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Art Nouveau thrived from the late 1890s through the First World War. The international design movement reveled in curvilinear forms and both playful and macabre visions and had a deep impact on cinematic art direction, costuming, gender representation, genre, and theme. Though historians have long dismissed Art Nouveau as a decadent cultural mode, its tremendous afterlife in cinema proves otherwise. In Cinema by Design, Lucy Fischer traces Art Nouveau's long history in films from various decades and global locales, appreciating the movement's enduring avant-garde aesthetics and dynamic ideology. Fischer begins with the portrayal of women and nature in the magical "trick films" of the Spanish director Segundo de Chomón; the elite dress and décor design choices in Cecil B. DeMille's The Affairs of Anatol (1921); and the mise-en-scène of fantasy in Raoul Walsh's The Thief of Bagdad (1924). Reading Salome (1923), Fischer shows how the cinema offered an engaging frame for adapting the risqué works of Oscar Wilde and Aubrey Beardsley. Moving to the modern era, Fischer focuses on a series of dramatic films, including Michelangelo Antonioni's The Passenger (1975), that make creative use of the architecture of Antoni Gaudí; and several European works of horror—The Abominable Dr. Phibes (1971), Deep Red (1975), and The Strange Color of Your Body's Tears (2013)—in which Art Nouveau architecture and narrative supply unique resonances in scenes of terror. In later chapters, she examines films like Klimt (2006) that portray the style in relation to the art world and ends by discussing the Art Nouveau revival in 1960s cinema. Fischer's analysis brings into focus the partnership between Art Nouveau's fascination with the illogical and the unconventional and filmmakers' desire to upend viewers' perception of the world. Her work explains why an art movement embedded in modernist sensibilities can flourish in contemporary film through its visions of nature, gender, sexuality, and the exotic.
While critics have long disparaged commercial television as a vast wasteland, TV has surprising links to the urbane world of modern art that stretch back to the 1950s and ’60s During that era, the rapid rise of commercial television coincided with dynamic new movements in the visual arts—a potent combination that precipitated a major shift in the way Americans experienced the world visually. TV by Design uncovers this captivating story of how modernism and network television converged and intertwined in their mutual ascent during the decades of the cold war. Whereas most histories of television focus on the way older forms of entertainment were recycled for the new medium, Lynn Spigel shows how TV was instrumental in introducing the public to the latest trends in art and design. Abstract expressionism, pop art, art cinema, modern architecture, and cutting-edge graphic design were all mined for staging techniques, scenic designs, and an ever-growing number of commercials. As a result, TV helped fuel the public craze for trendy modern products, such as tailfin cars and boomerang coffee tables, that was vital to the burgeoning postwar economy. And along with influencing the look of television, many artists—including Eero Saarinen, Ben Shahn, Saul Bass, William Golden, and Richard Avedon—also participated in its creation as the networks put them to work designing everything from their corporate headquarters to their company cufflinks. Dizzy Gillespie, Ernie Kovacs, Duke Ellington, and Andy Warhol all stop by in this imaginative and winning account of the ways in which art, television, and commerce merged in the first decades of the TV age.
An anthology of essays addressing the nature and practice of contemporary product and graphic design, selected from volumes four through nine of the international journal Design Issues. Themes include reflection on the nature of design, the meaning of products, and the place of design in world culture. Includes b & w photos and illustrations. c. Book News Inc.
Paintings and Sculpture in the Collection of the National Academy of Design is the first installment of a fully illustrated two-volume catalogue of the Academy's priceless collection of paintings and sculptures. This publication documents objects by artists elected to membership in the Academy before 1926; those created by members elected after 1925 will appear in volume two. Information on a total of 1,390 objects and biographies of 581 artists - all but twenty-four of whom were American - are found here. Works documented and illustrated cover the entire range of popular artistic subject matter: portraits, landscapes, genre works, figural objects, still lifes, images of animals, and paintings or sculptures with historical, religious, and mythological themes. Today, after more than 175 years of collecting, the Academy owns in excess of 2,100 paintings, almost three hundred sculptures, several thousand prints, drawings, and watercolors, and a group of architectural drawings, photographs, and portfolios. The collection is especially rich in masterworks of the Hudson River School, with canvases by Frederic Edwin Church, Sanford Robinson Gifford, and John Frederick Kensett; portraits of artists, including Thomas Cole, Winslow Homer, John Singer Sargent, Cecilia Beaux, and Thomas Eakins; late nineteenth-century American sculpture, with bronzes by Augustus Saint-Gaudens, Daniel Chester French, Anna Hyatt Huntington, and Paul Manship; and paintings by the American Impressionists and Tonalists such as George Inness, Childe Hassam, William Merritt Chase, and Frederick Frieseke. These and hundreds of other masterworks of American art are documented in this volume.
