Location
Main Entry - Personal Name
Title Statement Art & graphic design : George Maciunas, Ed Ruscha, Sheila Levrant De Bretteville
Varying Form of Title Art and graphic design George Maciunas, Ed Ruscha, Sheila Levrant De Bretteville
Uniform Title
Publication, Distribution, etc. (Imprint) Yale University Press, New Haven : [2021]
©2021
Dewey Decimal Classification Number
SAB Classification Code
Physical Description ix, 220 pages illustrations (some color) 26 cm
General Note Translated from the French. Originally published as Graphics : art & design graphique aux États-Unis (1960-1980) : George Maciunas, Ed Ruscha, Sheila Levrant de Bretteville ©2019 Presses Universitaires François-Rabelais, Iconotexts, Tours.
Bibliography, etc. Note Includes bibliographical references and index.
Formatted Contents Note Part I. Fluxus and the graphic design of George Maciunas. Constructing a visual identity -- Ideological, technological, and (ty)poetic context -- Maciunas's pharmacy -- Part II. Ed Ruscha, figure of avoidance. Young graphic designer versus young artist -- Ruscha's books: Fragile Semiophors -- Liquid words, snatched figures, stained supports -- Part III. Art, graphic design, and feminism in the orbit of Sheila Levrant de Brettsville. A zone of contestation and experimentation -- The woman's building -- Editing, typesetting, printing, distributing.
Summary, etc This fascinating study of the role that graphic design played in American art of the 1960s and 1970s focuses on the work of George Maciunas, Ed Ruscha, and Sheila Levrant de Bretteville. Examining how each of these artists utilized typography, materiality, and other graphic design aesthetics, Benoit Buquet reveals the importance of graphic design in creating a sense of coherence within the disparate international group of Fluxus artists, an elusiveness and resistance to categorization that defined much of Ruscha's brand of Pop Art, and an open and participatory visual identity for a range of feminist art practices. Rigorous and compelling scholarship and a copious illustration program that presents insightful juxtapositions of objects-some of which have never been discussed before-combine to shed new light on a period of abundant creativity and cultural transition in American art and the intimate, though often overlooked, entwinement between art and graphic design.
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ISBN
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*504 $aIncludes bibliographical references and index.
*5058 $aPart I. Fluxus and the graphic design of George Maciunas. Constructing a visual identity -- Ideological, technological, and (ty)poetic context -- Maciunas's pharmacy -- Part II. Ed Ruscha, figure of avoidance. Young graphic designer versus young artist -- Ruscha's books: Fragile Semiophors -- Liquid words, snatched figures, stained supports -- Part III. Art, graphic design, and feminism in the orbit of Sheila Levrant de Brettsville. A zone of contestation and experimentation -- The woman's building -- Editing, typesetting, printing, distributing.
*5208 $aThis fascinating study of the role that graphic design played in American art of the 1960s and 1970s focuses on the work of George Maciunas, Ed Ruscha, and Sheila Levrant de Bretteville. Examining how each of these artists utilized typography, materiality, and other graphic design aesthetics, Benoit Buquet reveals the importance of graphic design in creating a sense of coherence within the disparate international group of Fluxus artists, an elusiveness and resistance to categorization that defined much of Ruscha's brand of Pop Art, and an open and participatory visual identity for a range of feminist art practices. Rigorous and compelling scholarship and a copious illustration program that presents insightful juxtapositions of objects-some of which have never been discussed before-combine to shed new light on a period of abundant creativity and cultural transition in American art and the intimate, though often overlooked, entwinement between art and graphic design.
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An innovative exploration of the intersection of graphic design and American art of the 1960s and 1970s This fascinating study of the role that graphic design played in American art of the 1960s and 1970s focuses on the work of George Maciunas, Ed Ruscha, and Sheila Levrant de Bretteville. Examining how each of these artists utilized typography, materiality, and other graphic design aesthetics, Benoît Buquet reveals the importance of graphic design in creating a sense of coherence within the disparate international group of Fluxus artists, an elusiveness and resistance to categorization that defined much of Ruscha's brand of Pop Art, and an open and participatory visual identity for a range of feminist art practices. Rigorous and compelling scholarship and a copious illustration program that presents insightful juxtapositions of objects--some of which have never been discussed before--combine to shed new light on a period of abundant creativity and cultural transition in American art and the intimate, though often overlooked, entwinement between art and graphic design.
Acknowledgments p. ix Introduction p. 1 Fluxus and the Graphic Design of George Maciunas p. 12 Constructing a Visual Identity p. 14 Ideological, Technological, and (Ty)poetic Context p. 34 Maciunas's Pharmacy p. 48 Ed Ruscha, Figure of Avoidance p. 68 Young Graphic Designer versus Young Artist p. 70 Ruscha's Books: Fragile Semiophors p. 96 Liquid Words, Snatched Figures, Stained Supports p. 118 Art, Graphic Design, and Feminism in the Orbit of Sheila Levrant de Bretteville p. 148 A Zone of Contestation and Experimentation p. 150 The Woman's Building p. 160 Editing, Typesetting, Printing, Distributing p. 176 Conclusion p. 192 Notes p. 197 Credits p. 211 Index p. 213