Who are history's most iconic graphic designers? Let the debate begin here. In this gorgeous, visual overview of the history of graphic design, students are introduced to 50 of the most important designers from the early 20th century to the present day. This fun-to-read, pretty-to-look-at graphic design history primer introduces them to the work and notable achievements of such industry luminaries as El Lissitzky, Alexander Rodchenko, A.M. Cassandre, Alvin Lustig, Cipe Pineles, Armin Hofmann, Paul Rand, Saul Bass, Herb Lubalin, Milton Glaser, Stefan Sagmeister, John Maeda, Paula Scher, and more. Who coined the term "graphic design"? Who designed the first album cover? Who was the first female art director of a mass-market American magazine? Who created the "I Want My MTV" ad campaign? Who created the first mail-order font shop? In Graphic Icons: Visionaries Who Shaped Modern Graphic Design, students start with the who and quickly learn the what, when, why, and where behind graphic design's most important breakthroughs and the impact they had, and continue to have, on the world we live in.
A talented young dancer and his brilliant teacher In this long-awaited memoir, dancer and choreographer John Clifford offers a highly personal look inside the day-to-day operations of the New York City Ballet and its creative mastermind, George Balanchine. Balanchine’s Apprentice is the story of Clifford—an exceptionally talented artist—and the guiding inspiration for his life’s work in dance. Growing up in Hollywood with parents in show business, Clifford acted in television productions such as The Danny Kaye Show, The Dinah Shore Show, and Death Valley Days. He recalls the beginning of his obsession with ballet: At age 11 he was cast as the Prince in a touring production of The Nutcracker. The director was none other than the legendary Balanchine, who would eventually invite Clifford to New York City and shape his career as both a mentor and artistic example. During his dazzling tenure with the New York City Ballet, Clifford danced the lead in 47 works, several created for him by Balanchine, Jerome Robbins, and others. He partnered famous ballerinas including Gelsey Kirkland and Allegra Kent. He choreographed eight ballets for the company, his first at age 20. He performed in Russia, Germany, France, and Canada. Afterward, he returned to the West Coast to found the Los Angeles Ballet, where he continued to innovate based on the Balanchine technique. In this book, Clifford provides firsthand insight into Balanchine’s relationships with his dancers, including Suzanne Farrell. Examining his own attachment to his charismatic teacher, Clifford explores questions of creative influence and integrity. His memoir is a portrait of a young dancer who learned and worked at lightning speed, who pursued the calls of art and genius on both coasts of America and around the world.
This biography is about an immigrant’s daughter who remained in the shadows of her father, husband, sons, and daughter. But it is also about the theological tradition—German Evangelical Pietism—that shaped her and that she helped to shape. That tradition is also hidden—or buried—for its tendency to embarrass modern sensitivities. As such it remains deeply misunderstood. Grounded in the history of the Prussian Union and the pietism of the free mission houses of Germany, it is evangelical in a way that is unrecognizable and bears little resemblance to the evangelicalism of the twenty-first century. In its pietism, it exudes an irenic approach to theological and doctrinal differences, in a way that is altogether misunderstood. It is focused on peacemaking and deeds of loving and just action in the world, rather than theological precision. The sad history of this tradition is that like the story of Lydia—both have been buried in the religious landscape of twentieth-century American Protestantism. It is time that the story of Lydia Hosto Niebuhr be emancipated from a church history that has minimized the story of many of its most important giants simply because they were born at a time when their stories were less valued than the men they supported and the sons they birthed and nurtured in the church. The biography of Lydia Hosto Niebuhr corrects and recalls what has been buried and hidden, and in doing so offers an alternative to the polarization of the political and religious fields of the United States.
In this interdisciplinary inquiry, John Clifford Holt seeks to uncover how Buddhism was understood and expressed during the waning years of indigenous political power in Asia's oldest continuing Buddhist culture. Holt focusses on King Kirti Sri Rajasinha and how, despite powerful and persistent Dutch colonial threats and a deeply suspicious Kandyan Buddhist Sinhalese aristocracy, he successfully revived Sinhalese Theravada Buddhism. As Holt demonstrates, Kirti Sri succeeded in formulating his vision of an orthodox Buddhism in a number of ways: through the patronage of monastic sanha and re-establishing traditional lines of ordination, translating the Pali suttas into Sinhala, sponsoring public Buddhist religious rites, and refurbishing almost all Buddhist temples in the Kandyan culture region. The ultimate aim of Holt's study is to describe and interpret Kirti Sri's articulation of a normative Buddhist world, the essentials of which remain normative for many Buddhists in the Kandyan region of Sri Lanka today. Scholars and students will find The Religious World of Kirti Sri is an indispensable resource for the understanding of orthodox Buddhism at this important historical juncture, as well as the present day.
An appetite for war begins to spread in the United States. Three decades after the Civil War, many Americans believe that the U.S. should flex her muscles in the world in order to be taken seriously. When a longstanding border dispute between British Guiana and Venezuela re-ignites after the discovery of gold in the region, the U.S. proposes that she mediate the conflict under the moral authority accorded by the Monroe Doctrine. In response, the British refuse to recognize either Venezuelan territorial claims or American arbitration justifications. In the face of this contempt, even the normally non-interventionist President Grover Cleveland gets "mad clean through."Meanwhile, a State Department lawyer has a different opinion. Dustin Boyle carries the physical and psychic wounds from the War Between the States with him every day. A veteran of the Confederate States Army, he is aware of how enthusiasm to teach an adversary a lesson can lead to devastation and carnage. Worse for Dustin, a new war with Great Britain could thwart his own political ambitions inspired by his late father. Seemingly, however, war fever is intensifying in every quarter of Washington, D.C. After 30 years of working his way to his present position, Dustin will not allow his dream to be dashed.Obstacles confront him on every side. The Venezuelan dictator is stoking British anger; an influential group of American politicians works non-stop to fuel public indignation; and, worst of all, Dustin's own boss—the secretary of state—goes out of his way to fan the president's ire over the Venezuelan Boundary Dispute. Suspected of service to the Confederacy well beyond the duties of a horse soldier, Dustin is shunned by his colleagues for fear of political embarrassment. Unknown to Dustin is an effort to blackmail the administration into military action. Desperation growing, Dustin commences on a course of secret diplomacy with the British while he simultaneously plans to circumvent his superiors to gain the president's ear. In pursuing this two-pronged approach, he must exploit an old—if unreliable—friendship and hide his activities from his employers. He soon learns that his strategy is wrought with hazard to his dream, his job and perhaps even his life. All the while, the only threshold separating war and peace is an on-again, off-again demarcation known as the Schombürgk Line.As he executes his plan, Dustin encounters an unlikely ally who discerns another type of warfare at work. Modest of means yet heroic in spirit, she patiently serves him while leading him toward his ultimate purpose. In trying to forget the last war and ward off the next one, he discovers the wreckage of an ongoing war for his soul.
Premiered by the Traverse Theatre at the 1991 Edinburgh Festival and also to be staged at the Hampstead Theatre, London, this play arose from the extended visit John Clifford made to India. The play opens with the goddess Kali addressing the audience in a broad Scots accent and moves on to present a parable about a poor Indian family and their corrupt masters - one of whom seeks to bring light to the village by harnessing it to the electricity grid, but whose attitude to his underlings is the opposite of enlightenment.
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