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Category Archives: design
By Kyna Leski (2015)
Although each instance of creativity is singular and specific, Kyna Leski tells us, the creative process is universal. Artists, architects, poets, inventors, scientists, and others all navigate the same stages of the process in order to discover something that does not yet exist. All of us must work our way through the empty page, the blank screen, writer’s block, confusion, chaos, and doubt. In this book, Leski draws from her observations and experiences as a teacher, student, maker, writer, and architect to describe the workings of the creative process.
Edited by Lauren Cornell and Ed Halter (2015)
Since the turn of the millennium, the Internet has evolved from what was merely a new medium to a true mass medium – with a deeper and wider cultural reach, greater opportunities for distribution and collaboration, and more complex corporate and political realities. Mapping a loosely chronological series of formative arguments, developments, and happenings, Mass Effect provides an essential guide to understanding the dynamic and ongoing relationship between art and new technologies.
By John Man (2009)
In 1450, all Europe’s books were handcopied and amounted to only a few thousand. By 1500, they were printed and numbered in their millions. The invention of Johann Gutenberg had caused a revolution: printing by movable type. Born in 1400 in Mainz, Germany, Gutenberg struggled against a background of plague and religious upheaval to bring his remarkable invention to light. His story is full of paradoxes: his ambition was to reunite all Christendom, but his invention shattered it; he aimed to make a fortune, but was cruelly denied the fruits of his life’s work. Yet history remembers him as a visionary; his discovery marks the beginning of the modern world.
By Barbara Bloemink, Brooke Hodge, Ellen Lupton and Matilda McQuaid (2006)
The exhibition catalog inaugurates Cooper-Hewitt’s new self-publishing venture. The publication includes a foreword by director Paul Warwick Thompson; original essays by co-curators Barbara Bloemink, Brooke Hodge, Ellen Lupton, and Matilda McQuaid; a designer profile of each of the 87 designers featured in the exhibition; and more than 300 images, most in full color. The book is designed by COMA (Cornelia Blatter and Marcel Hermans), who are also featured in the exhibition.
By Jo Lauria and Steve Fenton (2007)
The companion book to the PBS series of the same name, Craft in America highlights the work of America’s most interesting craft artists past and present. Illustrated with more than 200 commanding images and signature objects from furniture, wood, ceramics, and glass to fiber, quilts, jewelry, metal, and basketry, this definitive work shows how crafts, long admired for their marriage of functionality and creativity, also reflect our nation’s history and the remarkable people who passed on their traditions.
By Rudy VanderLans (2009)
During the late 1980s and throughout the 1990s, graphic design was experiencing one of its most exciting and transformative periods. The Apple Macintosh computer had been introduced, design schools were exploring French linguistic theory, the vernacular had become a serious source of study and inspiration, the design and manufacture of typefaces was suddenly opened up to everyone who could use a computer, and for the first time in the United States, New York City was no longer the place to look for the latest developments in graphic design. And in Berkeley, California, across the bay from Silicon Valley, Emigre magazine, like no other, recognized the significance of the events, and became both a leading participant and a keen observer of this innovative international design scene, generating a body of work and ideas that still resonate today.
By Janet Koplos and Bruce Metcalf (2010)
Here is the first comprehensive survey of modern craft in the United States. The book follows the development of studio craft–objects in fiber, clay, glass, wood, and metal–from its roots in 19th-century reform movements to the rich diversity of expression at the end of the 20th century. Keeping as their main focus the objects and the makers, Koplos and Metcalf offer a detailed analysis of seminal works and discussions of education, institutional support, and the philosophical underpinnings of craft.
Innovations in Art and Design series from Routledge:
Network Art: Practices and Positions (2005)
Invisible Connections: Dance, Choreography and Internet Communities (2005)
Thinking Through Art: Reflections on Art as Research (2005)
New Practices – New Pedagogies: A Reader (2005)
New Visions In Performance (2004)
Digital Creativity: A Reader (2002)
By Donna De Salvo and Catherine Gudis (1999)
In 1995, the resolutely reclusive Ray Johnson reemerged into the spotlight when he died in a mysterious and spectacular way, leading to the discovery of thousands of works of art in his house. Drawing upon this vast trove, Donna De Salvo, the Wexner Center’s Curator at Large, has organized Ray Johnson: Correspondences, the first comprehensive exhibition to be mounted (with the complete cooperation of the artist’s estate).
Like Rauschenberg, Cy Twombly, Jasper Johns, and later Andy Warhol and Jim Rosenquist, Johnson combined the signs and symbols of contemporary culture with the lessons of abstraction to develop a new lexicon of forms. A pioneer in the use of ‘found’ images and techniques of mechanical reproduction, Johnson created in 1955 what may have been the first informal happening.
Johnson first created ‘mail art’ in the fifties. These were part collage, part manifesto, part parody; he often instructed recipients to ‘add to’, ‘return to’, or ‘send to’, spawning an interactive art form, a continuous happening, that pre-figured electronic mail. Johnson was the nerve center of this pre-digital netscape that spread around the nation and, eventually, the world, which continues to flourish today.
By the eighties, Johnson was a legend in the artistic community. Ray Johnson: correspondences, offers the first opportunity for in-depth examination of the work of an artist who reflected and dissected many of the aesthetic, cultural, and theoretical preoccupations of the last forty years; a figure whose impact and influence will finally be made known.
By Ashley Callahan (2007)
This fully illustrated book on fashion designer and fiber artist Mariska Karasz (1898-1960) accompanies the exhibition of the same name at the Georgia Museum of Art from January 20 to April 15, 2007. It is divided into three major sections, one focusing on her fashion design for women, one on her fashion design for children, and one on her embroidered wall hangings. With many full-color images representing all three of these categories, it is the most comprehensive work published on Karasz.