Academic literature on the topic 'Emigre Graphics'

Published in 1989, Emigre magazine’s eleventh issue, Ambition/Fear: Graphic Designers and the Macintosh Computer, contains vivid artifacts of a discipline’s first encounter with digital tools. From the aesthetics of bitmaps to the expressive interventions made possible by new access to typesetting controls, not to mention the self-publishing venture of the magazine itself, this issue combines modernist and postmodern agendas in a model construction of text-based community. Looking closely at Emigre #11 and more passingly at later issues, this article analyses the technical, critical, and cultural production that would shape Emigre as a medium for typographic demonstration and discussion among peers.

Париж начала XX столетия явился Меккой для художников из разных стран. Здесь можно было познакомиться с современными тенденциями и художественными течениями в искусстве, влиться в интернациональное сообщество авангардных художников и даже выставить свои работы, исполненные в самом модернистском ключе. Большинство представителей русского художественного круга, решившихся на эмиграцию после революции 1917 года, концентрировалось именно в Париже. Те, кто побывал хоть однажды в этом центре европейской художественной жизни, не могли забыть этот город, подаривший им художественную идентичность, чувство новизны в искусстве, ощущение первооткрывателя. Поэтому многие из них посвящали Парижу свои произведения, в том числе и русские художники-эмигранты. В статье анализируется образ Парижа в творчестве Л.Д. Гудиашвили, А.Б. Серебрякова, Ю.П. Анненкова, А.М. Арнштама. At the beginning of the 20th century Paris became a mecca for the artists from different countries. Here they could learn modern tendencies and art movements, become a part of international avant-garde artistic community and even exhibit the most modernistic artworks. The major part of the Russian artists who decided to emigrate after the Revolution of 1917 settled in Paris. Those who had been only once in this center of the European art life would never forget Paris who gave them their artistic identity, a feeling of modernity, experience of a pioneer. That’s why many of them including Russian emigre artists dedicated their works to Paris. The article analyzes the image of Paris in the work of Lado Gudiashvili, Alexander Serebryakov, Yuri Annenkov, Alexander Arnstam.

Purpose A Recent work in information studies re-engages with theories of subject enunciation first developed in the work of twentieth century structuralist and post-structuralist critics. To date this work has not been extended to the analysis of data visualizations. The purpose of this paper is to assert that information visualizations embody specific dynamics of positionality for which linguist Emile Benveniste’s formulation of a speaking and spoken subject provides a critical analytic framework. In particular, enunciative theory can be used to explicitly address the mechanisms of power formation in information graphics “spreadsheets, charts and interfaces” that are frequently seen as mere presentations of quantitative or statistical information. This approach is based on attention to the performative aspects of graphic expression and the ways familiar features such as frontality framing and scale can be read critically. Design/methodology/approach A theoretical argument that applies literature in enunciation as developed in linguistics, film theory, and psychoanalysis to information visualizations. The paper makes specific analyses of the graphical features of spreadsheets, common charts and graphs, and interfaces to show how they create speaking and spoken subject positions. Findings The theory of enunciation is useful in understanding the ways information representations, particularly visualizations of data, work to produce power relations. Research limitations/implications The topic may seem to draw on theoretical positions that are associated with structural and post-structural theory popular three decades ago, but since the study of enunciation was never applied to information visualizations, the work feels timely. Recent work in information studies has re-engaged with these theoretical issues, but not applied them to charts, graphs, and other visual forms. Information visualizations are so prevalent that any critical insight into their operations feels timely, even urgent. Originality/value The concept of information as enunciation in recent work in information studies has not been applied to visualizations. Analysis of the production of subject positions as commonly understood in other fields (linguistics, textual studies, film studies, visual studies, and psychoanalysis across a broad range of cultural studies fields) can be usefully applied to information graphics.

