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Why do so few women feature in the history of design? Why is it still the case that so few women speak at conferences? How have previously celebrated female designers come to be “forgotten”? Are women judged today solely on the basis of their quality of work? In recent decades, female graphic designers have been working actively and successfully, but the longstanding identification of creative genius with masculinity has--with a few exceptions--prevented women from receiving recognition in the official annals of design history; even today, only a tiny percentage of active female designers enjoy public acclaim. This opulently illustrated volume sets out to repair this omission. Women in Graphic Design 1890–2012 presents the most significant female designers and traces their paths to professionalization and acclaim, through short biographies, essays and conversations with well-known contemporary female designers such as Irma Boom, Paula Scher, Sheila Levrant de Bretteville, Julia Hoffmann, “Swiss Miss” Tina Roth Eisenberg, Katja M. Becker, Anna Berkenbusch, Heike Grebin, Gisela Grosse, Miriam and Nina Lambert, Iris Utikal and Judith Grieshaber. Also included are key writings by contemporary and historical designers such as Paula Scher, Sheila Levrant de Bretteville, Natalia Goncharova, Ellen Lupton, Martha Scotford, Véronique Vienne, Astrid Stavro and Alissa Walker.

This is a new paperback first edition copy, still in the original shrinkwrap, orange spine. Text in German.

Unread book in perfect condition.

Twenty-nine German women recall memories of the Third Reich. What they have to say will surprise Americans, just as they surprised the women themselves. Not since Marcel Ophuls' controversial film The Sorrow and the Pity have we been on such intimate terms with "the enemy."

Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

What were the women of Germany doing during the Third Reich? What were they thinking? And what do they have to say a half century later?In Frauen we hear their voices––most for the first time. Alison Owings interviewed and here records the words of twenty-nine German women who were there: Working for the Resistance. Joining the Nazi Party. Outsmarting the Gestapo. Disliking a Jewish neighbor. Hiding a Jewish friend. Witnessing "Kristallnacht." Witnessing the firebombing of Dresden. Shooting at Allied planes. Welcoming Allied troops. Being a prisoner. And being a guard. The women recall their own and others' enthusiasm, doubt, fear, fury, cowardice, guilt, and anguish.Alison Owings, in her pursuit of such memories, was invited into the homes of these women. Because she is neither Jewish nor German, and because she speaks fluent colloquial German, many of the women she interviewed felt comfortable enough with her to unlock the past. What they have to say will surprise Americans, just as they surprised the women themselves.Not since Marcel Ophuls's controversial film The Sorrow and the Pity have we been on such intimate terms with "the enemy." In this case, the story is that of the women, those who did not make policy but were forced to participate in its effects and to witness its results. What they did and did not do is not just a reflection on them and their country––it also leads us to question what actions we might have taken in their place. The interviews do not allow for easy, smug answers.

Rainer and the WomenWhen the Albertina in Vienna dedicates a retrospective to Arnulf Rainer to mark his 85th birthday in a year’s time, it will no doubt be a brilliant review of a multi-faceted body of work. Galerie Elisabeth & Klaus Thoman in Innsbruck have already organized an exhibition, however, and are publishing a catalogue to accompany it, with an anthology of Rainer’s work, which has so rarely been assembled and available to view thus far. It features overpainting of photographs dating from the 1960s to today with erotic, sometimes even pornographic subjects. In these works, Arnulf Rainer appears to react very emotionally to the women’s bodies; he blots out, enhances, caricatures, accentuates and sometimes damages the surfaces on which he downright engraves his contributions. Sometimes it appears as if he wants to work his way through to the female partners on the other side of the photographic divide. »The process of this confrontation—and this is demonstrated very well by this anthology—takes very different forms of approach. It varies between elegant lineament, a tactile drawing encompassing and surrounding the body, and overpainting, whereby the flowing and spraying of the paint has clear associations with sexual acts, and sometimes the photographic work is entirely drowned in paint,« writes Peter Weiermair in his introductory text. In contrast, Andrea Madesta, the second author of the book, sometimes takes a critical view of the image of the woman as it emerges to us from the work and from the historically conditioned radical confrontation with values and conventions in the work of Arnulf Rainer.

Since the 1970s, Anselm Kiefer has explored existential issues in monumental canvases, woodcuts, photo sequences and lead-bound tomes. He is one of the most important and best-known post-war German painters. This volume explores two recent bodies of work, Hermann's Battle and The Women of the French Revolution.

Since the 1970s, Anselm Kiefer has explored existential issues in monumental canvases, woodcuts, photo sequences and lead-bound tomes. He is one of the most important and best-known post-war German painters. This volume explores two recent bodies of work, Hermann's Battle and The Women of the French Revolution.

Neuware -Peter Lindberghs Erfolgsgeheimnis war nicht nur die meisterhaft beherrschte Schwarzweiß-Technik, sondern vor allem seine Sensibilität im Umgang mit den Modellen. Weit mehr nämlich als Perfektion und Glamour haben ihn immer die Ausstrahlung, Individualität und Persönlichkeit der Frauen vor seiner Kamera interessiert - Qualitäten, die man eher mit der Portrait- als der Modephotographie verbindet. Und so ist auch sein zweites Buch, Images of Women II, das die Jahre 2005-2014 umfasst, eher ein Portraitband geworden - mit klingenden Namen wie Monica Bellucci, Juliette Binoche, Charlotte Rampling, Chiara Mastroianni, Tilda Swinton, seinen Lieblingsmodels und vielen anderen mehr. Jetzt ebenfalls in verkleinertem Format lieferbar. 296 pp. Englisch, Französisch, Deutsch

Die Neugierigen Frauen (Inquisitive Women) Overture Publisher: Joseph Weinberger Category: Band/Orchestra/Ensemble Series: Boosey & Hawkes S...

8vo. Brown cloth gilt. 156pp. Originally published as 'Henrik Ibsens Frauen-Gestalten' in 1892; this is the 1st English translation, and is accompanied by a biographical introduction which situates the author within the cultural context of her time. Salome's book is 'about those prototypes of women struggling to overcome the confines imposed by the social milieu of the day: the heroines of Ibsen's dramas'. With a back cover quotation by Liv Ullmann. Very Good, the boards splayed to only a minor degree, the cloth just a little marked at the spine, and the stock slightly toned, in somewhat rubbed jacket, with a short, closed split at the head edge of the upper flap fold, but sound nonetheless.