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This latest volume of the Journal of Decorative and Propaganda Arts explores the role of design and decorative arts in the making of modern Turkey, from the late Ottoman Empire to the middle of the twentieth century. As in many countries outside of western Europe and North America, Turkey's encounter with modernity has largely been the result of an official modernization project "from above." In the absence of the material and social conditions-industrialization, capitalist production, urbanization, and the existence of an autonomous bourgeoisie-that characterized the Western world, elites seeking to modernize Turkey had a strong sense of delayed development and an urgent desire to catch up with the West. This sense of urgency accounts for their reliance on the power of representation, especially visual and material culture, to express modern ideas, institutional reform, national identity, and social progress. The resulting experiments touched virtually every creative field, from architecture, painting, and sculpture to interiors, fashion, textiles, industrial design, photography, and graphic design. Creating a modern national identity for Turkey was a vast undertaking with uneven results. In scrutinizing these efforts through multiple lenses, this vividly illustrated volume presents a particularly compelling example of the belief in the capacity of form to remake content. The contributors include Esra Akcan, Günkut Akın, T. Elvan Altan, Edhem Eldem, Ahmet Ersoy, F. Dilek Himam, Ela Kaçel, Sinan Niyazioğlu, Gülname Turan, and Christopher S. Wilson.
The first comprehensive exploration of postcards used as propaganda on all sides of the major military and political conflicts of the twentieth century, including World Wars I and II A Russian Socialist worker raises the red flag. Adoring crowds greet Hitler and Mussolini. Uncle Sam orders Americans to enlist. These images and many more circulated by the millions on postcards intended to change minds and inspire actions around the time of the two World Wars. Whether produced by government propaganda bureaus, opportunistic publishers, aid organizations, or resistance movements, postcards conveyed their messages with striking graphics, pithy slogans, and biting caricatures - and in a uniquely personal format. The more than 350 cards reproduced in full colour in this book advocate for political causes and celebrate war efforts on all sides of the major conflicts of the first half of the twentieth century. The accompanying text shows how a ubiquitous form of communication served increasingly sophisticated campaigns in an age of propaganda, and highlights the postcards collected here as both priceless historical documents and masterworks of graphic design.
Artwork by Komar & Melamid. Contributions by Dore Ashton, Remo Guidieri, Andrei Bitov.
Posters were vehicles of mass communication that set their mark on the country's streets and urban spaces. At the same time the poster genre became a key arena for the Russian avant-garde, which dreamed of an art that united form and function, the masses and the elite. The poster - "produced by the millions for the masses and posted on the streets - brings art to the people", proclaimed Vyacheslav Polonsky. In Norway, artists, advertisers, and political activists were inspired by the Soviet propaganda. This book brings together a broad selection of outstanding Russian poster art, from the constructivists' formal experiments to the socialist realism of the 1930s. It also includes some of the most important Norwegian posters inspired by Soviet posters. 0Exhibition: National Library, Oslo, Norway (28.2.-25.5.2013).
"An artist's book project on military 'psychological operations'. A collection of over 120 propaganda leaflets that have been dropped by the US Army on Afghanistan and Iraq, as well as other similar material. Based exclusively on material found on the Internet, this publication gives a wide-ranging insight into the propaganda strategies that the American army has adopted in the Near East since September 11. The book is part of the 'PSYOP - Capture their minds and their hearts and souls will follow' project, which Christoph Büchel and Giovanni Carmine created for the 7th Biennale of Sharjah (United Arab Emirates)."--Cornerstone publications website (distributor).
The definitive history of the covert struggle between Russia and America to influence elections, why the threat to American democracy is greater than ever, and what we can do about it. This is "the first book to put the story of Russian interference into a broader context.... Extraordinary and gripping" (The New York Times Book Review). Russia's interference in the 2016 elections marked only the latest chapter of a hidden and revelatory history. In Rigged, David Shimer tells the sweeping story of covert electoral interference past and present. He exposes decades of secret operations—by the KGB, the CIA, and Vladimir Putin's Russia—to shape electoral outcomes, melding deep historical research with groundbreaking interviews with more than 130 key players, from leading officials in both the Trump and Obama administrations to CIA and NSA directors to a former KGB general. Throughout history and in 2016, both Russian and American operations achieved their greatest success by influencing the way voters think, rather than tampering with actual vote tallies. Understanding 2016 as one battle in a much longer war is essential to comprehending the critical threat currently posed to America's electoral sovereignty and how to defend against it. Illuminating how the lessons of the past can be used to protect our democracy in the future, Rigged is an essential book for readers of every political persuasion.
Winner, 2012 Sally Hacker Prize, Society for the History of Technology Hotel Dreams is a deeply researched and entertaining account of how the hotel's material world of machines and marble integrated into and shaped the society it served. Molly W. Berger offers a compelling history of the American hotel and how it captured the public's imagination as it came to represent the complex—and often contentious—relationship among luxury, economic development, and the ideals of a democratic society. Berger profiles the country's most prestigious hotels, including Boston's 1829 Tremont, San Francisco's world-famous Palace, and Chicago's enormous Stevens. The fascinating stories behind their design, construction, and marketing reveal in rich detail how these buildings became cultural symbols that shaped the urban landscape.
Drawing on the early Soviet atheist magazines Godless and Godless atthe Machine, and postwar posters by Communist Party publishers, the authorpresents an unsettling tour of atheist ideology in the USSR.
Maniera Moderna is dedicated to the multi-faceted work of the Italian architect, designer and photographer Carlo Mollino (1905-1973). His surrealist roots are evident in the black and white photography and interiors of the 1930s, right through to his later work in the elegant Teatro Regio and his highly staged erotic Polaroids. However, he was also inspired to create the most individual of designs by the Futurism of Gaud�, Niemeyer and Le Corbusier. His extravagant furniture, which he produced in limited numbers or as unique pieces, is still extremely sought after. It is an expression of the designer's extraordinary flights of fancy: chairs can look like deer, the ribs of a table like the human spinal column, backrests like skis. This monograph is divided into six chapters: choreography, montage, publications, display, appropriations and techniques, which impressively highlight the correspondences within Mollino's wide-ranging and heterogeneous oeuvre.