Pop Advertising, San Francisco (1939)
Please note:
1. Provide complete citations for the materials you'll need. Where edition is important, specify the edition you want.
2. You must provide your own photocopies; we cannot place bound journals on reserve. Photocopied items must comply with U.S. Copyright laws; for example, it is not legal to photocopy an entire book or entire issues of serials. Stanford has information on what constitutes "fair use" at http://fairuse.stanford.edu/.
2008-2009
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Wendingen Archive, 1918-1931
Amsterdam : MHCHIJ De Hooge Brug
M1671 Special Collections Manuscript Collection
The title of this early twentieth-century journal, Wendingen, is based on a phrase from Friedrich Nietzsche, "Umwälzung aller Werte" [upheaval of all values]. Hendrik Theodorus Wijdeveld, the journal’s founder, translated the term "Umwälzung" into Dutch as "omwentelen" [revolve], then as "wentelen" [turn about], and, finally, as "wending" [turn]. "Wendingen" is the plural of "wending." Hence, Wendingen implied a sense of turnings, as in turning away from the past and toward the future. To this end, Wijdeveld, who designed and edited most of the one hundred sixteen issues himself, oversaw the journal’s adoption of graphically innovative covers that opened to reveal beautifully gridded and typeset pages. Inspired by the notion of socially engaged contemporary Dutch architecture, the journal’s focus quickly expanded to include such topics as printmaking, non-Western artifacts, puppetry and stage design, and ancient building construction—a topical (and geographical) range very unique for its time.
Wendingen includes seven issues devoted solely to Frank Lloyd Wright (one of whose covers was designed by El Lissitzky), as well as issues on Josef Hoffmann, Erich Mendelsohn, Eileen Gray, Jan Toorop (two issues), Gustav Klimt, and Lyonel Feininger. The archive includes all issues published, dated 1916-1931. It also includes a collection of related material: the finished original drawing by Jesserun de Mesquita for one of the covers (vol. IX, no. 1, 1928), two original drawings for page layouts, and other ephemeral items.
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L'Archimede di Piero [2007 facsimile edition]
Sansepolcro (Arezzo) : Grafica European Center of Fine Arts, 2007
QA31 .A694 2007 F + SUPPL. ARTLCKM
Only recently discovered and attributed, Piero della Francesca’s undated [fifteenth-century] manuscript consists entirely of writings by the Greek mathematician Archimedes. It is a sort of “reprint” composed by hand, with marginal diagrams recreating Archimedes’s studies of simple geometric forms. As such, the manuscript serves as elegantly presented evidence of the great Renaissance painter’s intense personal commitment to understanding mathematical theory, especially that of the classical thinkers. More generally, the work underscores the interdisciplinarity so often at play in Renaissance artistic output as well as the interest visual artists held in circumscribing the physical world around them. The Library’s facsimile edition, one of 999 copies, includes commentary by Roberto Manescalchi and Matteo Martelli.
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Le Nouveau Spectateur
No. 1-20 ; mai 10, 1918-fév. 20, 1921
Ed. Roger Allard
Paris : C. Bloch
AP20 .N7 ARTLCKS
Roger Allard was one of the early critics to support the early Cubist works of Pablo Picasso and Georges Braque, and played a leading role in gathering the Cubists for their first group exhibition at the Salon des Independendants (1911). With Jean Metzinger and Maurice Raynal before World War I, and with Daniel-Henry Kahnweiler shortly after, Allard argued that Cubism was a conceptualized depiction; it was about reality. But in the years after WWI Allard criticized the Cubists for becoming increasingly hermetic, and he began to support artists whose work was more naturalistic. Le Nouveau Spectateur covers these later years, and analyzes cinema, art and Bolshevism, decorative art, and the works of the leading French artists of this stylized naturalist movement, such as André Dunoyer de Segonzac, Guy Pierre Fauconnet, Marcel Gromaire, Jean-Emile Laboureur, and Raoul Dufy, as well as Henri Matisse and Picasso. Allard’s post-War critique of cubist abstraction can be seen to presage the Cubists’ return to naturalism themselves in the 1930s. Each issue is illustrated with reproductions or original woodcuts by these and other artists.
