December 2002 Southern California Institute of Architecture (SCI-Arc), Los Angeles, CA Instructor, August 2000 – December 2000 Associate Instructor, June 2000 – August 2000 EDUCATION University of Southern California, Los Angeles, CA Master of Real Estate Development, 2004 Southern California Institute of Architecture, Los Angeles, CA Master of Architecture, 2000 Washington University, St. Louis, MO Bachelor of Arts in Architecture, Philosophy Minor, magna cum laude, 1993 COURSES University of Southern California TAUGHT Price School of Public Policy Design History and Criticism (RED 573), Summer 2004 – present Community Development and Site Planning (PPD -
Syllabus Paris
Institut de Langue et de Culture Française Spring Semester 2017 Paris, World Arts Capital PE Perrier de La Bâthie / [email protected] Paris, World Capital of Arts and Architecture From the 17th through the 20th centuries Since the reign of Louis XIV until the mid-20th century, Paris had held the role of World Capital of Arts. For three centuries, the City of Light was the place of the most audacious and innovative artistic advances, focusing on itself the attention of the whole world. This survey course offers students a wide panorama on the evolution of arts and architecture in France and more particularly in Paris, from the beginning of the 17th century to nowadays. The streets of the French capital still preserve the tracks of its glorious history through its buildings, its town planning and its great collections of painting, sculpture and decorative arts. As an incubator of modernity, Paris saw the rising of a new epoch governed – for better or worse – by faith in progress and reason. As literature and science, art participated in the transformations of society, being surely its more accurate reflection. Since the French Revolution, art have accompanied political and social changes, opened to the contestation of academic practice, and led to an artistic and architectural avant-garde driven to depict contemporary experience and to develop new representational means. Creators, by their plastic experiments and their creativity, give the definitive boost to a modern aesthetics and new references. After the trauma of both World War and the American economic and cultural new hegemony, appeared a new artistic order, where artists confronted with mass-consumer society, challenging an insane post-war modernity. -
Introduction
Introduction One way to understand the ongoing amplification and extension of design is to see how it is being driven by market and societal demand. With a public that is familiar with design thinking and social design, there is a kind of design renaissance today where those who are not necessarily from within the design community see its value. This “pull” that design currently enjoys is evident in several ways: those working in consultancies are adding a more Downloaded from http://direct.mit.edu/desi/article-pdf/36/2/1/1716215/desi_e_00584.pdf by guest on 26 September 2021 balanced approach to traditional business-heavy perspectives at the request of more sophisticated clients; those in corporations are building in-house design capabilities to meet the needs of their internal constituents; and those working in and for non-profits are translating and facilitating authentic insights regarding the underserved who desire to be engaged in more humane and equi- table ways. There is another way that design continues to expand and it is through its own “push” mechanism. It is a healthy sign when a discipline—not seeking to rest on its own laurels—takes on a con- tinuous and collective reflection-in-action. Like the concept of a learning organization, designers are busy pushing beyond their own set of boundaries, approaching design itself as a learning dis- cipline where action and course correction are constantly at play. The authors in this issue, adopting the latter approach to developing design, push themselves and the discipline beyond the status quo. Though they use different terms to describe the idea of incompleteness and the opportunity to expand, their message is uniform: design is but one dimension in our complex world and yet it serves an important function in the shaping of larger wholes. -
Narrative Problems of Graphic Design History
233 Victor Margolin Narrative Problems of Graphic Design History The problem of method in the construction of narratives is particularly acute in the field of graphic design history. Various publications have brought attention to the subject of graphic design history, but have not marked a course for the full explanation of how graphic design developed as a practice. Three major texts by Philip Meggs, Enric Satue and Richard Hollis address the history of graphic design, but each raises questions about what material to include, as well as how graphic design is both related to and distinct from other visual practices such as typography, art direction and illustra Victor Margolin is associate professor tion. The author calls for a narrative strategy that is of design history at the University of Illinois, Chicago. He is editor of more attentive to these distinctions and probes more Design Discourse: History, Theory, deeply into the way that graphic design has evolved . Criticism, author ofThe American Poster Renaissance and co-editor of Discovering Design : Explorations in Design Studies (forthcoming). Professor Margolin is also a founding editor of the journal Design Issues. University of Ill inois, Chicago School of Art and Design m/c 036 Chicago Illinois 60680 Visible Language, 28:3 Victor Margolin, 233·243 © Visible Language, 1994 Rhode Island School of Design Providence Rhode Island 02903 234 Visible Language 28.3 Narrativity becomes a problem only when we wish to give real events the form of a story.' Introduction In recent years scholars have devoted considerable attention to the study of narrative structures in history and fiction. -
