- Images and descriptions used on this site are from amazon.com
- architecture art autobiography biography consciousness counterculture Cranbrook culture design education exhibition feminism fiction history interview jazz language media music myth phenomenology philosophy photography poetry politics printmaking psychology science semiotics situationist technology theory typography
- architecture (9)
- art (66)
- autobiography (3)
- biography (11)
- consciousness (12)
- counterculture (9)
- Cranbrook (4)
- culture (47)
- design (22)
- education (11)
- exhibition (16)
- feminism (6)
- fiction (11)
- history (50)
- interview (7)
- jazz (5)
- language (17)
- media (32)
- music (14)
- myth (4)
- phenomenology (1)
- philosophy (19)
- photography (5)
- poetry (4)
- politics (6)
- printmaking (4)
- psychology (2)
- science (13)
- semiotics (10)
- situationist (3)
- technology (23)
- theory (47)
- typography (10)
Art Critiques: A Guide
Not Here, Not Now, Not That!: Protest over Art and Culture in America
Steven J. Tepper
Graphic Design: Now In Production
Walker Art Center
Hiking the Horizontal: Field Notes from a Choreographer
The Art Life: On Creativity and Career
The Great Northern Brotherhood of Canadian Cartoonists
Dreams from My Father: A Story of Race and Inheritance
VW Bus and Pick-Up: Special Models
David Eccles, Michael Steinke
Soul Mining: A Musical Life
This Wheel’s on Fire: Levon Helm and the Story of the Band
Levon Helm, Stephen Davis
Category Archives: typography
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 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.
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 Donald Albrecht, Ellen Lupton, Mitchell Owens, and Susan Yelavich (2003)
Inside Design Now takes the pulse of American design in the new millennium, providing a fascinating tour of cutting-edge trends in architecture, interiors, landscape, fashion, graphics, and new media.
Featuring eighty emerging and established designers – including 2 x 4, Mike Mills, Peter Eisenman, Fuse Project, Tod Machover, Paula Scher, Jennifer Siegal, and Isaac Mizrahi – Inside Design Now illustrates the most innovative and provocative thinking in design today. Each designer’s work is presented with a double-page spread and a series of full-color images. Essays explore the role of the designer in today’s culture, contemporary ideas of beauty and functionality, and what the future holds in the realm of design. Sensuous materials, lush patterns, and exquisite details come together with new technologies, pop imagery, and fresh approaches to scale, color, and construction in the works reproduced in this volume.
By Katherine and Michael McCoy (1990)
A book that documents Cranbrook’s Design Department faculty, student, and alumni work from 1980-1990. Although not defined by a style, the Cranbrook design philosophy has been influential in product, graphic and furniture design. Products have been treated as sensual objects to be interpreted. “We’ve tried to recognize that products carry the mythology of the culture,” said Michael McCoy, chairman of the design department with his wife, Katherine.
By Scott and Laurie Makela (1998)
What is driving communication and what are the real challenges facing designers today? Whereishere presents a radical new take on both these issues, breaks from the orthodox approach to understanding two dimensional design. Leading graphic design studios are represented including Bruce Mau and Cranbrook Academy of Art.
By Spencer Drate and Jutka Salavetz
There are thousands of fonts out there, each one a simplified, glorified, humorized or otherwise altered take on your basic ABC’s. It’s how you use ‘em that counts. In the spirit of the first Cool Type, this book offers an international look at how cutting-edge typefaces are used in actual designs. Cool Type 2wo features the latest free-thinking work from an all-new roster of 44 top designers. You’ll see fonts that speak for themselves, whether in whispers, chuckles or screams … some that blow you away and others that rub you the wrong way. (Hey, that’s what happens on the cutting edge!) Complete with insights on how the typefaces were created or manipulated, Cool Type 2wo is guaranteed to alter–or at least seriously challenge–the way you use type.
By Ellen Lupton (1996)
How do we disseminate information? And what does it look like? Ellen Kupton answers that in her new book, Mixing Messages: Graphic Design in Contemporary Culture. Lupton looks at the mission of design through discussions about publishing, signage, typography, corporate identity and the use of design in public places. Mixing Messages will fascinate fans of design, culture or social history.
By Lewis Blackwell (1999)
This book challenges the concept of how typographic communication works today, but in doing so strengthen its ties with the traditions of the past. An introductory essay shows how current creative trends are simply part of the continuum of change that can be plotted from the turn of the last century to the turn of the next. Strong illustrated intersection dividers, specially commissioned from leading designers, set the scene for each chapter, or decade, and the space devoted to the 1990s has been substantially expanded.
By Ellen Lupton and Donald Albrecht (2000)
This is the first-ever survey of American design that cuts across the four disciplines of architecture, product design, graphic design, and new media. Put together by the National Design Museum surveys the up-to-the-minute trends in American design from architecture to product and graphic design to new media. This comprehensive survey catalogs the best in architecture, interiors, environments, landscapes, products, furniture, fashion, objects, typefaces, posters, publications, film and TV graphics, and interactive media from the last three years.