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Les Spectres du Désert
Toyen ; accompagné des textes de Henri Heisler
Paris: Editions Albert Skira, 1939
N6834.5 .C47 H4 1939 ARTLCKS
Toyen was a painter, illustrator, founding member of the Czech Surrealist group, and, as a woman, part of a somewhat underrepresented segment of the larger Surrealist circle. In 1939 Toyen, who had moved through Cubism and abstraction to a form of representation based upon the language of psychoanalysis, was in hiding in Prague, her work having been publicly banned. The images she created for The Spectres of the Desert reflect the horrifying climate in which she was forced to work, her increasingly foreboding totemic images having become isolated in space and trailed by deep shadows. After the war, Toyen moved to Paris and became an active participant in post-war Surrealist production. But it is in this cycle of drawings (and two others—The Rifle-Range and Hide Yourself War!) that she makes her mark as a keen documentarian of the (often irrational) psychological effects of war.
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The Mission Miracle Mile Trilogy
Dana F. Smith
San Francisco : Dana F. Smith, 2009
N7433.4 .S553 M57 2009B F ARTLCKL
Dana Smith is a longtime resident of the Mission District of San Francisco, one of a number of exhibiting artists (loosely referred to as the Mission School) whose aesthetic and working methods are fundamentally informed by the socially, culturally, and economically diverse neighborhood. She works primarily in the photographic medium, distorting her images—often of the Mission itself—through collage or digital manipulation and then collecting the resulting compositions into portfolio or book form. To date her most compelling works have been, arguably, collaborative ones, her images and page layouts serving as hyper-real backdrops for work by partner Mission artists.
The Mission Miracle Mile Trilogy, however, is a solo effort in which Smith’s digitally enhanced photography takes center stage, and as such (in conjunction with her poetry volume Sanctuary in My Skin from 2008) it seems a turning point in the artist’s career. The thirty-two-inch page spreads are printed full-bleed with saturated images of sidewalks, bus transfers, crushed pills, street vendors, tattoos, transients, and schoolchildren. The effect is dramatic, each page turn evoking the atmosphere of the street and the feeling of progressing down it. Across three volumes, the project approaches the monumental.
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Le Coeur à Barbe: Journal Transparent
1er numéro [all published]
Paris, 1922
N6494 .D3 C64
Dada (much like its related movement Surrealism) was punctuated by rivalries and disagreements regarding guiding philosophies and resulting visual styles. As Dada was so mired in language and its manipulation, these rivalries often surfaced in words on the pages of journals, manifestoes, handbills, and posters. A disagreement that developed between former colleagues and movement-guiding figures Francis Picabia and Tristan Tzara came to a head in March of 1922 when Picabia published La Pomme de Pins and claimed, among other things, that “Tristan in his cotton cap thinks he’s still at Zürich” [a reference to the city where Dada was founded; many of the members had since moved on to Paris, Berlin, Cologne, and other locales]. Tzara’s response the following month was the single-issue journal Le Coeur à Barbe, fueled by support from Marcel Duchamp, Paul Éluard, Erik Satie, and others. The attack on Picabia within its pages was indirect and certainly unintelligible to the uninitiated; more than anything, the asserted loyalties of all of the paper’s contributors demonstrated that Picabia was increasingly irrelevant to the world of Dada.
The cover design, attributed to Iliazd (a Georgian writer and artist who lived and worked in Paris), is one of the most recognizable images in Parisian Dada: simple engraved images combined with wood type and juxtaposed into well-planned absurdity. It is a prime example of early 1920s avant-garde page design.
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Walls Paper
Gordon Matta-Clark
[New York?] : Buffalo Press, 1973
N6537 .M43 A4 1973 ARTLCKS
Gordon Matta-Clark (1943-1978) is best known for his artistic practice of carving existing buildings during the period 1972-1978. Using a chain saw, Matta-Clark treated vacant buildings as raw, sculptural material. Influenced by the land art of Robert Smithson, Matta-Clark cut into and through buildings in an urban-based sculptural practice, calling his interventions “Anarchitecture.” He documented the cuttings in films and photographs which he subsequently exhibited in galleries, occasionally with fragments from the buildings themselves. In a series of “cut drawings” (1972–6) he developed his idea of the cut as a technique. Walls Paper functions in a similar vein. Based on colored photographs of peeling wallpaper from abandoned buildings, Matta-Clark cut each page in half horizontally. Maintaining their top/bottom orientation, he staple-bound the split pages in two sections, the top halves composing the top half of the book, and the bottom halves the bottom portion. One can flip through the top half and the bottom half of the book simultaneously, or vary the flipping to create new combinations between the top and bottom portions of the book.
