Barbara Bloemink

Cooper-Hewitt Museum

Cynthia E. Smith

Foreword by Barbara J. Bloemink. Text by Cynthia E. Smith, Paul R. Polak, Amy B. Smith, Martin J. Fisher, H. Harish Hande, Pieter Hendrikse, Sergio Palleroni, Cheryl Heller, Shelia Kennedy, John Peterson, Modesta Nyirenda-Zabula, Mohammed Bah Abba. Interview with Nicholas Negroponte, Yves Behar.

Design for the Other 90%

Sarah Coffin

Flamboyant. Ornamental. Unconventional. An unprecedented exploration into Rococo style. Rococo: The Continuing Curve, which accompanies a major exhibition opening March 2008 at the Smithsonian's Cooper-Hewitt National Design Museum in New York, is a groundbreaking work exploring the sensuous and organic rococo style and its many revivals (such as art nouveau) from the early eighteenth century up to the present day in multiple fields, including furniture, decorative arts, prints, drawings, and textiles. More than 300 lavish full-colour illustrations and more than a dozen original essays chart the progress of the styles as it radiated from master craftsmen in Paris throughout France, England, Germany, the Netherlands, and other European countries, and later crossed the Atlantic to the United States. AUTHOR: Rococo: The Continuing Curve is organized by Sarah Coffin, head of the product design and decorative arts department. Gail Daidson, head of drawings, prints, and graphic design department. Guest curator Penelope Hunter-Stiebel. Ellen Lupton, is curator of contemporary design. 300 illustrations

The Continuing Curve, 1730-2008

Rococo

David Revere McFadden

Renwick Gallery

Minnesota Museum of Art

Scandinavian Modern Design, 1880-1980

Jan Ernst Adlmann

Sarah Campbell Blaffer Gallery

An Early Encounter Between Taste and Utility : an Exhibition

Vienna Moderne, 1898-1918

Russell Flinchum

Henry Dreyfuss (1904-1972) was one of the pioneers of American industrial design, the man behind the modern look and function of so many household objects used by millions of Americans during the golden age of industrial design from the 1930s to the 1960s. During his 44-year career the versatile Dreyfuss designed or retooled hundreds of products that have become icons of modern design, among them the Princess and Trimline telephones, John Deere tractors, and Hoover vacuum cleaners, which Dreyfuss outfitted with headlights and bumpers in the 1930s to prevent dented and scratched furniture. Additional objects and spaces he designed range from the familiar Honeywell wall-mounted round thermostat to the Big Ben alarm clock, trains such as the classic 20th Century Limited for the New York Central Railroad, and the Situation Room for the Joint Chiefs of Staff during World War II. This first published monograph on Dreyfuss surveys his life and work through 200 archival and new photographs of his designs and a biographical text that paints the picture of an eminently practical yet eccentric innovator. Dreyfuss streamlined even his wardrobe by wearing only brown suits, stayed exclusively at the Plaza Hotel when in New York so clients could always find him, and reportedly missed only five days of work in twenty-two years. This book is published in conjunction with a major exhibition of Dreyfuss's work at the Cooper-Hewitt, National Design Museum, Smithsonian Institution, New York.

The Man in the Brown Suit

Henry Dreyfuss, Industrial Designer

Enkelhetens Triumf

Ellen Lupton

Darra Goldstein

Deborah Menaker Rothschild

Williams College. Museum of Art

Drawing from Merrill C. Berman's spectacular international private collection of 20th-century posters, ads, photomontages, and graphic ephemera, this book showcases more than 200 examples of progressive graphic design from the 1920s and 1930s. The book accompanies a traveling exhibition through 1999. 100 color and 100 b&w illustrations.

Selections from the Merrill C. Berman Collection

Graphic Design in the Mechanical Age

Barbara J. Bloemink

Cooper-Hewitt national museum of design (New York, N.Y.).

Joseph Cunningham

"Design [does not equal] Art presents distinctive functional designs that share the limited palette, materials, and elegant, geometric abstract forms characteristic of Minimalist and post-Minimalist art, including pine desks and porcelain tableware by Judd, stone and steel tables and chairs by Burton, lamps by Tuttle, folding screens by LeWitt, rugs by Rosemarie Trockel and Barbara Bloom, daybeds by Whiteread, and much more." "Filled with hundreds of photographs and drawing on candid conversations with many of the artists, Design [does not equal] Art is an authoritative, essential resource for designers, scholars of Minimalist and post-Minimalist art, collectors, and anyone interested in furniture and design of the late twentieth and early twenty-first centuries."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Functional Objects from Donald Judd to Rachel Whiteread

Design [does Not Equal] Art

Cooper-Hewitt Museum

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