In "City/Art," anthropologists, literary and cultural critics, a philosopher, and an architect explore how creative practices continually reconstruct the urban scene in Latin America. The contributors, all Latin Americanists, describe how creativity--broadly conceived to encompass urban design, museums, graffiti, film, music, literature, architecture, performance art, and more--combines with nationalist rhetoric and historical discourse to define Latin American cities. Taken together, the essays model different ways of approaching Latin America's urban centers not only as places that inspire and house creative practices but also as ongoing collective creative endeavors themselves. The essays range from an examination of how differences of scale and point of view affect people's experience of everyday life in Mexico City to a reflection on the transformation of a prison into a shopping mall in Uruguay, and from an analysis of Buenos Aires's preoccupation with its own status and cultural identity to a consideration of what Miami means to Cubans in the United States.

Contributors delve into the aspirations embodied in the modernist urbanism of Brasilia and the work of Lotty Rosenfeld, a Santiago performance artist who addresses the intersections of art, urban landscapes, and daily life. One author assesses the political possibilities of public art through an analysis of subway-station mosaics and Julio Cortazar's short story "Graffiti," while others look at the representation of Buenos Aires as a "Jewish elsewhere" in twentieth-century fiction and at two different responses to urban crisis in Rio de Janeiro. The collection closes with an essay by a member of the Sao Paulo urban intervention group Arte/Cidade, which invades office buildings, de-industrialized sites, and other vacant areas to install collectively produced works of art. Like that group, "City/Art "provides original, alternative perspectives on specific urban sites so that they can be seen anew.

"Contributors." Hugo Achugar, Rebecca E. Biron, Nelson Brissac Peixoto, Nestor Garcia Canclini, Adrian Gorelik, James Holston, Amy Kaminsky, Samuel Neal Lockhart, Jose Quiroga, Nelly Richard, Marcy Schwartz, George Yudice

Tanaka Yasuo's Nantonaku, kurisutaru (Somehow, Crystal, 1980) and Yoshimoto Banana's Kitchin (Kitchen, 1987) have been denigrated as emblematic of a so-called "bastardized line" of Japanese literature, characterized by an unabashed celebration of a "late-capitalist" consumerist ethos. Close readings of these works are undertaken in order to demonstrate that, while these works are reflective of late-capitalist postmodern Japan (the development of which is delineated prior to the readings), they nonetheless posit uniquely postmodern strategies for critically engaging issues of identity formation and maintenance, and the creation of meaning as they appear in the contemporary Japanese socio-cultural nexus. I argue that if such strategies are not immediately apparent, it is because they hold to what critic Fredric Jameson, in his discussion of the requisites for a "new political art," calls "the truth of postmodernism." This work will interest those concerned with postwar and contemporary Japanese culture, society and literature, as well as those engaged in the study of "global culture."

This book is about a nation's journey of cultural transformation, a process undertaken by the Republic of Turkey soon after gaining its independence in 1923. Mustafa Kemal Ataturk, Turkey's acknowledged father and first president, envisioned this process. It is still ongoing. There is no certainty as to its conclusion, but to date, the progress has been monumental and mostly irreversible. Ataturk's objective was the modernization and westernization of Turkey's culture as it pertained to the country's nation-building agenda. Provided are little known insights. They deal with the visual arts and their impact on Turkey's society. They address vital and under-stressed aspects of European cultural imperialism that were willingly accepted and in fact invited into the young republic. The impact of the changes in visual arts is still felt in Turkish society. It has relevance to Turkeys' economy, and to many current public policy debates worldwide. *Book also available in hardcover by contacting BookSurge Customer Service.

Alfred Orage was one of those mysterious figures in our cultural history who was in his lifetime extremely influential, and after his death almost forgotten. He was the man who co-founded the Leeds Arts Club, possibly the only genuine manifestation of Expressionism in pre-second world war Britain, which promoted the philosophy of Nietzsche, the mystical socialism of the early Labour movement and suffragette feminism, as well as literary and artistic modernism. He turned the weekly newspaper the New Age from a failing organ of the Christian Socialism movement into the British equivalent of Germany's Der Sturm, and the most widely read cultural periodical of its age. And he was the first mentor of one of the most important writers on modern art of the twentieth century, Herbert Read, helping to shape his philosophy of art, and through him the direction of international modernism. In this book Tom Steele follows Orage's career alongside the history of the Leeds Arts Club, showing that modernism in Britain was not wholly a London-centred affair. Whilst Roger Fry and Bloomsbury were following and promoting French modernism in the first two decades of the twentieth century, Orage and other figures associated with the Leeds Arts Club, including Holbrooke Jackson, Arthur Penty, Michael Sadler, Frank Rutter and of course Herbert Read, were engaged in the far more radical modernist ideas coming out of Germany, with Sadler even collecting paintings by Wassily Kandinsky in Leeds as early as 1913.