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La photographie n'est pas l'Art ; 12 Photographies
Many Ray ; avant-propos de André Breton
[Paris] G.L.M., 1937 ARTLCKS
TR650 .R35 1937 ARTLCKS
Les Mains Libres: Dessins
Man Ray ; illustrés par les poèmes de Paul Éluard
Paris : Éditions J. Bucher, 1937
NC139 .R38 A4 1937 ARTLCKS
These two works, both from 1937, mark a major turning point in Man Ray’s artistic career, with La Photographie summing up his photographic career and Les Mains Libres charting future creative directions. In 1937 he decided to give up photography altogether [“Photography is not the art”], rented a studio in Antibes, and devoted himself to drawing and painting. La Photographie also serves as a summing up of Man Ray’s earlier Dada tendencies, with its Duchampian puns for the photographs’ titles. Many of the drawings reproduced in Les Mains Libres served as points of departure for related paintings, reliefs, and other works as his focus shifted from photography to other media. His use of hands on the front and rear covers he designed for Les Mains clearly indicates his desire to move away from photography and towards painting.
While both works are significant in Man Ray’s oeuvre and are extensively referenced in the Man Ray literature, neither title could be classified in the grand tradition of livres d’artiste, a format that Man Ray never really embraced. Both are commercially printed, yet at the highest standards. As is typical of his artistic production, which is marked by inference rather than proclamation, they do nod in the direction of the livre d'artiste and its associations with artistic exclusivity and self-reflexivity.
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Apollinaire : filmé en 1914, reproduction des 50 images en reconstruction de la petite machine animée : précédé d'un avertissement [1944 reproduction]
par André Rouveyre
Lanzac par Souillac (Lot) : Le Point, 1944
PQ2601 .P6 Z76 1944 ARTLCKS
Composed of photographs shot in quick succession, this flip book immortalizes an afternoon meeting between the poet-critic Guillaume Apollinaire and the writer-artist André Rouveyre. Apollinaire mingled with the visual artists of Dada and Surrealism in the early part of the century and was highly influential in their practice. The book was produced in a small shop in Paris set up solely for creating this amusement, one of several that existed in a handful of large European cities at the time. The scene itself, of two prominent intellectuals laughing at a technological curiosity, is both amusing in its capture of the playful frivolity of the Parisian Avant-Garde and poignant when juxtaposed with contemporary political realities. The book’s structure (represented in this 1944 reprint) is equally engaging; it serves as a key element in a growing collection of non-traditional-format books at the Art & Architecture Library.
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L'Art décoratif et industriel de l'U.R.S.S.
Moscow : [S.n], 1925
NK976 .M6 A77 1925 ARTLCKS
Published to accompany L’Exposition Internationale des Arts Décoratifs held in Paris in 1925, this in-depth catalog includes examples of Soviet fine and applied arts across a range of disciplines, including ceramics, fashion, theater design, and architecture. Most prominent is the focus placed upon graphic design, evidenced by Aleksandr Rodchenko’s vibrant Constructivist cover design. The Exposition was a key opportunity for the Soviet Union to present its artistic and cultural achievements to the west; that Rodchenko’s work was chosen as a centerpiece suggests the important role bold, avant-garde design played in constructing the nation’s cultural image.
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Documents : doctrines, archéologie, beaux-arts, ethnographie
Paris : G. Bataille, 1929-1934
N2 .D6 V.1-2 ARTLCKS
Consistent with its sweepingly inclusive title, the journal Documents focused upon a host of cultural traditions, spanning the disciplines of poetry, sociology, photography, sculpture, music, archaeology, and painting. It was overseen by the writer-philosopher Georges Bataille, who became more and more its single guiding figure as the issues progressed. Primarily through the pages of this journal, Bataille forcefully challenged the tenets of Surrealism espoused by André Breton in favor of an alternate model, in which humanity could embrace the formless, the sordid, the discarded and disregarded. To this end, he featured articles and images whose subjects ranged from slaughterhouses to nonwestern tribal arts. Every issue also included a set of “dictionary” entries that treated disparate and often mundane objects and concepts with scientific precision. The Art & Architecture Library’s set of Documents is a complete run—all fifteen issues published. It is a fundamental resource in the study of Surrealist and inter-war art, literature, and philosophy.
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[One month]
Seth Siegelaub
New York : The Author, [1969]
N7433.4 .S535 1969 ARTLCKS
Seth Siegelaub was one of the key figures in the development of Conceptual art in the late 1960s, curating shows that often contained no tangible objects (and, in turn, finding a niche in the commercial art market for these same non-objects). The catalog for the exhibition March 1969 (more frequently referred to as One Month) is a document of just such a show. Artists such as Douglas Huebler, Joseph Kosuth, Richard Long, and Lawrence Weiner were each given a page on which to create an artwork--an assignment which resulted in diagrams, tables, simple statements, and photographs. The resulting calendar was itself the show: a conceptual event composed of conceptual elements.
