An overview of the work of 20th-century graphic design icon Tom Eckersley – packed with hundreds of his instantly recognisable designs. From iconic posters for the Post Office and London Transport to designs for brands such as Guinness, this richly illustrated book explores the work of influential British poster artist and design teacher Tom Eckersley (1914–1997). Part of the 'outsider' generation that transformed graphic design in Britain in the mid-century era, Eckersley’s instantly recognisable posters have become true icons of 20th-century style. Here, design writer and former Eckersley archivist Paul Rennie gives a fascinating exploration of Eckersley’s life and work, from his Northern upbringing and early career, through pioneering work during the Second World War, to his central role in mid-century graphic design in the decades that followed. Over 200 designs from throughout Eckersley’s career are featured. Made in his signature style combining bold, bright colours and flat graphic shapes, there are designs for clients such as the BBC, British Rail, Keep Britain Tidy, Gillette, BP and Shell. The book also examines Eckersley’s position at the forefront of the explosion of print culture in the 20th century, how he helped to transform design education in Britain, and the lasting legacy he left behind. A celebration of a true mid-century modern master, this is the first book on Tom Eckersley of its kind and will appeal to anyone interested in graphic design and visual communication.

Jan-Ole Schiemann (*1983) belongs to a young artist generation, subjecting painting to a critical actualisation. On the fringes of figuration and abstraction, he extracts fragments of advertisement, comics, and architecture from their original context. Almost transparently, he interweaves and layers structures, logos, topographies, graffiti, and everyday textures. This complex surface mesh, always full frontal, yet equally deep, dissolves the fabric of reality as a flashing, constantly renewed and self-generating hyper-text, into which one can actively immerse oneself or trace the origins of individual elements.

A beautifully illustrated account of the Impressionist experiment in the United States-showing how the French style was put to distinctly American use From the late 19th century to the Second World War, American painters adapted Impressionism to their own ends, shaping one of the most enduring, complex, and contradictory styles of art ever produced in the United States. This comprehensive book presents an original and nuanced history of the American engagement with the French style, one that was both richer and more ambivalent than mere imitation. Showcasing key works from public and private collections across the United States, this expansive catalogue contextualizes celebrated figures, such as Claude Monet (1840-1926) and William Merritt Chase (1849-1916), among their unduly overlooked-and often female-counterparts, such as Lilla Cabot Perry (1848-1933), Emma Richardson Cherry (1859-1954), and Evelyn McCormick (1862-1948). Essays from leading scholars of the movement expand upon the geography and chronology of Impressionism in America, investigating regional variants and new avenues opened by the experiment. Beautifully illustrated, this volume is a landmark event in the understanding of an important era in American art.

The Soviet avant-garde architecture of the 1920s to the mid-1930s has increasingly been attracting attention from researchers worldwide. Yet, in spite of this, entire regions remain unstudied. One of these is the south of Russia. Based on extensive research, this guidebook aims to correct the omission. It explores Russia's South and North Caucasus federal districts: Astrakhanskaya, Volgogradskaya, and Rostovskaya regions, Krasnodarsky kray, Crimea, Kalmykiya, Mineralnye Vody, Dagestan, Kabardino-Balkariya, Karachaevo-Cherkesiya, Severnaya Osetiya, and Chechnya. During the Second World War, the south of Russia was the scene of fighting and mass destruction. Post-war reconstruction saw many buildings redesigned in the neoclassical style and the loss of an entire stratum of avant-garde structures. Since the end of the USSR, the way the surviving buildings have been used and run has been equally destructive. For this reason, the structures examined here are divided into two categories: those that have survived and those that have been lost forever. This volume enables readers to view 100 Soviet avant-garde buildings with their own eyes.

Americans, on average, spend between six and ten seconds with individual artworks in museums or galleries-hardly time enough. But how, in our culture of distraction, might we extend attention? Slow Art models sustained ways of looking, through encounters with various media both present and past-including photography, painting, sculpture, "living pictures," film, video, digital and performance art-even light and space. Works by Diderot, Emma Hamilton, Oscar Wilde, Jeff Wall, Sam Taylor-Johnson, Andy Warhol, and Richard Serra, among others, shape a new and distinct aesthetic field. But rather than a collection of objects, slow art is participatory-it directly engages beholders to bring artworks to life. Against current orthodoxy, Arden Reed argues that, for contemporary viewers, the contemplation of slow art is akin to religious practices during the ages of faith.

The London-based avant-garde movement Vorticism, like its continental counterparts Cubism and Futurism--and its English rival Bloomsbury--was created by artists, poets, writers, and artist-writers, as a project that defied disciplinary boundaries. Vorticism: New Perspectives is the first volume to attend to the full range of the movement's innovations, providing investigations into every aspect of the Vorticists' artistic production: their avant-garde experiments in print culture, art criticism, theater, poetry, exhibition practice, manifesto writing, literature, sculpture, painting, and photography. The rich and varied essays in this volume constitute a timely and comprehensive reassessment of a key chapter in the history of modernism, and will be of interest to scholars across the full range of the humanities.