Puget Sound's rich abundance of life - from mammals to birds - can be attributed to the fact that the region is far more than just a body of water. Edged by an extraordinary range of habitats, this region is visited and occupied year-round by species that are finely tuned to exploit the resources here that are necessary for their survival. Birds are among the most obvious occupants of these communities, and witnessing their dynamic lives has been a source of inspiration for artist and naturalist Tony Angell. For nearly fifty years Angell has used Puget Sound's natural diversity as his artist's palette. In this book, he describes the living systems within the Sound and shares his observations and encounters with the species that make up the complex communities of the Sound's rivers, tidal flats, islands, and beaches: the fledging flight of a young peregrine, an otter playfully herding a small red rockfish, the grasp of a curious octopus. Angell goes on to explain the methods he uses in his art. The shapes, movements, patterns, and even temperatures and smells that he experiences in the field are all brought to bear on his work. His drawings bring clarity to his visual and emotional memories, and his sculptures allow him to approach a memory from many directions and retain that memory in his hands. In all of his work, he lets the passion and excitement of his discoveries drive his artistic expression. Angell augments his descriptions of the wildlife of the Puget Sound region and his working methods with two appendices listing guides and references to this and other regions by other artists and naturalists. These resources not only put wildlife viewers in touch with the times and places to view particular species, but also speak to the patience and willingness to be delighted that are necessary to increasing the understanding of our wild neighbors. See Tony Angell on YouTube: http://www.youtube.com/watch?v=jCemt7hVK_4

The first definitive survey of works by the younger generation of Norwegian artists. Through the last decade we have witnessed a steadily increasing globalization of contemporary art. Norwegian artists are acknowledged as being part of a larger artistic milieu - a milieu in which they have become more visible and active participants. Among the artists: Jesper Alvaer/Isabela Grosseova, Thora Dolven Balke, Siri Berqvam, Kyrre Bjorkas/Rune Andreassen, Ole Martin Lund Bo, Bjorn Basen, Jan Christensen, Gardar Eide Einarsson, Ida Ekblad, Jan Hakon Erichsen, Matias Faldbakken, Jan Freuchen, Ivan Galuzin, Hjordis Kuras, Ingvild Langgard, Jorgen Craig Lello/Tobias Arnell, Trine Lise Nedreaas, Martin Skauen, Eirin Stoen, Stian Adlandsvik, and Oystein Aasan.

Is contemporary art a friend or foe of Christianity? In "God in the Gallery" art historian, critic, and curator Daniel Siedell constructs a framework for interpreting modern art from a Christian worldview. He contends that art is not antithetical or hostile to Christianity but is in resonant dialogue with it. Siedell also examines the function of art criticism and the role of visual art in Christian worship and experience.

"Dan Siedell is an exceptionally thoughtful and articulate observer of the very difficult intersection of religious belief and contemporary art. The book is full of unexpected and promising confluences. Here a reader will find the principal secular theorists of modernism, but this book is also 'nourished by Nicene Christianity' and informed by a wonderful range of authors, from Florensky, Levinas, and Wyschogrod to Seerveld, Wolterstorff, Walford, and Dyrness. This is a tremendous book, a genuine effort at dialogue in an arena marked by the near-complete absence of open exchange."--James Elkins, E. C. Chadbourne Chair in the Department of Art History, Theory, and Criticism, School of the Art Institute of Chicago

""God in the Gallery" is a seminal work of interpretation, a guide for skeptics and faithful alike, in which Siedell offers a most profound, encouraging survey of contemporary art. An Emmaus Road encounter for those traveling on the path of contemporary art, Siedell's careful and loving attention paid to known and unknown artists will surely open our eyes. A must read for all of us laboring in the art world and in the arts academia."--Makoto Fujimura, artist; founder/creative director, International Arts Movement