The article examines the portrait image of the writer in the context of his biography and work on the example of N.V. Gogol and F.M. Dostoevsky. Various methods of visual representation, traditional methods of image and the latest portrait formats in the Russian and European painting and graphics of the 19th–20th centuries become the subject of the author’s attention. Artistic works by Alexander Ivanov, Ilya Repin, Vasily Perov, Mikhail Klodt, Duncan Grant, Emile Filla, Hugo Mora and other artists are involved in the analysis. The article also reveals (on the example of studying biography and oeuvre, analyzing individual works of N.V. Gogol’s and F.M. Dostoevsky’s) the methodological potential and didactic orientation of these works. The author provides art criticism interpretations and philosophical commentaries that allow using these works in the practice of teaching literature. Based on the analysis and generalization of pedagogical experience, the article postulates the urgent need to expand the means of visualization in the literary education of schoolchildren. The article also problematizes the need to update visual materials to increase the effectiveness of studying literary classics, stimulating the schoolchildren’s interest in reading and further acquaintance and study of oeuvre of the writers included in the school curricula. The author of the article offers special questions and tasks that direct teachers to the study of traditional and innovative portrait art and its use in literature lessons in high school and considers the potential opportunities for its involvement in research project activities of students’.

Michael Lucas Leopold Willmann (1630–1706) was born in Königsberg (now Kalinin grad in Russia), where his first teacher was Christian Peter, a well -off guild painter. After years of journeys of apprenticeship and learning in the Netherlands, the young artist returned to his homeland, after Matthias Czwiczek’s death in 1654 probably hoping for the position of the painter at the court of Great Elector Frederick William (1620–1688).What served to draw the ruler’s attention to himself was probably the lost painting, described by Johann Joachim von Sandrart as follows: ‘the Vulcan with his cyclops makes armour for Mars and a shield and a spear for Minerva’. The failure of these efforts led the future ‘Apelles’ to emigrate to Silesia, where he created a family painting workshop in Lubiąż (Leubus), and following the conversion from Calvinism to Catholicism, he became a Cistercian painter, creating famous works of art in religious or secular centres of Crown Bohemia. What connects him to Prussia is another painting of great importance in his career, the little -known ‘Apotheosis of the Great Elector as a Guardian of Arts’ from 1682. The successor to Great Elector Frederick III (1657–1713) was crowned in 1701 as the ‘king of Prussia’. The ceremony required an appropriate artistic setting, which prompted many artists to flock to Königsberg, including a Dutchman from Leiden, the painter Justus Bentum, a pupil of Gottfred Schalken, who reached the capital of the new kingdom together with his son Philip Christian. After studying from his father, Philip Christian Bentum (ok. 1690 – po 1757) followed in the footsteps of the famous Willmann, and went on a journey, from which he never returned to Prussia. He went first to imperial Prague, where he collaborated with Peter Brandl and converted to Catholicism, following which he travelled to Silesia. After 1731, he took part in the artistic projects of Bishop Franz Ludwig von Pfalz–Neuburg of Wrocław (Breslau) and Abbot Constantin Beyer, who completed the project begun by Freiberger and Willmann: the extension and decoration of the Cistercian Abbey in Lubiąż. It was there that he made the largest in Europe canvas -painted oil plafond of the Prince’s Hall and completed his opus magnum: covering all the library walls and vaults with painting. Those pro -Habsburg works were finished two years before the death of Emperor Charles VI (1685–1740) and the military invasion of Silesia by Frederick II Hohenzollern (1712–1786), great - -grandson of the Great Elector. The fate of the artists mentioned in the title was intertwined with Königsberg and Lubiąż. Both converts set off for the professional maturity from the Prussian capital via Prague to Silesia. They can be compared by the Dutch sources of their art and a compilation method of creating images using print ‘prototypes’. Their inner discrepancy can be seen in the choice of these patterns, as they followed both the Catholic Rubens and the Protestant Rembrandt Van Rijn. They were connected with the provinces playing a key role in Central -European politics: here the Hohenzollerns competed for power in Central Europe with the Habsburgs. They were witnessesto the game for winning Silesia, and even took part in it by creating propagandistic art. Both of them worked for Bishop Franz Ludwig von Pfalz–Neuburg (1664–1732), associated with the Emperor, a kind of the capo di tutti capi of the Counter -Reformation in Silesia. Bentum eagerly imitated selected compositions of his predecessor and master from Lubiąż, and I think he even tried to surpass him in scale and precision. The artistic competition with Willman is visible in the paintings of the library in Lubiąż. There, he presented an Allegory of Painting, which shows the image of Willmann carried by an angel, while the inscription praising the qualities of his character calls him ‘Apelles’. The work of both painters, who took their first steps in the profession as Protestants in Königsberg, but became famous through their work for Catholics, provides an interesting material for the analysis of the general topic of artistic careers on the periphery of Europe, the relationship between the centres and the periphery, as well as for two stages of re -Catholisation in Silesia treated as an instrument of power. It was usually pointed out how much separates the two painters, but no one has ever tried to show what unites them. The comparison of the sources, motifs, and outstanding achievements of both of them, especially in Lubiąż, gives a more complete picture of their activity deeply immersed in the politics of their times. This picture is not as unambiguous as it has been so far, highlighting the political and propaganda aspects of their career spreading out between the coastal Protestant north and the Catholic south. The drama of their lives took place in Silesia, where the multiple dividing lines of Europe intersected. The idea of narrating the parallel fates of two artists with great Politics in the background (as in he case of Plutarch’s ‘Parallel Lives’) came to my mind years ago when I curated the Exhibition ‘Willmann – Drawings. A Baroque Artist’s Workshop’ (2001, National Museum in Wrocław, in cooperation with Salzburg and Stuttgart). The present paper was to be included in the volume accompanying that project initiated by Andrzej Kozieł (Willmann and Others. Painting, Drawing and Graphic Arts in Silesia and Neighbouring Countries in the Seventeenth and Eighteenth Centuries, ed. A. Kozieł, B. Lejman, Wrocław 2002), but I withdrew from its publication. I am hereby publishing it, thanking Małgorzata Omilanowska for her presence at the opening of this first great exhibition of mine in 2001, as well for the excellent cooperation with my Austrian, Czech, German, and Polish colleagues. This text, referring to the topic of our discussions at the time – as on the event of the above -mentioned exhibition I spoke at a press conference in Stuttgart’s Staatsgalerie, where the curator of the German exhibition was Hans Martin Kaulbach, exactly two days after the attack on WTC.