The first of three volumes charting the history of the Modernist Magazine in Britain, North America, and Europe, this collection offers the first comprehensive study of the wide and varied range of 'little magazines' which were so instrumental in introducing the new writing and ideas that came to constitute literary and artistic modernism in the UK and Ireland. In thirty-seven chapters covering over eighty magazines expert contributors investigate the inner dynamics and economic and intellectual conditions that governed the life of these fugitive but vibrant publications. We learn of the role of editors and sponsors, the relation of the arts to contemporary philosophy and politics, the effects of war and economic depression and of the survival in hard times of radical ideas and a belief in innovation. The chapters are arranged according to historical themes with accompanying contextual introductions, and include studies of the New Age, Blast, the Egoist and the Criterion, New Writing, New Verse , and Scrutiny as well as of lesser known magazines such as the Evergreen, Coterie, the Bermondsey Book, the Mask, Welsh Review, the Modern Scot, and the Bell. To return to the pages of these magazines returns us a world where the material constraints of costs and anxieties over censorship and declining readerships ran alongside the excitement of a new poem or manifesto. This collection therefore confirms the value of magazine culture to the field of modernist studies; it provides a rich and hitherto under-examined resource which both brings to light the debate and dialogue out of which modernism evolved and helps us recover the vitality and potential of that earlier discussion.

In the 1950s the hospital Berlin-Havelhoehe (today the Clinic for Anthropo-sophical Medicine) took over the building that had originally been erected as the National Socialist State Academy for Aviation. It was also there that the pilots who had attacked Guernica in 1934 as part of the Condor Legion had been trained. In 1960, Benjamin Katz fell ill with tuberculosis for a period of one and a half years. He stayed in Havelhoehe and produced an extensive collection of photographs during this time. 48 enlargements together with 380 working prints from the negatives on 30 facsimiled DIN-A4 pages document on the one hand the everyday routine as a patient, but also the architecture and the traces of National Socialism.

Throughout the 1920s, a remarkable number of young writers and artists lived and worked in Madrid, creating an atmosphere of effervescence and an upsurge in creativity that has rarely been equalled. These young people, acquainting themselves with one another within the span of only a few years, came together to form a tightly woven network of both personal and artistic relationships. In Configurations of a Cultural Scene Andrew Anderson explores this growing community of artists and writers with a focus on how sites of face-to-face interaction in Madrid fostered creative work and forged young identities. Organizing locations into places of sociability, learning, and residence, Anderson offers five case studies that exemplify the significance of these three points of intersection: Rafael Barradas and his tertulia at the Cafe de Oriente; an artists' studio located on the Pasaje de la Alhambra; women art students at the Academia de San Fernando who lodged at the Residencia de Senoritas; the artist and writer Gabriel Garcia Maroto; and the close relationship between artist Maruja Mallo and poet Rafael Alberti. Departing from conventional approaches that foreground the trajectories of individual careers, Anderson privileges the lived experience of artists and writers in his analysis of a rich cultural scene held together by cooperation, exchange, and interpersonal connections.

Through the 1880s the very essence of representation, meaning and process in Western art were profoundly interrogated. Plausible representations of the external world were cast aside in favour of non-naturalism expressed in varying degrees, from modest distortions of reality to pure abstraction. The decades that followed, up to the outbreak of the First World War in 1914, were a complex, vibrant period of artistic questioning, searching, risk-taking and innovation. Concentrating on this period of great upheaval, this book will explore the constructive dialogue between painting and sculpture, and the influential roles played by three giants of the era, Paul Cézanne, Paul Gauguin and Vincent van Gogh, across European art as a whole. While acknowledging the centrality of Paris as a cultural capital, it will also uniquely highlight other centres of artistic ferment in Europe, from Brussels and Barcelona to Berlin and Vienna, and track the variety of routes into modernism in the early twentieth century. This fully illustrated catalogue will contain four essays, introductions to each city of ferment and biographies of the artists. Published by National Gallery Global/Distributed by Yale University Press Exhibition Schedule: The National Gallery, London 25 March–13 August 2023

An American Art Colony demonstrates the social dimension of American art in the 20th century, paying special attention to the role of fellow artists, nonartists and the historical context of art production. The book treats the art colony, not as a static addendum to an artist's profile, but rather an essential ingredient in artistic life. The art colony here becomes an historical entity that changes over time and influences the kind of art that ensues. It is a special methodology of the study that collective features of three generation of artists help clarify how artists engage their audiences. Since many of these artists worked within the cultural confines of metropolitan New York and its magazine industry, they cultivated subjects that were recognizable by ordinary citizens. Early on, they drew from the emergent suburban life of their neighbors for their artistic themes. Gradually these contexts become more formally institutionalized and their subjects gravitated away from themes of ordinary life to themes more exotic, expressionistic and fanciful. A key methodology for this study consisted of an analysis of collective biographies of 170 participating artists. The theme of modern art explains here how abstraction was suborned to public images, widening the very meaning of the term modern.

