HENRI DE TOULOUSE LAUTREC 4 F.T MARINETTI 6 EL LISSITZKY 8 JOSEF MULLER-BROCKMANN 10

HERBERT BAYER 12 PAUL RAND 14 ELLEN LUPTON 16 KATHERINE MCCOY 18

PAULA SCHER 20 DMITRI SIEGEL 22

3

HENRI DE TOULOUSE LAUTREC 4 F.T MARINETTI 6 EL LISSITZKY 8 JOSEF MULLER-BROCKMANN 10

HERBERT BAYER 12 PAUL RAND 14 ELLEN LUPTON 16 KATHERINE MCCOY 18

PAULA SCHER 20 DMITRI SIEGEL 22

I PAINT THINGS AS THEY ARE. I DON’T COMMENT.HE

NRI D

E TOU

LOUS

E LAU

TREC

1864-1

901

4

5

Top and Bottom Left: Poster for Astride Bruant, 1893 and 1892Bottom Right: La Goulue au Moulin Rouge

Divan Japonais, 1893

F.T M

ARIN

ETTI

1876-1

944

WHAT IS THERE TO SEE IN AN OLD PICTURE EXCEPT THE LABORIOUS CONTORTIONS OF AN ARTIST THROWING HIMSELF AGAINST

THE BARRIERS THAT THWART HIS DESIRE TO EXPRESS HIS DREAM COMPLETELY?

6

7

Left: Les Mots en Liberte FuturistesRight: Cover for Zang Tumb Tumb, 1914

Left: Sintesi Futurista de la Guerra, 1914Right: Les mots en liberte futuristes, 1919

EL LI

SSITZ

KY189

0-1941

THE PRIVATE PROPERTY ASPECT OF CREATIVITY MUST BE DESTROYED. ALL ARE CREATORS AND

THERE IS NO REASON OF ANY SORT FOR THIS DIVISION INTO ARTIST AND NONARTIST.

8

9

Beat the Whites with the Red Wedge, 1919

Left: Neuer, 1923Middle: Ansager, 1923Right: Had Gadya, 1919

HERB

ERT B

AYER

1900-1

985

THE BAUHAUS URGED THE CONTEMPORARY ARTIST TO TAKE PART IN THE ISSUES OF HIS

TIME BY SOLVING THOSE PROBLEMS THAT ONLY THE ARTIST CAN, THAT IS GIVING FORM TO OUR

ENVIRONMENT, TO THE SPACES WE LIVE IN, TO THE GOODS WE USE, TO COMMUNICATION.

10

11

Left and Right: Great Ideas of Western Men Poster Series,

1954 and 1976

Left: Bauhaus Exhibition Poster, 1968Right: Bauhaus Exhibition Poster, 1926

JOSE

F MUL

LER-

BROC

KMAN

N191

4-1996

WORKING WITH THE GRID SYSTEM MEANS SUBMITTING TO LAWS OF UNIVERSAL VALIDITY.

12

13

Poster Series at the Zurich Tonhalle, 1951-1972

PAUL

RAN

D191

4-1996

A LOGO DERIVES ITS MEANING FROM THE QUALITY OF THE THING IT SYMBOLIZES, NOT THE OTHER WAY ARAOUND

14

15

Top: Logo for Dunhill Clothiers, 1947Bottom: Logo for Monell Chemical Senses Center, 1989

Top: Logo for Borzoi Books, 1945Bottom: SOS Poster, 1996

ELLE

N LU

PTON 196

3-

CRAFT CONTINUES TO BE A BIG PART OF DESIGN TODAY, BUT WHAT’S CHANGING IS THE MOVEMENT OUTWARD. DESIGN IS BECOMING LESS INWARDLY

DIRECTED AND MORE SOCIALLY DIRECTED.

16

17

Left: Hamlet ApronRight: Book cover of Skin: Surface, Substance + Design, 2001

Left: Poster for event at Maryland Institute College of Art, 2005Right: Book cover of The Bathroom, the Kitchen, and the Aesthetics of Waste, 1992

KATH

ERIN

E MCC

OY 1945-

IF DESIGN IS ABOUT LIFE, WHY SHOULDN’T IT HAVE ALL THE COMPLEXITY, VARIETY, CONTRADICTION,

AND SUBLIMITY OF LIFE?

18

19

Right: Graphic Artists Guild call for entries poster, 1971Top Left: See Read Poster, 1989Middle: Bicentennial jazz concert series,1976Bottom: (top left) McCoy and McCoy symbol, 1995 (top right) Cranbrook Crane symbol, 1994 (bottom) Cranbrook logotype, 1994

PAUL

A SC

HER 1948-

I’VE ALWAYS BEEN WHAT YOU WOULD CALL A POP DESIGNER, I WANTED TO MAKE THINGS THAT THE PUBLIC COULD RELATE TO AND UNDERSTAND, WHILE RAISING EXPECTATIONS ABOUT

WHAT THE “MAINSTREAM” CAN BE.

20

21

Left: HIM Poster for The Public Theater, 1994 Top Right:: Bob James H LP, CBS Records, 1977Middle Right: Poster for Ballet Tech, 1997-2000Bottom Right: Poster for Swatch Watch USA, 1984

DMITR

I SIEG

EL 1973-

THE SURPRISING BY-PRODUCT OF THIS DEMOCRATIZATION OF DISTRIBUTION IS THAT THE PRODUCTION/CONSUMPTION

CYCLE HAS SPLINTERED INTO MILLIONS OF TINY EXCHANGES.

22

23

Spreads from Russian Art in Translation, 2007