Graphic design faces the contradictions of commercial intent and social relevance. This study explores the contribution of criticism, in two independent, seminal graphic design magazines, towards shifting the dominant preferences of graphic design from a purely commercial pursuit to a human-centred practice. Emigre magazine (c.1984 - 2005) and Dot Dot Dot magazine (c.2000 - 2010) are recognised for their critical intent and within them are emerging critical issues that suggest a potential niche for graphic design beyond consumerism and commerce. In the discipline of graphic design, designers define what it is to be human (and thus equally the realities of dehumanisation) in very particular ways (Rose, 2001:135; Freire, 1993:43). Graphic design has a history of commercial practice. This commercial history continues to define its identity and reinforce a particular body of knowledge. Graphic design criticism, however, is an inventive voice that has the potential to contribute to change. Both Emigre and Dot Dot Dot were representative of a “constructive marginality” (Bennett, 1993:64), drawing from their own set of references and awareness of graphic design’s potential to inform their identities, instead of looking to established definitions of practice to do so. This analysis explores how they anticipated a modern conception of graphic design that has become part of a recently adopted (2015) and more widely embedded discourse. This discourse involves critical design that interrogates multiculturalism, interdisciplinarity, environmental sustainability, social and political agency, and speculative futures. Graphic design engages social institutions and practices that denote social constructions of difference and inequality, and is never neutral. Any work, any representation of ideology, is at once individual and discursive at the level of social, cultural and political formations. The critical issues evident in Emigre and Dot Dot Dot, with the exception of an absence of speculative futures, anticipate a more humanising perspective in graphic design. They invite critique and the potential for change that is relevant to the surrounding world, as a counter to commercial self-interest.