Filed under magazine | Tags: · computer graphics, graphic design, typography
“Emigre magazine’s eleventh issue, ‘Ambition/Fear: Graphic Designers and the Macintosh Computer’, contains vivid artifacts of a discipline’s first encounter with digital tools. From the aesthetics of bitmaps to the expressive interventions made possible by new access to typesetting controls, not to mention the self-publishing venture of the magazine itself, this issue combines modernist and postmodern agendas in a model construction of text-based community.”
Release of the digitized issue “coincides with the publication of “Inflection Point” a rigorously researched essay about Emigre #11 by writer/designer Emily McVarish. The essay takes a close look at Emigre #11, analyzing the technical, critical, and cultural production that would shape Emigre as a medium for typographic demonstration and discussion among peers.”
Design and production: Rudy VanderLans
Typeface designs: Zuzana Licko
Publisher Emigre Graphics, Berkeley, CA, 1989
32 pages, 11.25 x 16.75 in
via Letterform Archive
Commentary: Emily McVarnish (2017, 59 pp).Comment (0)
Filed under book | Tags: · 1920s, 1930s, art, bauhaus, photography, typography
“These five hundred photographs are a record of Bauhaus activities and experiments during the 1920s and early 1930s. Most of the photographs were taken by artists-painters like Fritz Kuhr and Werner Siedhoff, designers Heinz Loew and Herbert Bayer, Bauhaus masters Hannes Meyer and Joosst Schmidt – who were not self-conscious photographers but who wanted to work with a new technology.
The book supplements visual material already published in Hans Wingler’s monumental Bauhaus and presents the school’s more human side. Some of these photographs have never been published before, while others have not been published since the period in which they were made.
Part I consists of over 100 ‘artistic’ images, a listing of Bauhaus photography exhibits, an example of a Dessau Bauhaus lesson plan, including photography, and essays on various aspects of photography by Peterhans, Moholy, Vordemberge-Gildewart, Ernst Kallai, Fritz Kuhr, Willi Baumeister, Adolf Behne, Max Burchartz, Will Grohmann, and Ludwig Kassack. There is also a section on the use of photography with typography.
Part II is a Bauhaus album – nearly 400 illustrations of applied photography documenting the Bauhaus buildings, classroom projects, or day-today activities of students and faculty.”
First published as Bauhaus Fotografie, Marzona, Düsseldorf, 1982
Edited by Egidio Marzona and Roswitha Fricke
Translated by Harvey Mendelsohn and Frederick Samson
Foreword by Eugene Prakapas
Publisher MIT Press, 1985
ISBN 0262132028, 9780262132022
Review: Clark V. Poling (Design Issues, 1986).
PDF (32 MB)Comment (0)
Alfred H. Barr, Jr.: Cubism and Abstract Art: Painting, Sculpture, Constructions, Photography, Architecture, Industrial Art, Theatre, Films, Posters, Typography (1936)
Filed under book, catalogue | Tags: · abstract art, abstraction, architecture, art, art history, avant-garde, constructivism, cubism, dada, design, expressionism, fauvism, film, futurism, impressionism, painting, photography, sculpture, suprematism, surrealism, theatre, typography
The catalogue of the first MoMA’s retrospective of modernism, held 2 March-19 April 1936, laid the theoretical foundation of the museum. Its jacket contains a notorious chart of modernist art history, the Diagram of Stylistic Evolution from 1890 until 1935.
“The catalogue remains an important historical document (as does that for Fantastic Art, Dada, Surrealism). It set abstraction within a formalist framework that—ignoring the intellectual byways of French symbolism, German idealism, and Russian Marxism of the previous thirty years—was shaped by the scientific climate that had started a century before. … The exhibition together with the widespread dissemination of its influential catalogue, established Cubism as the central issue of early modernism, abstraction as the goal.” (Sybil Gordon Kantor, 2003)
The exhibition later traveled to another 7 cities: San Francisco, Cincinnati, Minneapolis, Cleveland, Baltimore, Providence, and Grand Rapids.
Publisher Museum of Modern Art, New York, 1936
PDF (47 MB)Comment (1)