To ensure everyone has access, these items are available at the Hamon Arts Library desk. They can only be checked out for 3 hours at a time and must be kept in the library. You are welcome to scan and email yourself a PDF of the chapters that you find relevant to your assignment.
Meggs' History of Graphic Design by 
Graphic Design by
Now in its second edition, this innovative look at the history of graphic design explores its evolution from the 19th century to the present day. Author Stephen J. Eskilson demonstrates how a new era began for design arts under the influence of Victorian reformers, tracing the emergence of modernist design styles in the early 20th century, and examining the wartime politicization of regional styles. Richly contextualized chapters chronicle the history of the Bauhaus and the rise of the International Style in the 1950s and '60s, and the postmodern movement of the 1970s and '80s. The book's final chapter looks at current trends in graphic design, with in-depth discussions of grunge, comic book, and graffiti aesthetics; historicism and appropriation; and the influence of technology, web design, and motion graphics. The second edition features over 80 new images, revised text throughout, a new chapter on 19th-century design, and expanded sections on critical topics including the Swiss Style, Postmodernism, and contemporary design.
'60's Design by
Sixties Design provides a richly illustrated survey of a remarkable decade. The text reviews the period through certain all-important themes - the Modernist continuum, pop culture, space-age styles and Utopian ambitions.
Artist as Producer - Russian Constructivism in Revolution by
The Artist as Producer reshapes our understanding of the fundamental contribution of the Russian avant-garde to the development of modernism. Focusing on the single most important hotbed of Constructivist activity in the early 1920s--the Institute of Artistic Culture (INKhUK) in Moscow--Maria Gough offers a powerful reinterpretation of the work of the first group of artists to call themselves Constructivists. Her lively narrative ranges from famous figures such as Aleksandr Rodchenko to others who are much less well known, such as Karl Ioganson, a key member of the state-funded INKhUK whose work paved the way for an eventual dematerialization of the integral art object. Through the mining of untapped archives and collections in Russia and Latvia and a close reading of key Constructivist works, Gough highlights fundamental differences among the Moscow group in their handling of the experimental new sculptural form--the spatial construction--and of their subsequent shift to industrial production. The Artist as Producer upends the standard view that the Moscow group's formalism and abstraction were incompatible with the sociopolitical imperatives of the new Communist state. It challenges the common equation of Constructivism with functionalism and utilitarianism by delineating a contrary tendency toward non-determinism and an alternate orientation to process rather than product. Finally, the book counters the popular perception that Constructivism failed in its ambition to enter production by presenting the first-ever case study of how a Constructivist could, and in fact did, operate within an industrial environment. The Artist as Producer offers provocative new perspectives on three critical issues--formalism, functionalism, and failure--that are of central importance to our understanding not only of the Soviet phenomenon but also of the European vanguards more generally.
Art Nouveau by
With its fluid organic forms and its devotion to beauty in design, art nouveau has enjoyed great popularity, both at its inception and during the modern resurgence of interest and enthusiasm. Alastair Duncan tells the story of its meteoric rise from its origins as a reaction by young artists and designers to the traditionalism and revivalism of the mid-19th-century fine and decorative arts. The new art first made itself felt around 1895, in architecture, furniture, glass, ceramics and the other applied arts, and fell into eclipse after World War I, until its rediscovery in the 1960s. The author recounts the history of this important and influential movement in detail, introducing the main personalities - Galle, Lalique, Tiffany and others - and relating their aims and accomplishments to the background from which the movement emerged.
Art Nouveau, 1890-1914 by
Art Nouveau exploded onto the art scene in the early 1890s and spread rapidly. This volume showcases the many masterpieces from the era in all mediums--Tiffany lampshades, Lailique jewelry, Mucha posters, and more. This book accompanies a major museum exhibition at the National Gallery of Art in Washington, D.C., in October 2000. Illustrations.
Art nouveau: A research guide for design reform in France, Belgium, England, and the United States by
Reveals the Art Nouveau period (1890-1905) as an era dedicated to design reform in all areas of the visual arts. Architecture, interior decoration, furniture, jewellery, bookbinding, posters, ceramics, glass, wallpaper, and textiles, are the subjects of critical documentation; annotated bibliographic entries from literature of the period, provide evidence for the spread of design changes in France, Belgium, England, and the United States. Evidence from later publications adds a chronological dimension and demonstrates the changes in the way the Art Nouveau period has been studied.
