Best of
Art-Design

1992

The Elements of Typographic Style


Robert Bringhurst - 1992
    Combining practical, theoretical, and historical, this book is a must for graphic artists, editors, or anyone working with the printed page using digital or traditional methods.Having established itself as a standard in its field The Elements of Typographic Style is house manual at most American university presses, a standard university text, and a reference work in studios of designers around the world. It has been translated into italian and greek, and dutch.

Jean Michel Basquiat


Richard Marshall - 1992
    Published to accompany an exhibition held at the Whitney Museum of American Art, New York, in 1992-93, the book contains illustrations reproducing paintings, drawings, collages, silkscreens, and constructions, many previously unpublished.

Lebbeus Woods: Anarchitecture: Architecture is a Political Act (Architectural Monographs No 22)


Lebbeus Woods - 1992
    His drawings are propositions of new ways of living, rather than merely new ways of building. His architecture is instructive: ‘…these projects propose new social structures, implemented by new urban forms and architecture, intended to be realised within existing cities,,’ but it is never prescriptive, always urging possibilities for social, cultural and political transformation.This Monograph illustrates the range of Lebbeus Woods’ ideas. The projects featured here are from the past decade, but have been developed over a whole career, and include the recent Zagreb Free Zone and Berlin Free Zone designs as well as the earlier projects such as Four Cities and Centricity. Together with texts by the architect, they show an architecture informed by science and politics; the free zones and freespaces Woods designs become a ‘second nature’, a terra nova. Peter Noever, in his introduction to the architect’s work writes: ‘Lebbeus Woods’ criticism is shattering. He creates autonomous fields of force with his projects, murderously visionary images: real, frightening, and at the same time liberating.’ As we can see in the work presented in this volume, the force behind the images, models and installations is immense, illustrating an architecture instrumental to the processes of experimentation, change and freedom.Contents:6 AT THE OUTERMOST BOUNDARY by Peter Noever8 ANARCHITECTURE: Architecture is a Political ActPROJECTS20 Four Cities24 Centricity34 Timesquare40 Turbulence46 Heterarchies50 Underground Berlin64 Aerial Paris76 D.M.Z.84 Stations88 Solohouse96 Berlin Free Zone110 Zagreb Free Zone128 Antigravity Houses134 Double Landscape, Vienna142 Glossary144 Biography

Breaking Bounds: The Dance Photography of Lois Greenfield


William A. Ewing - 1992
    Made between 1982 and 1991, they are the result of a collaboration between Greenfield and a group of extraordinary dancers asked to "leave their choreography at the door." They take risks, pushing to the absolute limits the boundaries of both dance and photography with an energy so forceful it seems barely contained by the black lines of the camera frame. Edited, sequenced, and with an introductory essay by William Ewing, including an interview with Lois Greenfield, Breaking Bounds is dance photography on the edge. Sensual and mesmerizing, these images will entrance dancer and non-dancer alike -- as well as anyone who loves fine photography -- with their powerful, elegant depiction of the human body in midair.

What Is Art? Conversations with Joseph Beuys


Joseph Beuys - 1992
    Here, in dialogue with Volker Harlan, the deeper motivations and insights underlying social sculpture, Beuys's expanded conception of art, are illuminated.

Green Woodwork: Working with Wood the Natural Way


Mike Abbott - 1992
    The beauty of working green (or unseasoned) wood is that by using traditional skills and a few simple tools you can make anything from a tent peg to a Windsor chair, without needing power machinary.

Rational Geomancy: The Kids of the Book Machine, the Collected Research Reports of the Toronto Research Group, 1973-1982


Steve McCaffery - 1992
    From scholasticism to pop-up books, the Book of Nature to comic strips, these frequently witty, often irreverent and methodically mischievious reports document a vital era, not only in the intellectual growth of two individuals, but in the history of critical collaboration in North America.With a revised format, additional bibliography and profuse illustrations, this book will prove to be of inestimable value to anyone tracing the poetic archeology of the seventies in Anglophone Canada.