"Daniel Siedell's passionate appreciationfor common grace is apparent on every page of "God in the Gallery," This is a book that should be widely read not only for its penetrating account of the contemporary art world but also for its larger understanding of Christ and culture."--John Wilson, editor, "Books & Culture"

"Marcia was instrumental in introducing so many artists throughout her career, and I was one of them."--Bruce Nauman
"I know of no other curator who has left a major museum and said, 'I'll start a new museum.' Marcia was for me a mentor, then a beacon, and later a role model. I consider myself fortunate."--John Baldessari
"Marcia was a rebel with a cause: shaking up the staid world of art museums. She did it with vision, guts, and humor. We are forever indebted to her example."--Guerrilla Girls
""A Short Life Of Trouble"--gossipy and delicious, smart and often deeply moving--takes us through Marcia Tucker's tough but fascinating days as a young, adventurous curator at the Whitney Museum to her ambivalent triumphs and constant challenges as the visionary founder of the New Museum, and beyond. The author emerges as a fierce, outspoken champion of contemporary artists, especially the risk-takers who are often marginalized and overlooked or not an easy sell. Her intelligence, passion, immense generosity of spirit, and wry, witty observations on the battles and machinations of the New York art world of the 1980s and 1990s are alive on every page. Although in her quest to live a just, meaningful existence she was often hardest on herself, Marcia Tucker clearly knew how to have fun and made every minute count. This poignant memoir lets us glimpse the all-too-brief but rich and remarkable life of an extraordinary human being."--Jessica Hagedorn, author of "Dream Jungle"

Although Lewis Mumford is widely acknowledged as the seminal American critic of architecture and urbanism in the twentieth century, he is less known for his art criticism. He began contributing to this field in the early 1920s, and his influence peaked between 1932 and 1937, when he was art critic for the "New Yorker. "This book, for the first time, assembles Mumford's important art criticism in a single volume. His columns bring wit and insight to bear on a range of artists, from establishment figures like Matisse and Brancusi to relatively new arrivals like Reginald Marsh and Georgia O'Keeffe. These articles provide an unusual window onto the New York art scene just as it was casting off provincialism in favor of a more international outlook. On a deeper level, the columns probe beneath the surface of modern art, revealing an alienation that Mumford believed symptomatic of a larger cultural disintegration.
Many of the themes Mumford addresses overlap with those of his more familiar architectural criticism: the guiding role of the past in stimulating creativity in the present, the increasing congestion of the modern metropolis, the alarming lack of human control over modern technology, and the pressing need to restore organic balance to everyday living. Though he was open to new movements emanating from Europe, Mumford became the chief advocate of a progressive American modernism that was both socially aware and formally inventive.

Nancy Spero (born in Cleveland, Ohio, 1926) is a pioneer of feminist art and a key figure in the New York protest scene of the 1960s and 70s, as highly regarded as famed artists Martha Rosler and Adrian Piper. With a career spanning over 50 years, Spero continues even today to engage, question, and defy our current political, social and cultural scene. Her work has recently been exhibited throughout the US and Europe, including the last edition of the "Venice Biennial". This book focuses on the artist's search to create her own language, featuring the best of her work, from early student works on paper to her latest presentation at the Venice Biennial.

A revealing and nostalgic look at how art was taught more than 100 years ago, Decorative Brushwork and Elementary Design is an inspiring guide to creating patterns and graphic motifs. Originally published in 1902 as a resource for schoolteachers, the book is of both historical and current interest, offering advice on choosing paper, brushes and colours and on developing skills in line, tone and composition. Additionally, hundreds of black and white Edwardian designs taken from nature, textiles, pottery and architecture beautifully illustrate the artistic principles.