The Arts and Crafts Movement in America, 1876-1916 by
This volume focuses on the decorative arts of a period that has only recently begun to receive serious attention from museums and collectors. It starts with the Philadelphia Centennial Exposition of 1876 and continues to America's entry into World War 1 in 1916. In his introduction, Robert Judson Clark defines the Arts and Crafts movement in this country and describes its stylistic periods; he also discusses the European precedents, parallels, and influences. A study of the movement in Chicago and the Midwest is contributed by David Hanks, Assistant Curator of American Decorative Arts, The Art Institute of Chicago. Professor Martin Eidelberg, Department of Art, Rutgers University, writes about American art pottery.
Bauhaus by
The way our environment looks, the appearance of everything from housing developments to newspapers, is partly the result of a school of art and design founded in Germany in 1919 and closed down by the Nazis in 1933. This was the Bauhaus, which has left an indelible mark on art education throughout the world. Setting everything firmly against a backdrop of the times, Frank Whitford traces the cultural ideas behind its conception and thoroughly describes its teaching methods. He examines the activities of the teachers--artists as eminent as Klee and Kandinsky--and the daily lives of the students. Everything is described with the aid, wherever possible, of the words of those who were there at the time. 154 illus., 16 in color.
Bauhaus Culture by
Offering the first comprehensive training in the visual arts grounded in abstraction, the Bauhaus was the site of a dazzling range of influential experiments in painting, architecture, photography, industrial design, and even artistic education itself. Three-quarters of a century later, the "look" of the new remains indebted to the Bauhaus and its equation of technology with modernism. Central to discussions of the relationships between art, industrialization, and politics in the twentieth century, much of the school's later impact was derived in part from its status as one of the foremost cultural symbols of Germany's first democracy and its public reputation as a "cathedral of socialism." In this book, editor Kathleen James-Chakraborty and seven other scholars analyze the accomplishments and dispel the myths of the Bauhaus, placing it firmly in a historical context from before the formation of the Weimar Republic through Nazi ascendancy and World War II into the cold war. Together, they investigate its professors' and students' interactions with mass culture; establish the complexity of its relationship with Wilhelmine, Nazi, and postwar German politics; and challenge the claim that its architects greatly influenced American architecture in the 1930s. Their most explosive conclusions address the degree to which some aspects of Bauhaus design continued to flourish during the Third Reich before becoming one of the cold war's most enduring emblems of artistic freedom. In doing so, Bauhaus Culture calls into question the degree to which this influential school should continue to symbolize an uncomplicated relationship between art, modern technology, and progressive politics. Contributors: Greg Castillo, Juliet Koss, Rose-Carol Washton Long, John V. Maciuika, Wallis Miller, Winifried Nerdinger, Frederic J. Schwartz. Kathleen James-Chakraborty is associate professor of architecture at the University of California, Berkeley, and author of German Architecture for a Mass Audience and Erich Mendelsohn and the Architecture of German Modernism.
Cold War Modern by
While political tension defined one front of the Cold War, a creative conflict was waged on another. The first book to offer an international perspective on the Cold War across the arts, this groundbreaking study examines how art and design played a central role in representing and sometimes challenging the dominant political and social ideas of the age. From everyday products to the highest arenas of human achievement in science and culture, this period of exceptional creativity resonated in every corner of the globe. This ambitious book--published to accompany a major exhibition--includes work from the Socialist Bloc and Western Europe, the United States, Cuba, and Japan. Featuring remarkable images by artists and designers from Picasso to Kubrick, Cold War Modern also offers a landmark collection of fascinating essays on subjects as diverse as political strategy, domesticity, and high-tech design developments.
Contemporary : architecture and interiors of the 1950s by
This book provides a full definition and examination of the so-called Contemporary style that dominated architecture and design from the late 1940s and throughout the 1950s. It was an era of optimism and confidence, where the new ideas in architecture and design flourished alongside - and were nurtured by - the emergent consumer culture. The Contemporary style was fresh and liberating, manifesting itself in the picture window and the open plan; in vibrant fabric design and printed wall coverings; in new forms of furniture from Scandinavia and stylish light fittings from Italy; and most tellingly in the Contemporary kitchen with its fitted units and mod con appliances. Far more than a collection of Fifties nostalgia, this book provides an entertaining and revealing survey of trends in taste and interior design at the time of economic regeneration that affected not only people's homes, but their communities and their public buildings.