Based on extensive research studies from the fields ofcommunication, marketing, psychology, multimedia, and law,Advanced Presentations by Design, Second Edition, providesfact-based answers to the most-often-asked questions aboutpresentation design. The book shows how to adapt your presentationto different audience personality preferences, what role your datashould play and how much of it you need, how to turn your data intoa story, and how to design persuasive yet comprehensible visuallayouts. The book's accessible 10-step Extreme PresentationTM method hasbeen field-tested in organizations such as Microsoft, ExxonMobil,HJ Heinz, PayPal, and the Executive Office of the President of theUnited States. Written from the perspective of a marketer andbusiness manager, this new edition offers practical, evidence-basedadvice for bringing focus to problems and overcoming challenges.The book offers practical guidelines for: Structuring Stories: The book presents the SCORE methodfor sequencing data (Situation, Complication, Resolution, Example)into a powerful story that grabs the audience's attention at thebeginning and holds it through to the end. Using Graphics: The author provides numerous examples ofcharts and other graphics, explaining which can help you bestpresent your data. Setting Goals for Presentations: The book reveals whyit's important to set measurable objectives for what you want youraudience to think and do differently after your presentation. This comprehensive resource offers a proven process for creatinga presentation that gets noticed and compels your audience to takeaction. Praise for Advanced Presentations by Design "Shocking but true: You don't have to be Steve Jobs to createpresentations that your audience will enjoy and that will also getyou results. Even for everyday presentations, I've found that Dr.Abela's unique approach helps you replace crushingly dull andoverlong presentations with fresh work your audience really caresabout and that you actually enjoy creating!" —Sanjay Acharya, Vice President, AkamaiTechnologies "Advanced Presentations by Design is the best researchedbook on presentation design that I've ever had the privilege ofreading. I recommend it for those of you who want the confidence ofknowing how best to plan and design successful presentations." —Gene Zelazny, author, Say It with Charts andSay It with Presentations "This book is essential for any executive who doesn't have timeto wade through sixty-page PowerPoint decks. You will want to makethis book required reading for all your staff." —Stew McHie, Global Brand Manager, ExxonMobil
The Index of American Design was one of the most significant undertakings of the Federal Art Project -- the visual arts arm of the Works Progress Administration. Part of President Franklin D. Roosevelt's New Deal, this ambitious initiative set out to discover and document an authentic American style in everyday objects. The curators of the Index combed the country for art of the machine age -- from carved carousel horses to engraved powder horns to woven coverlets -- created by artisans for practical use. In their search for a true American artistic identity, they also sought furniture designed by regional craftsmen laboring in isolation from European traditions. Kentucky by Design offers the first comprehensive examination of the objects from the Bluegrass State featured in this historic venture. It showcases a wide array of offerings, including architecture, furniture, ceramics, musical instruments, textiles, clothing, and glass- and metalworks. The Federal Art Project played an important role in documenting and preserving the work of Shaker artists from the Pleasant Hill and South Union communities, and their creations are exhibited in this illuminating catalog. Beautifully illustrated with both the original watercolor depictions and contemporary, art-quality photographs of the works, this book is a lavish exploration of the Commonwealth's distinctive contribution to American culture and modern design. Features contributions from Jean M. Burks, Erika Doss, Jerrold Hirsch, Lauren Churilla, Larrie Currie, Michelle Ganz, Tommy Hines, Lee Kogan, Ron Pen, Janet Rae, Shelly Zegart, Mel Hankla, Philippe Chavance, Kate Hesseldenz, Madeleine Burnside, and Allan Weiss.
India by Design: Colonial History and Cultural Display maps for the first time a series of historical events—from the Raj in the mid-nineteenth century up to the present day—through which India was made fashionable to Western audiences within the popular cultural arenas of the imperial metropole. Situated at the convergence of discussions in anthropology, art history, museum studies, and postcolonial criticism, this dynamic study investigates with vivid historical detail how Indian objects, bodies, images, and narratives circulated through metropolitan space and acquired meaning in an emergent nineteenth-century consumer economy. Through an examination of India as represented in department stores, museums, exhibitions, painting, and picture postcards of the era, the book carefully confronts the problems and politics of postcolonial display and offers an original and provocative account of the implications of colonial practices for visual production in our contemporary world.

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