As World War I shaped and molded European culture to an unprecedented degree, it also had a profound influence on the politics and aesthetics of early-twentieth-century Russian culture. In this provocative and fascinating work, Aaron J. Cohen shows how World War I changed Russian culture and especially Russian art. A wartime public culture destabilized conventional patterns in cultural politics and aesthetics and fostered a new artistic world by integrating the iconoclastic avant-garde into the art establishment and mass culture. This new wartime culture helped give birth to nonobjective abstraction (including Kazimir Malevich’s famous Black Square), which revolutionized modern aesthetics. Of the new institutions, new public behaviors, and new cultural forms that emerged from this artistic engagement with war, some continued, others were reinterpreted, and still others were destroyed during the revolutionary period. Imagining the Unimaginable deftly reveals the experiences of artists and developments in mass culture and in the press against the backdrop of the broader trends in Russian politics, economics, and social life from the mid-nineteenth century to the revolution. After 1914, avant-garde artists began to imagine many things that had once seemed unimaginable. As Marc Chagall later remarked, “The war was another plastic work that totally absorbed us, which reformed our forms, destroyed the lines, and gave a new look to the universe.�

A look at the artistic and technical innovation of British printmaking from World War I to the eve of World War II, as artists from the Grosvenor School and beyond harnessed an emerging modernist style Throughout the tumultuous decades of the early twentieth century, the graphic arts flourished in Great Britain as artists sought to portray everyday life during the machine age. This richly illustrated volume reintroduces rare print works from the collection of Leslie and Johanna Garfield into the narrative of modernism, demonstrating their relationship to other movements such as Cubism, Futurism, and Constructivism. Essays explore how artists turned to printmaking to alleviate trauma, memorialize their wartime experiences, and capture the aspirations and fears of the twenties and thirties. Special attention is given to the linocut technique revolutionized by Claude Flight and his students at London's Grosvenor School of Modern Art. Highlighted as well are the pioneering works of artists such as C. R. W. Nevinson, Sybil Andrews, Cyril E. Power, Paul Nash, Edward Wadsworth, Edith Lawrence, Ursula Fookes, and Lill Tschudi. In their quest to promote a more democratic art, these artists created innovative graphics that portrayed in subject, form, material, and technique the dynamic era in which they lived. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art, New York (October 21, 2021-January 17, 2022)

As we approach the new millenium, the moral, intellectual,and spiritual crisis of our time is visible most plainly in the sickness of the arts. The "postmodern" cultural establishment is philosophically empty and esthetically corrupt. But no one has been able to explain this decline or give a satisfying answer to the question of the proper role of the arts in our society. Now, in The Culture of Hope -- a manifesto for a new vision of culture that is both radical and classical -- Frederick Turner goes beyond the stale dichotomies of Left and Right to take the "third side" in the culture war: the side of art itself. Great art can never be politically correct, Turner reminds us, whether the correction comes from Right or Left, because its sources are deeper than politics. The visionary modernists (Picasso, Joyce, Stravinsky) understood this, but their successors today, as well as their conservative opponents, have forgotten. Turner sharply indicts the bankrupt tribe of venal mediocrities who now infest the arts, citing their naive rejection of morality, their ignorant denial of scientific truth, and their lazy dismissal of the Western cultural heritage. On the other hand, conservatives who call for a return to traditional values seek a socially "safe" vision of art that has never existed and never can. In the past, the arts have flowered when they drew their inspiration from new scientific visions of the cosmos. Thus Turner argues that the revolution in cosmology that is occurring today in the frontier fields of scientific thought will powerfully invigorate the artists of the future. A new esthetic synthesis arising from the unexpected convergence of religion, art, and science will restore a hopeful vision of the cosmos as intelligent, creative, and self-ordering and provide the missing ground for the recovery of classical values in the arts, such as beauty, order, harmony, and meaning. Turner points to new developments in chaos theory, neurobiology, evolution, and environmental science, among other fields, to offer us a guide to the emerging art of the "radical center" which he predicts will shape the culture of the future.

An examination of the artistic development of Robert Rauschenberg, focusing on his relationship with John Cage and his role in the making of the American neo-avant-garde. Robert Rauschenberg is one of the most important visual artists of the second half of the twentieth century. In Random Order, Branden Joseph examines Rauschenberg's work in the context of the American neo-avant-garde. One of the foundations of his study is Rauschenberg's professional relationship with experimental composer John Cage. From the moment of their encounter at Black Mountain College in 1952, Joseph argues, Rauschenberg and Cage initiated a new avant-garde project, one that approached the idea of difference not in terms of negation but as a positive force. Claiming that Rauschenberg's work cannot be understood solely from the standpoint of the Frankfurt School-whose theories have dominated discussions of avant-garde and neo-avant-garde aesthetics-Joseph turns to the theoretical positions of Gilles Deleuze and Jacques Derrida. Rauschenberg's neo-avant-garde was not a simple repetition of earlier avant-garde movements, Joseph shows, but a series of practices that opposed the rise of postwar spectacle, commodification, and mass conformity. Beginning with the White Paintings, Joseph examines Rauschenberg's artistic development from 1951 to 1971. He looks at the black paintings, Red Paintings, Elemental Paintings and Elemental Sculptures, Combines and Combine paintings, transfer drawings and silkscreens, performances, and explorations in art and technology. Joseph's study not only offers new interpretations of Rauschenberg's work, but also deepens our understanding of the entire neo-avant-garde project.

