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Perception and pedagogy: Design, ad...

Columbia University.

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Perception and pedagogy: Design, advertising and education in Chicago, c. 1935--1955.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Perception and pedagogy: Design, advertising and education in Chicago, c. 1935--1955./
作者:	Allison, Lara N.
面頁冊數:	453 p.
附註:	Adviser: Hilary Ballon.
Contained By:	Dissertation Abstracts International70-02A.
標題:	Design and Decorative Arts. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoeng/servlet/advanced?query=3348374
ISBN:	9781109040166

Perception and pedagogy: Design, advertising and education in Chicago, c. 1935--1955.
Allison, Lara N.

Perception and pedagogy: Design, advertising and education in Chicago, c. 1935--1955. - 453 p.

Adviser: Hilary Ballon.

Thesis (Ph.D.)--Columbia University, 2009.

1 Katharine Kuh, Advance Guard of Advertising Artists (Chicago, 1941).

ISBN: 9781109040166Subjects--Topical Terms:

1020245
Design and Decorative Arts.

Perception and pedagogy: Design, advertising and education in Chicago, c. 1935--1955.
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245 1 0 $a Perception and pedagogy: Design, advertising and education in Chicago, c. 1935--1955.
300 $a 453 p.
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500 $a Source: Dissertation Abstracts International, Volume: 70-02, Section: A, page: 0389.
502 $a Thesis (Ph.D.)--Columbia University, 2009.
520 $a 1 Katharine Kuh, Advance Guard of Advertising Artists (Chicago, 1941).
520 $a This dissertation charts the institutional absorption of the Bauhaus, and European avant-garde and abstract art and design more generally, in Chicago between roughly 1937 and 1955. The New Bauhaus (subsequently called the School of Design and then the Institute of Design) with Laszlo Moholy-Nagy as director (1937-1946) served as an important influence in Chicago in the field of museum education, display, and corporate design and advertising. In Chicago, Moholy-Nagy, and other figures associated with the School of Design, came into contact with the gallery director and modern art curator, Katharine Kuh, and the founder and president of the packaging company, Container Corporation of America, Walter Paepcke. Kuh and Paepcke enabled the spread of Bauhaus theory, post-cubist abstraction, and the perceptual ideas embedded in the "new vision" into museum display, advertising, packaging, and corporate design.
520 $a A major focus of the dissertation is on advertising, which Moholy-Nagy, Kuh, and Paepcke situated as a public form in which social and political ideas, perceptual innovations, and avant-garde culture could be articulated. Advertising, by connecting with a mass audience, offered a chance at renewed civic engagement and relationship to progressive culture. Intervening in this notion of "advance guard" advertising, however, was the rise of advertising psychology which implied a completely different notion of the subject---one not based on the potential at renewal of engaged citizenship and liberated perceptual opportunity, but instead on manipulation through design and typographic elements.
520 $a Each chapter focuses on one key figure in the spread, absorption and institutionalization of avant-garde culture, Bauhaus design, and the "new vision" into advertising, packaging, display, and education. The first chapter focuses on Moholy-Nagy and the School (later Institute) of Design in Chicago. It will broadly consider Moholy-Nagy's relationship to avant-garde culture in Europe, his commercial work, and his career as an educator at the Bauhaus, as well as the conditions surrounding his attempts to re-create the Bauhaus in Chicago between 1937 and 1946. This chapter will also analyze Moholy-Nagy's efforts to expand the scope of design education against an increasing focus on "professional" skills. Moholy-Nagy's efforts in this field led to the School of Design's increasing focus on the humanities, transforming the school's earlier focus on technology and science, into an engagement with liberal studies as well.
520 $a The second chapter considers Kuh, her gallery work, and her later work as curator of the Gallery of Art Interpretation at the Art Institute and as the first curator of Modern Painting and Sculpture at the museum. This chapter analyzes an exhibition that Kuh developed with Moholy-Nagy and Gyorgy Kepes in 1941, the "Advance Guard of Advertising Artists," in which avant-garde culture in America was argued to progress though an engagement with commerce. It was Container Corporation's advertising campaigns which had already employed photomontage, collage, and "new vision" photography that propelled Kuh into the belief that an American avant-garde culture could only emerge through an engagement with the country's "vast industrial and commercial development."1 This chapter will also consider Kuh's later exhibition practices and museum education efforts that drew on her personal and professional interactions with Moholy-Nagy, Kepes, and other figures at the School of Design.
520 $a The third chapter deals with Walter Paepcke and his box manufacturing and packaging organization, Container Corporation of America. Paepcke came into contact with modern European art and design through his exposure to the European publications Graphis and Gebrauchsgraphik , through his company's art director, Egbert Jacobson, and later through his close relationships with Moholy-Nagy and Herbert Bayer. Paepcke was actively engaged with the School of Design, supporting it financially and continually defending it against criticisms coming from other members within Chicago's business community. The main thrust of the chapter on Paepcke, however, focuses on the ways that modern art and design, avant-garde photography and graphics transformed Container Corporation from a small box manufacturing company into a complex structure in which design played a central role in its operations. This chapter will also consider Container Corporation's advertising series---the "Early Series," "United Nations," "United States," and the "Great Ideas of the Western World."
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