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The red book
Xu Bing
[S.l. : s.n.], 1999
N7349 .X8 R4 1999 ARTLCKS
The Red Book is one component of the contemporary Chinese artist Xu Bing's Tobacco Project, a set of works which explores the historical impact of the importation of tobacco products from the U.S. beginning in the late 19th century, the continuing influence of Chairman Mao in contemporary China, and the manner in which media and commercialization influence the structure of life in China today. Using tins of Zhonghua brand cigarettes, Xu Bing ink stamped quotations from Chairman Mao on the sides of the cigarettes; each tin provides one complete quotation to viewers when it is opened. The Art & Architecture Library acquired two of these tins displaying two different quotations, so that viewers might gain an important sense of the books' serial quality and political scope.
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Salterio Chludov [2006 facsimile edition]
[Madrid] : Archivo Histórico de la Ciudad de Moscú : A.y N. Ediciones, 2006
ND3357 .K48 S25 2006 ARTLCKM
The Chludov Psalter, created ca. 850, is a Byzantine illuminated manuscript that offers a rare glimpse not only of the generalities of ninth century theology, but also of the specifically momentous period that was iconoclasm (726-843). Its most famed marginal illustration depicts Christ’s crucifixion juxtaposed with the whitewashing of his image by an iconoclastic patriarch. Clearly assertive of representation’s importance within the practice of Christianity, the Psalter’s visual rhetoric was forceful enough to inspire vocal support from within the Church, not only contemporaneously but across several centuries. The Library’s 2006 facsimile edition, one of 995 copies, presents the Psalter (now held at Moscow State Historical Museum) in its original scale and coloring. It will play a significant role in the comprehensive study and teaching of Byzantine art at Stanford. Issued in leather binding and wooden box, with accompanying commentary volume.
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This is tomorrow
Whitechapel Art Gallery
London : Whitechapel Art Gallery, 1956
N6488 .G7 L692 1956 ARTLCKS
Most widely known for its inclusion of Richard Hamilton’s poster Just What Is It that Makes Today’s Homes So Different, So Appealing? (1956), the "This is Tomorrow" exhibition at the Whitechapel Art Gallery was a vibrant demonstration of artistic production in Postwar Britain. The Independent Group, an assembly of artists working in multiple media who in various ways incorporated mass media ideas and imagery into their practice, was the most visible set of participants; their work is considered by many to have been a precursor to Pop in both Britain and America. The catalog, printed with a silkscreened cover by Lund Humphries, includes an essay by the critic Lawrence Alloway. It is a rich compendium, at once thoroughly documentary of the exhibition and itself an object of impeccable design.
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Your house is mine
posters, Paul Castrucci ... [et al.] ; writers/illustrators, ACT-UP ... [et al.] ; organized & edited by Andrew Castrucci, Nadia Coën
New York : Bullet, c1989-c1991
HD7287.96 .U62 N5 1989 ARTLCKL
This set of twenty-nine posters encased within lead-clad boards documents the actions of various activist groups in New York’s Lower East Side during the last two decades of the twentieth century. In the environs of the [in]famous Tomkins Square Park, artist-activists (including ACT-UP, Chris Burden, Andrew Castrucci, Allen Ginsberg, and David Wojnarowicz) for various causes (including AIDS care, public housing reform, and gay and lesbian rights) convened at the anarchist haven Bullet Space in order to print an edition of 300 posters. Half of the posters were posted in the neighborhood; the other half were compiled into the Your House is Mine volume. The set includes these posters as well as a newsprint publication that describes the project and its causes. As representative of radical, street-focused artistic sentiment in the 80s and 90s as it is of the leftist political fringe, this collection is a monumental addition to the Art & Architecture Library.
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[Please note that this bibliography is recycled from Alex Ross’s ART236 and ART600 files. Double check call numbers and locations.]
[Note that LCSH in this case is singular (“bibliography”) not plural (“bibliographies”).]
General bibliographies
1. Balay, Robert. Guide to reference books (11th ed., 1996) 2020 p. Z1035.1.G89 1996 Art reference (also Green, Meyer, Music, etc.)
Merz No. 11, p. 92
Browsing in SearchWorks on Library of Congress Subject Headings will lead you to some good textual starting points for studies in design. Note that many subject headings can be subdivided by century and/or geographical location (e.g., Graphic arts--American--Exhibitions; Design--Early works to 1800). Also, if you've found one book that's really helpful, look at what its subject headings are; that may lead you to others like it.
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