Ben Vautier, Niki De Saint Phalle, Francois Morellet, Louise Bourgeois, Alexandre Hollan, Claude Viallat, Sophie Calle, Bernard Pages, Jean-Pierre Pincemin, Annette Messager, Gerard Titus-Carmel: eleven major French artists of the last forty years or so, examined in the light of their uniqueness and their rootedness, the specificities of their differing and at times overlapping plastic practices and the swirling and often highly hybridised conceptions entertained in regard to such practices. Thus does analysis range from discussion of the feisty, Fluxus-inspired, free-spirited funkiness of Ben Vautier s work to the various modes of transcendence of trauma and haunting fear generated by the exceptional gestures of Niki de Saint Phalle and Louise Bourgeois, to the alyrical formalism yet imbued with irony and ludicity of Francois Morellet, through to the serene intensities of Alexandre Hollan s "vies silencieuses," the infinite a-signatures of Claude Viallat s adventure in the sheer joy of a "poiein" of self-reflexive coloration, the powerfully elegant and muscular disarticulations of Bernard Pages sculpture, the great sweep through art s history implied by Jean-Pierre Pincemin s chameleon-like gestures, the vast swirling programme of socio-psychological analysis the arts of Annette Messager and Sophie Calle offer in their radically distinctive manners, the obsessively serialised oeuvre of Gerard Titus-Carmel allowing a burrowing deep into the opaque logic of a real though dubious presence to the world .

Investigating the central role that theories of the visual arts and creativity played in the development of fascism in France, Mark Antliff examines the aesthetic dimension of fascist myth-making within the history of the avant-garde. Between 1909 and 1939, a surprising array of modernists were implicated in this project, including such well-known figures as the symbolist painter Maurice Denis, the architects Le Corbusier and Auguste Perret, the sculptors Charles Despiau and Aristide Maillol, the "New Vision" photographer Germaine Krull, and the fauve Maurice Vlaminck.Antliff considers three French fascists: Georges Valois, Philippe Lamour, and Thierry Maulnier, demonstrating how they appropriated the avant-garde aesthetics of cubism, futurism, surrealism, and the so-called Retour a l'Ordre ("Return to Order"), and, in one instance, even defined the "dynamism" of fascist ideology in terms of Soviet filmmaker Sergei Eisenstein's theory of montage. For these fascists, modern art was the mythic harbinger of a regenerative revolution that would overthrow existing governmental institutions, inaugurate an anticapitalist new order, and awaken the creative and artistic potential of the fascist "new man." In formulating the nexus of fascist ideology, aesthetics, and violence, Valois, Lamour, and Maulnier drew primarily on the writings of the French political theorist Georges Sorel, whose concept of revolutionary myth proved central to fascist theories of cultural and national regeneration in France. Antliff analyzes the impact of Sorel's theory of myth on Valois, Lamour, and Maulnier. Valois created the first fascist movement in France; Lamour, a follower of Valois, established the short-lived Parti Fasciste Revolutionnaire in 1928 before founding two fascist-oriented journals; Maulnier forged a theory of fascism under the auspices of the journals Combat and Insurge.

