Libre Graphics Magazine 1.3: Collaboration, collaboratively (2011)
Filed under magazine | Tags: · collaboration, design, floss, graphic design, graphics, libre graphics, open source, software
The third issue of magazine on open source graphic design and graphics.
Editorial team: Ana Carvalho, Ginger Coons, Ricardo Lafuente
Publisher: Ginger Coons, August 2011
Creative Commons Attribution-Share Alike license (CC-BY-SA)
ISSN 1925-1416
60 pages
PDF (low-res version, 26 MB)
PDF (high-res version, 455 MB)
Drew Hemment, Charlie Gere (eds.): FutureEverybody: FutureEverything Report (2012)
Filed under brochure | Tags: · art, collaboration, design, participation, participatory culture
“This is a report on FutureEverybody, the FutureEverything theme in 2012. It consists of short essays by participants in the FutureEverything 2012 festival [16-19 May 2012, Manchester, England] and an overview of the festival and conference programme by the curators. These offer reflections on the FutureEverybody theme, the art and design projects in the festival, and the issues and initiatives presented within the conference. Each year FutureEverything proposes and develops particular themes, in its annual festival and year round innovation labs. These themes are provocations, designed to open up a space for practice and debate, made tangible through art and design projects which seek to bring the future into the present.” (editors)
Publisher: FutureEverything, 2012
Creative Commons Attribution-NonCommercial 3.0 Unported License
63 pages
Margret Kentgens-Craig: The Bauhaus and America: First Contacts, 1919-1936 (1999)
Filed under book | Tags: · 1920s, 1930s, architecture, art, avant-garde, bauhaus, design, education, history of architecture, united states
The Bauhaus school was founded in Weimar in 1919 by the German architect Walter Gropius, moved to Dessau in 1925 and to Berlin in 1932, and was dissolved in 1933 by Ludwig Mies van der Rohe under political duress. Although it existed for a mere fourteen years and boasted fewer than 1,300 students, its influence is felt throughout the world in numerous buildings, artworks, objects, concepts, and curricula.
After the Bauhaus’s closing in 1933, many of its protagonists moved to the United States, where their acceptance had to be cultivated. The key to understanding the American reception of the Bauhaus is to be found not in the émigré success stories or the famous 1938 Bauhaus exhibition at the Museum of Modern Art, but in the course of America’s early contact with the Bauhaus. In this book Margret Kentgens-Craig shows that the fame of the Bauhaus in America was the result not only of the inherent qualities of its concepts and products, but also of a unique congruence of cultural supply and demand, of a consistent flow of information, and of fine-tuned marketing. Thus the history of the American reception of the Bauhaus in the 1920s and 1930s foreshadows the patterns of fame-making that became typical of the post-World War II art world. The transfer of artistic, intellectual, and pedagogical concepts from one cultural context to another is a process of transformation and integration. In presenting a case study of this process, the book also provides fresh insights into the German-American cultural history of the period from 1919 to 1936.
Publisher MIT Press, 1999
ISBN 026211237X, 9780262112376
283 pages
PDF (updated on 2012-7-31)
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