Background
Lavin, Maud Katherine was born on November 10, 1954 in Canton, Ohio, United States. Daughter of Carl Hershel and Audrey Ann Lavin.
(Lightly Used Out of Print Softcover Edition published by ...)
Lightly Used Out of Print Softcover Edition published by Yale University Press, New Haven, CT., 1993, 260 pages (illustrated) in Very Good Condition. Cover has slight shelf-wear, minor scuffing. Text is clean and unmarked with no rips, tears, creases or loose pages. There is a turned-down corner on the back End Sheet, rest of the text is clean and sharp. Spine is firm and uncreased but with a slight tilt. An important pioneer of the artform that became known as photomontage. Hoch (November 1, 1889 to May 31, 1978) was a German Dada artist. She is best known for her work of the Weimar period, when she was one of the originators of photomontage. Höch was the lone woman among the Berlin Dada group, however she was dismayed to the Dadaists lip service to women's emancipation and her work echos her feelings that there were difference between women in media and reality. Marriage did not escape her criticism. She depicted brides as mannequins and children, reflecting the idea that women are not seen as complete people and have little control over their lives. A long-time German resident, her work fell out of favor after WWII although she continued to produce her photomontages and exhibit them internationally until her death in 1978. The Berlin Dadaists - the "monteurs" (mechanics) - would use scissors and glue rather than paintbrushes and paints to express their views of modern life through images presented by the media. A variation on the collage technique, photomontage utilized actual or reproductions of real photographs printed in the press. We ship within 24 hours of your purchase with a Delivery Confirmation.
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( Our culture is dominated by the visual. Yet most writin...)
Our culture is dominated by the visual. Yet most writing on design reflects a narrow preoccupation with products, biographies, and design influences. Maud Lavin approaches design from the broader field of visual culture criticism, asking challenging questions about about who really has a voice in the culture and what unseen influences affect the look of things designers produce. Lavin shows how design fits into larger questions of power, democracy, and communication. Many corporate clients instruct designers to convey order and clarity in order to give their companies the look of a clean new world. But since designers cannot clean up messy reality, Lavin shows, they often end up simply veiling it. Lacking the power to influence the content of their commercial work, many designers work simultaneously on other, more fulfilling projects. Lavin is especially interested in the graphic designer's role in shaping cultural norms. She examines the anti-Nazi propaganda of John Heartfield, the modernist utopian design of Kurt Schwitters and the neue ring werbegestalter, the alternative images of women by studio ringl + pit, the activist work of such contemporary designers as Marlene McCarty and Sheila Levrant de Bretteville, and the Internet innovations of David Steuer and others. Throughout the book, Lavin asks how designers can expand the pleasure, democracy, and vitality of communication.
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Lavin, Maud Katherine was born on November 10, 1954 in Canton, Ohio, United States. Daughter of Carl Hershel and Audrey Ann Lavin.
Bachelor magna cum laude, Radcliffe College, Cambridge, Massachusetts, 1977. Master of Arts in art history, University Pennsylvania, Philadelphia, 1981. Doctor of Philosophy in art history, City University of New York, New York City, 1989.
Freelance writer and editor, New York City, 1989—1997, Chicago, 1997—2001. Adjunct lecturer art criticism New York University, New York City, 1990—1991, 1993—1995. Visiting assistant professor art history Yale University, New Haven, 1992.
Adjunct lecturer art history School of the Art Institute of Chicago, 1998—2001, associate professor visual and critical studies, art history, 2001—2005, professor visual and critical studies, art history, since 2006. Advisory board contemporary art Art Gallery of Ontario, Toronto, Canada, 1994.
(Lightly Used Out of Print Softcover Edition published by ...)
( Our culture is dominated by the visual. Yet most writin...)
Member of Institute Women's Policy Research, College Art Association.
Married Locke E. Bowman, April 16, 1997. Children: Kris Bowman, David Bowman.