Thinking Is Form: The Drawings Of Joseph Beuys


Ann Temkin - 1992
    Yet even now the art and life of this controversial and extremely influential German artist remain impenetrably intertwined - even more so perhaps because Beuys, like Marcel Duchamp and Andy Warhol, precisely orchestrated his public image, building a personal myth that has the power to bind together his entire oeuvre. Thinking Is Form breaks through the mass of obscure writing about Joseph Beuys to introduce this legendary artist in a simple and clear manner, through his utterly individual drawings. The subject of a major touring exhibition at The Museum of Modern Art, New York, The Museum of Contemporary Art, Los Angeles, the Philadelphia Museum of Art, and The Art Institute of Chicago, Beuys's drawings are used here as the springboard for discussions of his life, art, and ideas. Some employ such unconventional mediums as hare's blood or margarine, or use the backs of envelopes or commercial stationery. Some incorporate photographs, pressed flowers, and other organic materials, emphasizing their function as a reservoir of ideas for Beuys's sculpture, actions (performance art), and other enterprises. His achievement is viewed in the broader context of European art, and his graphic works are considered chronologically as his formative medium, in relation to his work as a whole, and as autobiographical narrative. This is the first time that the disciplines of curator and connoisseur have been rigorously applied to the selection and presentation of a truly representative segment of Beuys's work. Beuys, following the strategy articulated by Duchamp, made his own life his masterwork, and his drawings formed the drafts for that work. Now that the work is complete, it is through the drawings that we can begin to grasp as a whole the accomplishment of a man who declared "Everyone is an artist."

Keith Haring: Future Primeval


Barry Blinderman - 1992
    Contributors to the text include William Burroughs and Timothy Leary.

Dynamic Wrinkles and Drapery: Solutions for Drawing the Clothed Figure


Burne Hogarth - 1992
    Understanding how the body moves is the key to rendering clothing, as world-renowned artist Hogarth demonstrates in this unique book.

The Complete Typographer


Christopher Perfect - 1992
    It features: profiles of influential designers; the qualities that make a type design effective; characteristics, applications, and creative uses of each of the seven major typeface groups; special typographic effects; and advantages and disadvantages of desk top publishing typography. A hands-on design guide for typographers, graphic artists, desk top publishers, and advertising production people who want to sharpen their attention to detail and develop a sensitive typographical eye.

Eva Hesse: A Retrospective


Helen A. Cooper - 1992
    The public has rarely seen her work, however, because its fragility has made it difficult to exhibit. This richly illustrated and critically interpretive book enables a wide audience to appreciate the magnitude of her achievement and the legacy of her art. Hesse was an expressionist in an age of minimalism. Against the predominantly impersonal visual modes of the sixties, she insisted on the subjective qualities of her art. She opened up new frontiers in sculpture--in form, content, and material--and helped to change the way artists, critics, and viewers look at art. Hesse's career also coincided with the incubation period of modern feminism, and her art stands as a courageous and complex effort to articulate a female identity. The book includes essays by five noted authorities: Linda Norden discusses Hesse's early career in New York following her years as a student of Josef Albers; Maria Kreutzer writes on Hesse's work in Germany in the mid-sixties, when she moved from two to three dimensions; Robert Storr places Hesse in relation to the central American artistic concerns of the 1960s, focusing on her links to such artists as Jasper Johns, Sol LeWitt, and Claes Oldenburg; Anna Chave analyzes Hesse's mature work in light of contemporary feminist theory on authorship and subjectivity; and Maurice Berger examines Hesse's radical and personal approach to the sculptural object following her rejection of painting. In addition, Helen Cooper draws on the artist's extensive diaries, notebooks, and correspondence for a chronology detailed as much as possible in Hesse's own words. This beautiful book, which brings together Hesse's most important sculptures, reliefs, and her rarely seen drawings and early paintings, is the catalogue for an exhibition of Hesse's work that opens at the Yale University Art Gallery in April 1992 and travels to th