How should Germany commemorate the mass murder of Jews once committed in its name? In 1997, James E. Young was invited to join a German commission appointed to find an appropriate design for a national memorial in Berlin to the European Jews killed in World War II. As the only foreigner and only Jew on the panel, Young gained a unique perspective on Germany's fraught efforts to memorialize the Holocaust. In this book, he tells for the first time the inside story of Germany's national Holocaust memorial and his own role in it. In exploring Germany's memorial crisis, Young also asks the more general question of how a generation of contemporary artists can remember an event like the Holocaust, which it never knew directly. Young examines the works of a number of vanguard artists in America and Europe-including Art Spiegelman, Shimon Attie, David Levinthal, and Rachel Whiteread-all born after the Holocaust but indelibly shaped by its memory as passed down through memoirs, film, photographs, and museums. In the context of the moral and aesthetic questions raised by these avant-garde projects, Young offers fascinating insights into the controversy surrounding Berlin's newly opened Jewish museum, designed by Daniel Libeskind, as well as Germany's soon-to-be-built national Holocaust memorial, designed by Peter Eisenman. Illustrated with striking images in color and black-and-white, At Memory's Edge is the first book in any language to chronicle these projects and to show how we remember the Holocaust in the after-images of its history.

The Art of Love tells the stories of the most fascinating couples of the art world - uncovering the passionate, challenging and loving relationships behind some the world's greatest works of art. Kate Bryan (broadcaster, writer and curator) delves into the complex world of artistic relationships, exploring the nuanced ways in which art and love can share the same space. When two married artists collaborate, do they ever get a moment off? What happens when love fades and two artists, known by one moniker, part? When a couple work independently, how do they manage jealousy and competition? In this book, you'll meet love in all its glorious and complicated forms, including unlikely couples with conflicting philosophies (Yayoi Kusama & Joseph Cornell); unconventional marriages that prove love has many guises (Frida Kahlo & Diego Rivera); couples who suffered from intense, public burnout (Marina Abramovic & Ulay); soul mates who found safety in each other (Ethel Mars & Maud Hunt Squire); and bitter rivalries that weren't built to last (Jasper Johns & Robert Rauschenberg). Through evocative stories and beautiful illustrations, Kate tells of the formation, and sometimes breakdown, of each romance - documenting their highs and lows and revealing just how powerful love can be in the creative process. Whether long-lasting, peaceful collaborations, or short-lived tumultuous affairs, The Art of Love, opens the door on some of the greatest love stories of the twentieth century.

Crafting design in Italy is the first book to examine the role that craft played in post-war Italian design, one of the most celebrated design episodes in the twentieth century. Craft was vital to the development of Italian design, and it has been so far overlooked. This book examines the multiple ways craft shaped Italian design from 1945 to the 1980s in the context of bigger socio-economic, cultural and political change; from post-war reconstruction to the economic 'miracle' of the 1960s, to the rise of the countercultural Radical Design movement and advent of postmodernism. It consists of case studies on design areas including product, furniture, fashion, glass and ceramics to bring to light previously unknown makers and objects as well as re-examine design 'icons' such as Gio Ponti's Superleggera chair and Ettore Sottsass's Memphisware. It also offers a model for analysing design and craft's relationship in other contexts, including today. -- .

In recent decades sculpture has arguably become the dominant art form in the world. In this ground-breaking account of the development of post-War sculpture Andrew Causey examines innovative and avant-garde works in relation to contemporary events, festivals, commissions, the marketplace, and the changing functions of museums. He explores the use of everyday objects and the importance of sculptural context, discussing figurative and non-figurative works, Anti-form, Minimalism, experimental form, Earth Art, landscape sculpture, installation, and Performance Art. The holistic picture of post-War sculpture which emerges establishes for the first time the key events and themes round which future debate will centre.

`Andrew Causey weaves his way adroitly through the labyrinth of post-War sculpture ... No one else has charted the territory so comprehensively.' Professor Stephen Bann, University of Kent at Canterbury

`a clear guide to the various directions of sculpture and the work of sculptors in the years when modern sculpture has begun to stand in its own right as a major art form' Sir Anthony Caro, Sculptor

The product of Jacqueline Barnitz's more than forty years of studying and teaching, Twentieth-Century Art of Latin America surveys the major currents in and artists of Mexico, the Caribbean, and South America (including Brazil). This new edition has been refreshed throughout to include new scholarship on several modern movements, such as abstraction in the River Plate region and the Cuban avant-garde. A new chapter covers art since 1990. In all, 30 percent of the images in this edition are new, and thirty-four additional artists are discussed and illustrated.

