ArchivesSpace at the University of Iowa

Scope and Contents

The New York launch of this book was held at Andrew Roth Gallery. The press release states that Jonathan Elley and his studio Browns "have forged an enviable reputation in both design and publishing: the book and exhibition...examines the influences that have informed and defined their graphic work. Reproduced are images and objects that have been culled from Ellery's or his colleague's idisosyncratic collections." Lawrence Weiner contributed a poster to the book. -- Source of annotation: Marvin or Ruth Sackner.

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Edited by Vincenzo Accame and Cesare Sughi. -- Source of annotation: Marvin or Ruth Sackner.

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This book provides a densely illustrated, overview of avant garde page design from 1900 to 1950. -- Source of annotation: Marvin or Ruth Sackner.

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This is a profusely illustrated catalogue of advertising graphics. -- Source of annotation: Marvin or Ruth Sackner.

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Various authors contributed chapters on the following subjects: early optical and abstract paintings; AAA editions; verbal-visual reflections; early experiments with computer graphics; punk-new wave photo-documents; creative alterations; strange correspondences; female photo-portraits; stickerman. -- Source of annotation: Marvin or Ruth Sackner.

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Includes a critical essay on the American work of Ladislav Sutnar, the Czech graphic designer. -- Source of annotation: Marvin or Ruth Sackner.

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John Walters contributes a lengthy, well illustrated essay, "Sound, code, image," that describes visual musical scores that composers use to liberate their sound from its five-line grid. He claims these scores are graphic designs of music. Steven Heller traces the history of picture magazines from German, Russian, Dutch and finally the American Life magazine. He notes that these visual narratives succeeded until the advent of television. Julia Thrift describes the radical magazines published for political purposes on duplicators, copy machines and now on the internet in her essay, "Do-it-yourself." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book documents a 100 year history of graphic design, one from each year of the 20th century in 100 categories e.g. Expressive Hands, circles and Wedges, Protest Symbols and Visualizing Music. The Sackner Archive holds several of the books and posters that are depicted in this book. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This exhibition catalogue of selections from the Merrill C. Berman Collection is organized into four sections: Design and the Avant-Garde; Design and Commerce; Design and Social Change; Design and Politics. In addition to Yale, the catalogue was published by Willliams College of Art and Cooper-Hewitt National Design Museum. Berman's collection is the premier graphic design collection of the 20th century works in the United States. In her introductory essay, "Writing a History," Maud Lavin points out that Berman collected with aggression and dedication for twenty years starting in 1975, shaping the history of graphic design during the period when the scholarly field of design history was emerging. Berman viewed graphic design works as objects of art, politics and cultural history. His collection "covers innovative design used in the politics of everyday life, in persuading consumers, in propagating for political causes, in redesigning ever-industrializing cultures, in papering...

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Subtitled "explorations of an uneasy relationship." this book consists of essays related to the title. Paul Elliman's essay deals mainly with the books by Georges Perec. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book "addresses how and why elements of Arts and Crafts, Jugendstil, Constructivism, Expressionism, and the other significant methodologies became conventions used by printers, layout artists, and advertising designers for commercial and business purposes." Tracing the roots and development of style, the authors show how graphic design has interacted with the material culture, how it has served both as an adjunct to and as the vanguard in the development of broader period styles. Included is a time line of graphic design from 1820 to 1980.El Lissitzky's poster, "Beat the Whites with the Red Wedge," is depicted on page 99; the imagery is completely identical to the Sackner copy of this poster. The photograph was furnished by Szymon Bojko. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book is a compilation of essays dealing with graphic design. J. Abbott Miller and Ellen lupton contribute an essay titled "A Natural History of Typography" in the section Looking Closer: Modernism and its Malcontents. Steven Heller writes of typographic nostalgia in his essay, "The Time Machine." Other sections of the book include Language and Dialects; Surface and Style; Form Follows Function; Sex Lies and Stereotypes; In the End, It's Education. Michael Dooley traces the development of Emigre by Rudy VanderLans and Zuzana Licko in his essay "Kicking up a Little Dust." The essays contained in this volume were previously published in Print, Eye, Emigre, I.D. Magazine, AIGA Journal and other graphic design publications, -- Source of annotation: Marvin or Ruth Sackner.

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Rick Poynor contributes an essay "Right Stuff" about ethical design. Martin Fox describes Print's environmental outlook in two early issues. A book review by Sumner Stone traces the publication U&lc edited by John D. Berry, Dan Nadel reviews "Steinberg at The New Yorker." -- Source of annotation: Marvin or Ruth Sackner.