Modern Architecture & Ideology: Modernism As a Political Tool in Sweden and the Soviet Union
Momentum Volume 5 Issue 1 Article 6 2018 Modern Architecture & Ideology: Modernism as a Political Tool in Sweden and the Soviet Union Robert Levine University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/momentum Recommended Citation Levine, Robert (2018) "Modern Architecture & Ideology: Modernism as a Political Tool in Sweden and the Soviet Union," Momentum: Vol. 5 : Iss. 1 , Article 6. Available at: https://repository.upenn.edu/momentum/vol5/iss1/6 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/momentum/vol5/iss1/6 For more information, please contact [email protected]. Modern Architecture & Ideology: Modernism as a Political Tool in Sweden and the Soviet Union Abstract This paper examines the role of architecture in the promotion of political ideologies through the study of modern architecture in the 20th century. First, it historicizes the development of modern architecture and establishes the style as a tool to convey progressive thought; following this perspective, the paper examines Swedish Functionalism and Constructivism in the Soviet Union as two case studies exploring how politicians react to modern architecture and the ideas that it promotes. In Sweden, Modernism’s ideals of moving past “tradition,” embracing modernity, and striving to improve life were in lock step with the folkhemmet, unleashing the nation from its past and ushering it into the future. In the Soviet Union, on the other hand, these ideals represented an ideological threat to Stalin’s totalitarian state. This thesis or dissertation is available in Momentum: https://repository.upenn.edu/momentum/vol5/iss1/6 Levine: Modern Architecture & Ideology Modern Architecture & Ideology Modernism as a Political Tool in Sweden and the Soviet Union Robert Levine, University of Pennsylvania C'17 Abstract This paper examines the role of architecture in the promotion of political ideologies through the study of modern architecture in the 20th century. -
The French Art World in the 19Th and 20Th Centuries : Summer
The French Art World in the 19th and 20th centuries : Summer Session Professor: Laure-Caroline Semmer Period: Monday-Wednesday-Thursday 14h-16h30 (unless otherwise indicated) Email: / 06 11 16 87 58 Course Abstract This course traces the artistic contribution to modernity in 19th -century and the first decades of 20th century French art, its utopian dimension, its different achievements and its decline. Since the French Revolution, major works of art, art critics and theorists, and artists themselves contributed to change drastically the artist’s role and the role of the arts. Against the backdrop of the newly established bourgeois, industrialized and modernized society in France, the co-existence of opposite art practices and ideologies as well as the quickly following changes and innovations in successive art-movements, such as realism, impressionism, postimpressionism, cubism, fauvism will be analysed with regard to their respective claim for modernity. Through an examination of form and content distinguishable in works of various artistic disciplines (painting, sculpture, architecture, design), students will critically evaluate artistic language and expression that is representative of modern ideologies. This course will examine the visual arts and will utilize theoretical texts for supportive analysis. Course Objectives: Upon completionSAMPLE of the course the student will be able to: - Distinguish major art movements from Neo-Classicism to Modern Art. - Analyze and contextualize key works of 19th and 20th century French Art. - Demonstrate awareness and understanding of their historical, social and esthetical background. - Have a basic reading of essential art critics and art theories dealing with modernity. - Acquire basic knowledge about the foundations of Modern Art. -
Teasley, Sarah. "“Methods of Reasoning and Imagination
Teasley, Sarah. "“Methods of Reasoning and Imagination”: History’s Failures and Capacities in Anglophone Design Research." Theories of History: History Read across the Humanities. By Michael J. Kelly and Arthur Rose. London: Bloomsbury Academic, 2018. 183–206. Bloomsbury Collections. Web. 25 Sep. 2021. <http://dx.doi.org/10.5040/9781474271332.ch-010>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 02:53 UTC. Copyright © Michael J. Kelly, Arthur Rose, and Contributors 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 10 “Methods of Reasoning and Imagination”: History’s Failures and Capacities in Anglophone Design Research Sarah Teasley This chapter critically explores the place of history as concept and practice within the field of design research, past and present. Design, today, refers to a spectrum of practices varying widely in medium, scale, and application. Alongside famil- iar forms such as architecture, fashion, interiors, graphic, product, industrial, textile, engineering, and systems design and urban planning, practices such as interaction design, service design, social design, and speculative critical design have emerged in the past decade, alongside new forms of technology, new inter- faces, new economic and political landscapes, and new ideas about the roles that design can play in society and the economy.1 In its expanded practice, design shapes, creates, and implements material and immaterial artefacts, not only the buildings, chairs, and garments familiar to us as “design” but public policy, cor- porate strategy, and social behavior.2 On a more abstract level, design is both verb and noun, both action and the product of action. -