Though one of the most popular artists of the twentieth century, Salvador Dalí is typically seen as peripheral to the dominant practices of modernist painting. Roger Rothman’s Tiny Surrealism argues that this marginal position is itself a coherent response to modernism. It demonstrates how Dalí’s practice was organized around the logic of the inconsequential by focusing on Dalí’s identification with things that are literally tiny (ants, sewing needles, breadcrumbs, blackheads, etc.) as well as those that are metaphorically small (the trivial, the weak, the superficial, and the anachronistic). In addition to addressing the imagery of Dalí’s paintings, Tiny Surrealism demonstrates that the logic of the small was a fundamental factor in Dalí’s adherence to the techniques of miniaturist illusionism. Long derided as antimodernist and kitsch, Rothman demonstrates that Dalí’s style was itself a strategy of the small aimed at subverting the dominant values of modern painting. Tiny Surrealism not only examines Dalí’s pictorial work, it also probes the artist’s many public pronouncements and private correspondences. By attending to the peculiarities of Dalí’s technique and examining overlooked aspects of his writings, Tiny Surrealism is the first study to detail his deliberate subversion of modernist orthodoxies.

Written by one of the foremost scholars of African art and featuring 129 color images, "Postcolonial Modernism" chronicles the emergence of artistic modernism in Nigeria in the heady years surrounding political independence in 1960, before the outbreak of civil war in 1967. Chika Okeke-Agulu traces the artistic, intellectual, and critical networks in several Nigerian cities. Zaria is particularly important, because it was there, at the Nigerian College of Arts, Science and Technology, that a group of students formed the Art Society and inaugurated postcolonial modernism in Nigeria. As Okeke-Agulu explains, their works show both a deep connection with local artistic traditions and the stylistic sophistication that we have come to associate with twentieth-century modernist practices. He explores how these young Nigerian artists were inspired by the rhetoric and ideologies of decolonization and nationalism in the early- and mid-twentieth century and, later, by advocates of negritude and pan-Africanism. They translated the experiences of decolonization into a distinctive "postcolonial modernism" that has continued to inform the work of major Nigerian artists.

Explores the 'still life spirit' in modern painting, prose, dance, sculpture and poetry Challenges the conventional positioning of still life a 'minor' genre in art history Proposes a radical alternative to narratives of modernism that privilege speed and motion by revealing forms of stillness and still life at the heart of modern literature and visual culture Provides the first study of still life to consider the genre across modern literature, visual cultures and dance Uncovers connections and cultural exchange between networks of European and American artists including the Bloomsbury Group and Wallace Stevens The late nineteenth and early twentieth centuries have been characterised as the 'age of speed' but they also witnessed a reanimation of still life across different art forms. This book takes an original approach to still life in modern literature and the visual arts by examining the potential for movement and transformation in the idea of stillness and the ordinary. It ranges widely in its material, taking Cezanne and literary responses to his still life painting as its point of departure. It investigates constellations of writers, visual artists and dancers including D. H. Lawrence, Virginia Woolf, David Jones, Winifred Nicholson, Wallace Stevens, and lesser-known figures including Charles Mauron and Margaret Morris. Claudia Tobin reveals that at the heart of modern art were forms of stillness that were intimately bound up with movement: the still life emerges charged with animation, vibration and rhythm; an unstable medium, unexpectedly vital and well suited to the expression of modern concerns.

A major voice in the architectural culture of the mid-century, Sibyl Moholy-Nagy was uniquely engaged with modernism and modernity. As one of the very few female architectural critics of the time, she was an early voice articulating doubts about the path modernist architecture was taking, demystifying the myths of the masters, Mies, Le Corbusier and Gropius, and questioning their heroic, masculinist approach. Yet her writings and work are understudied, and have largely vanished from the canon of scholarly references on modernism. This book analyzes the significance of the life and work of Moholy-Nagy and explores the paradoxical aspects of the relationship between modernism and feminism. Published as part of the Bloomsbury Studies in Modern Architecture series, which brings to light the work of significant yet overlooked figures in modernism, it is both an examination of her work and legacy, and also a study on the roles of gender and of the changing nature of modernism in its trajectory from Europe to America. Drawing on personal papers, diaries, letters and lecture notes, as well as personal interviews with relatives, colleagues and students, this study is a key resource for scholars who would like to include the contributions of women in to their discussions of architecture and modernism.