Chakaia Booker: The Observance accompanies the first comprehensive museum survey of the American artist. The publication explores the artist's signature form-monumental works made of rubber-while showcasing her innovations across mediums. Featuring an expansive range of Booker's sculptures, including totemic and anthropomorphic assemblages fabricated from cast-off tires, the volume highlights Booker's ongoing expression of ecological and technological concerns, examinations of racial and economic disparities, and her interest in the symbolism of the automobile in American culture. The exhibition and accompanying publication Chakaia Booker: The Observance include some of Booker's most topical works, including Chu Ching (2012), which depicts a cross on a wheelbarrow resembling Jesus being dismounted from the cross, as well as two rarely seen series of paintings that explore landscape and language. The artist's photographic series, Foundling Warrior Quest (2010) and Graveyard Series (1995), are also featured to explore the importance of performance and mythology in her practice. Anchoring the presentation is The Observance (1995), an immersive installation made of deconstructed rubber tires and tubes-Booker's first work in this signature material, chosen by the artist for its associations with riots.

Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

An exceptionally thoughtful and well-written biography of one of the most influential studio potters in Britain Widely recognized as the father of studio pottery, Bernard Leach (1887-1979) played a pioneering role in creating an identity for artist potters in Britain and around the world. Born in the East (Hong Kong) and educated in the West (England), throughout his life Leach perceived himself as a courier between the disparate cultures. His exquisite pots reflect the inspiration he drew from East and West as well as his response to the basic tenets of modernism-truth to materials, the importance of function to form, and simplicity of decoration. This outstanding biography provides for the first time a vivid and detailed account of Leach's life and its relation to his art. Emmanuel Cooper, himself a potter of international reputation, explores Leach's working methods, the seams of his pottery, his writings and philosophy, his recognition in Japan and Britain, and his continuing legacy, bringing into sharp focus a complex man who captured in his work as a potter the "still center" that always eluded him in his tumultuous personal life. Distributed for the Paul Mellon Centre for Studies in British Art

LAND ART IN THE U.K.

A new book on land art in Great Britain. There are chapters on land artists such as Chris Drury, Hamish Fulton, David Nash, Richard Long and Andy Goldsworthy. All of the major practitioners of land and environmental art in the U.K. are discussed.

EXTRACT FROM THW CHAPTER ON ANDY GOLDSWORTHY

One wonders whether Andy Goldsworthy would like to work in snow and ice more than in any other medium. In temperate snowlands one feels Goldsworthy is very much at home. Snow has all the right sorts of qualities Goldsworthy looks for in a material: it is malleable, it melts and changes, its whiteness makes for good, contrasty imagery photographically, and it seasonally alters the landscape, and later dissolves into it.

In Goldsworthy s snowworks one senses also the sheer fun working with snow. For people in most of Britain, snow is not a occurrence each year, as it is in, say, Northern Russia or Alaska. Snow can be an exciting event (but British adults usually gripe it). Snow was a perennial delight and shock for Goldsworthy. In Midsummer Snowballs he wrote that e]ven in winter each snowfall is a shock, unpredictable and unexpected.

Goldsworthy retained the child-like enjoyment of snow falling in Britain throughout his life. While much of the U.K. grinds to a halt at the sight of a snowflake, Goldsworthy has the child s joy when it snows (school s cancelled, snowball fights, ice skating, sledging, and making snowmen and snowballs).

Andy Goldsworthy speaks in wonder and awe of the effect, the excitement of the first snowfall. Some of this excitement comes across in Goldsworthy s snowworks. He has made, for example, patterns in the snow by rolling a snowball around a field, exactly as kids do when it snows (1982 and 1987).

Some of Goldsworthy s earliest works with snow were large snowballs. In some of these early snow pieces, Goldsworthy placed snowballs in areas such as woods and fields which didn t have any snow, so the snowballs stood out in the trees and grass (as in Ilkley, Yorkshire, 1981).

Lewis Foreman Day (1845-1910) is one of the most neglected figures in late nineteenth-century design. In exploring Day's dual career as an industrial designer of extraordinary range and versatility and a major writer and critic, this well-illustrated book restores his place among the influential figures of his time. Day's relationships with colleagues William Morris, Walter Crane, W.A.S. Benson and others situated him in the vortex of developments of design in Britain. Design historian Joan Maria Hansen examines Day's work as a prolific industrial designer whose mastery of pattern, colour, ornament and superb draughtsmanship resulted in tiles and art pottery, clocks and furniture, wallpapers, textiles, stained glass, and interiors of remarkable diversity and beauty. Day embraced modern technology. His views on the role of the designer for industry, along with his unshakable belief that a marriage of design and industrial processes was essential to produce beautiful furnishings for the majority of p

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.