Design 1935-1965: What modern was: Selections from the liliane and David M. Stewart collection by 
Graphic Design History: A Critical Guide by
Graphic Design Historytraces the social and cultural role of visual communication from prehistory to the present, connecting what designers do every day to a history of innovative graphic forms and effects. It offers a unique and exciting set of critical lenses for thinking about the cultural purpose and historical dimensions of the graphic designer’s work, placing emphasis on the relevance of the history to the practices of designers today. Designed by the authors, the book is beautiful, spacious, and elegant. Clearly organized into three content-rich layers, it is informative yet lively and driven by ideas that offer ways of thinking about graphic design from a wealth of historical examples
High Art by
A comprehensive history of the psychedelic poster. The book features original contributions from leading artists and has been designed by Storm Thorgerson.
Mid-Century Modern Complete by
This volume is the single best source for anyone interested in exploring and experiencing Mid-Century Modern, the international design movement that still influences homes and lifestyles from Palm Springs to Long Island and from Japan to Scandinavia. It is divided into three main sections: "Media and Masters" profiles key creators, including Charles and Ray Eames, George Nakashima, Jean Prouv#65533;, and Eero Saarinen; "Houses and Interiors" presents 20 seminal and complete Mid-Century Modern homes and their furnishings, including buildings by Philip Johnson, Mies van der Rohe, Alvar Aalto, and Marcel Breuer; and an alphabetical dictionary of people, terms, and places is a comprehensive reference to the movement. The informed and accessible texts are illustrated with more than 1,000 images that bring together classics and rarities, mass-produced items and unusual objets d'art.
Pioneers of Modern Design by
One of the most widely read books on modern design, Nikolaus Pevsner’s landmark work today remains as stimulating as it was when first published in 1936. This expanded edition of Pioneers of Modern Design provides Pevsner’s original text along with significant new and updated information, enhancing Pevsner’s illuminating account of the roots of Modernism. The book now offers many beautiful color illustrations; biographies and bibliographies of all major figures; illustrated short essays on key themes, movements, and individuals; a critique of Pevsner’s analysis from today’s perspective; examples of works after 1914 (where the original study ended); a biography detailing Pevsner’s life and achievements; and much more. Pevsner saw Modernism as a synthesis of three main sources: William Morris and his followers, the work of nineteenth-century engineers, and Art Nouveau. The author considers the role of these sources in the work of early Modernists and looks at such masters of the movement as C.F.A. Voysey and Charles Rennie Mackintosh in Britain, Louis Sullivan and Frank Lloyd Wright in America, and Adolf Loos and Otto Wagner in Vienna. The account concludes with a discussion of the radical break with the past represented by the design work of Walter Gropius and his future Bauhaus colleagues.
Redesigning the World by
The Description for this book, Redesigning the World: William Morris, the 1880s and the Arts and Crafts, will be forthcoming.
Twentieth-Century Design by
The most famous designs of the twentieth century are not those in museums, but in the marketplace. The Coca-Cola bottle and the McDonald's logo are known all over the world, and designs like the modernistic `Frankfurt Kitchen' of 1926, or the 1954 streamlined and tail-finned Oldsmobile, or`Blow', the inflatable chair ubiquitous in the late sixties, tell us more about our culture than a narrowly-defined canon of classics. Drawing on the most up-to-date scholarship (not only in design history but also in social anthropology and women's history), Jonathan Woodham takes a fresh look at the wider issues of design and industrial culture throughout Europe, Scandinavia, North America, and the Far East. He explores themessuch as national identity, the `Americanisation' of ideology and business methods, the rise of the multi-nationals, Pop and Postmodernism, and contemporary ideas of nostalgia and heritage, and sets the proliferation of everyday design against the writing of critics as different as Nikolaus Pevsner,the champion of Modernism, and Vance Packard, author of The Hidden Persuaders. In the history which emerges design is clearly seen for what it is: the powerful and complex expression of aesthetic, social, economic, political, and technological forces.