Visualizing Poetry in Practice in Early Modern Italian Art
Athens Journal of Humanities & Arts - Volume 8, Issue 3, July 2021 – Pages 189-208 Li Pittori Parlano con l’Opere: Visualizing Poetry in Practice in Early Modern Italian Art By James Hutson* The relative sophistication of artists in the early modern era is contested, especially with regards to their educational backgrounds. On one hand, Dempsey-esque intellectual history is vested in touting the structured, literary curricula in art-educational institutions; while on the other, a complete rejection of the ‚artist-philosopher‛ as historical fiction seeks to undermine this hegemonic construct. This study argues that the lack of early formal education in the cases of artist like Annibale Carracci and Nicolas Poussin, who, unlike Peter Paul Rubens, did not have a firm foundation in the classics and languages that would allow them to engage directly with source material, would later be supplemented through their relationships with literary figures in the circles of Torquato Tasso, Giambattista Marino, and the Accademia dei Gelati. In addition to such relationships, informal exchanges, gatherings, and supplemental materials like Giovanni Paolo Gallucci’s Della Simmetria could be called upon when treating poetic subjects. With intimate knowledge of vernacular poetry, literati themselves participating in lectures and studio visits, and, finally, quick reference guides for subject matter, these artists were able to produce works that spoke to both poetic and artistic theory of the day, as one naturally informed the other. Introduction ‚Poets paint with words, painters speak with their works.‛1 This aphorism of Annibale Carracci (1560-1609) followed a superb rendering of the Laocoön in charcoal, expertly rendered from memory. -
School of Industrial Design Automotive Restoration Program
FOUNDED IN SAN FRANCISCO 1929 BY ARTISTS FOR ARTISTS School of Industrial Design Featured Program: Automotive Restoration 1 Academy of Art University has helped to open students’ eyes and has given them the vision necessary to see and create art, and make a life of art. What we do here is enable students to create, and that’s what we’ve been doing since 1929. There is an industry demand for entry level Automotive Restorers, and most programs lack the historical restoration and preservation elements necessary to restore vintage vehicles. Our program will not only focus on technology, but it will also provide instruction for building the unique skillsets, historical knowledge, and research skills required for replicating historically authentic classic cars. Vintage vehicle restoration is unique in that it requires parts to be repaired or reproduced because many cannot be purchased or refurbished from a factory. For this reason, our new Automotive Restoration program will train for hands-on skills and machining technology, while also covering the critical component of history and research processes for repairing parts or creating historically accurate components for authenticity. Car collectors place a high value on historical preservation because original parts have more historical significance and also increase the value of a car. Our students will receive training on how to evaluate a component and determine if it must be fabricated or if it can be repaired. The School of Industrial Design has the facilities and a long tradition of excellence in production, analysis, and research, which will be leveraged to support this new program. -
Sale of the Donald B. Marron Family Collection to Be Handled by Acquavella Galleries, Gagosian and Pace Gallery in a Collaboration to Honor His Legacy
FOR IMMEDIATE RELEASE Sale of the Donald B. Marron Family Collection to be Handled by Acquavella Galleries, Gagosian and Pace Gallery in a Collaboration to Honor his Legacy “Good contemporary art reflects the society, and great contemporary art anticipates.” —Donald B. Marron Left: Don Marron, Catie Marron © Patrick McMullan Right: Mark Rothko, Number 22 (reds), 1957 © 2020 Kate Rothko Prizel and Christopher Rothko / ARS, New York Courtesy the Donald B. Marron Family Collection, Acquavella Galleries, Gagosian, and Pace Gallery In an unprecedented move, Acquavella Galleries, Gagosian, and Pace Gallery have joined forces with the Marron family to handle the sale of the Donald B. Marron Family Collection. The collaboration will pay homage to Don Marron’s (1934–2019) legacy as one of the 20th and 21st centuries’ most passionate and erudite collectors, a pioneer of corporate collections, a family man, and a dedicated philanthropist. Over the course of six decades, Marron acquired over 300 modern and contemporary masterworks. In May 2020, the three galleries will organize a joint exhibition in New York to showcase the breadth of the Marron family collection. The exhibition will be divided into three significant phases of Marron’s collecting activities, including his work as a young collector in the 1960s and 1970s, as a museum steward, and as a pioneer in reinventing how corporations build art collections around a singular vision. The exhibition will include works from the family collection as well as loans from institutions. The Marron family collection includes two major paintings by Pablo Picasso, Femme au béret et la collerette (Woman with Beret and Collar) (March 6, 1937) and Femme assise (Jacqueline) (May 13–June 16, 1962); Mark Rothko’s Number 22 (reds) (1957); Cy Twombly’s Untitled (Camino Real) (2011); paintings by Willem de Kooning and Gerhard FOR IMMEDIATE RELEASE Richter, and significant works by Brice Marden, including Complements (2004–2007).