The existence, or lack thereof, of a distinguishable Israeli style remains a central question in the historiography of Israeli art and design. This a examines tensions produced by this debate between the 1940s and 1960s—a formative period of Israeli nation-building—as manifested in the design and pedagogical ideology of handweaver Julia Keiner (1900–1992), who immigrated to Mandatory Palestine from Germany in 1936 and founded the textile department at the New Bezalel School of Art and Craft. I argue that, for Keiner, good design was based on objective, universal principles stemming from the interrelation of process and material, as well as the objective laws of nature. However, her work was ineluctably entangled with this search for a distinctly Hebrew or Israeli style. This essay shows how each of the textile department’s two fields of training—weaving and embroidery—reflected tensions between Keiner’s universalist approach and local efforts to establish such a national style.
{"title":"Julia Keiner’s Universalism and the Question of Israeli style","authors":"Noga Bernstein","doi":"10.1093/jdh/epad058","DOIUrl":"https://doi.org/10.1093/jdh/epad058","url":null,"abstract":"The existence, or lack thereof, of a distinguishable Israeli style remains a central question in the historiography of Israeli art and design. This a examines tensions produced by this debate between the 1940s and 1960s—a formative period of Israeli nation-building—as manifested in the design and pedagogical ideology of handweaver Julia Keiner (1900–1992), who immigrated to Mandatory Palestine from Germany in 1936 and founded the textile department at the New Bezalel School of Art and Craft. I argue that, for Keiner, good design was based on objective, universal principles stemming from the interrelation of process and material, as well as the objective laws of nature. However, her work was ineluctably entangled with this search for a distinctly Hebrew or Israeli style. This essay shows how each of the textile department’s two fields of training—weaving and embroidery—reflected tensions between Keiner’s universalist approach and local efforts to establish such a national style.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":"13 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139953452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Call for Papers for Special Issue of the Journal of Design History","authors":"","doi":"10.1093/jdh/epad053","DOIUrl":"https://doi.org/10.1093/jdh/epad053","url":null,"abstract":"","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":"28 2","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139445131","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ecological by Design: A History from Scandinavia","authors":"K. Savola","doi":"10.1093/jdh/epad056","DOIUrl":"https://doi.org/10.1093/jdh/epad056","url":null,"abstract":"","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":"3 2","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139380396","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article takes Chermayeff & Geismar Associates’ cover designs for a paperback reprint series, “Studies in American Negro Life” (1968–c. 1972), as a starting point for investigating the history of the dot as a tool for social-statistical visualization. It first situates the series—which re-issued texts on Black history, sociology, and literature—within the context of 1960s urban unrest in the United States and shows how the arrangements of dots on each cover relate to contemporaneous experiments in urban cartography. It then traces a longer genealogy, considering the dot in relation to the 19th-century emergence of “society” and “the social” as novel epistemic concepts that came to serve as the primary objects of study for the modern social sciences in the 20th century. I address the integral role of statistics in this history, demonstrating how the logic of aggregation that undergirds statistical thinking has been habitually visualized through the dot. The article concludes by returning to the book series, addressing some of the individual covers and arguing that by evoking the visual vocabulary of the social sciences, the cover designs frame the series as a social scientific project overall.
{"title":"The Dot: Statistics, Society, and Graphic Design, c. 1830–1970","authors":"Hannah Pivo","doi":"10.1093/jdh/epad054","DOIUrl":"https://doi.org/10.1093/jdh/epad054","url":null,"abstract":"This article takes Chermayeff & Geismar Associates’ cover designs for a paperback reprint series, “Studies in American Negro Life” (1968–c. 1972), as a starting point for investigating the history of the dot as a tool for social-statistical visualization. It first situates the series—which re-issued texts on Black history, sociology, and literature—within the context of 1960s urban unrest in the United States and shows how the arrangements of dots on each cover relate to contemporaneous experiments in urban cartography. It then traces a longer genealogy, considering the dot in relation to the 19th-century emergence of “society” and “the social” as novel epistemic concepts that came to serve as the primary objects of study for the modern social sciences in the 20th century. I address the integral role of statistics in this history, demonstrating how the logic of aggregation that undergirds statistical thinking has been habitually visualized through the dot. The article concludes by returning to the book series, addressing some of the individual covers and arguing that by evoking the visual vocabulary of the social sciences, the cover designs frame the series as a social scientific project overall.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":"25 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139374132","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores the expansion of advertisements by Japanese consumer goods brands in Korea during the Japanese colonial period (1910–1945), focusing on the 1920s and early 1930s. It adopts the “colonial modernity” approach to examine Japanese advertising in Korea as an interface between Japanese and Korean non-state actors. It also uses transnational design history to investigate, more empirically, how these actors, such as manufacturers, consumers, advertising agencies, retailers, newspaper companies, practitioners, and the colonial government, contributed to the expansion and change of Japanese advertisements. It studies the cases of three Japanese brands, Morinaga (confectionery), Lion (toothpaste), and Ajinomoto (artificial seasoning), analyzing their advertisements and examining written records from the companies’ archives, their histories, and contemporary publications. By doing so it uncovers the negotiations, challenges, and tensions among the various actors involved in the Japanese brands’ advertising in Korea. The article argues that colonial modernity around Japanese advertising design was formed between or across Korea and Japan, by both Koreans and Japanese, and that through this gradual process of interaction and adaptation Japanese “national brands” transformed themselves into “imperial brands.”
{"title":"Becoming Imperial Brands: Japanese Advertising in Colonial Korea, 1920–1932","authors":"Yongkeun Chun","doi":"10.1093/jdh/epad050","DOIUrl":"https://doi.org/10.1093/jdh/epad050","url":null,"abstract":"This article explores the expansion of advertisements by Japanese consumer goods brands in Korea during the Japanese colonial period (1910–1945), focusing on the 1920s and early 1930s. It adopts the “colonial modernity” approach to examine Japanese advertising in Korea as an interface between Japanese and Korean non-state actors. It also uses transnational design history to investigate, more empirically, how these actors, such as manufacturers, consumers, advertising agencies, retailers, newspaper companies, practitioners, and the colonial government, contributed to the expansion and change of Japanese advertisements. It studies the cases of three Japanese brands, Morinaga (confectionery), Lion (toothpaste), and Ajinomoto (artificial seasoning), analyzing their advertisements and examining written records from the companies’ archives, their histories, and contemporary publications. By doing so it uncovers the negotiations, challenges, and tensions among the various actors involved in the Japanese brands’ advertising in Korea. The article argues that colonial modernity around Japanese advertising design was formed between or across Korea and Japan, by both Koreans and Japanese, and that through this gradual process of interaction and adaptation Japanese “national brands” transformed themselves into “imperial brands.”","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":"74 2 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138566234","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1972, designer Emilio Ambasz (b. 1943) organized the symposium “The Universitas Project” at MoMA in New York City. The issue at stake was how the field of design should tackle the possibly irresolvable societal, political, and ecological problems of post-industrial society. Ambasz proposed a new design approach, which he named design as a mode of thought, with the aim of building a new research-education institution for design that could tackle the wicked problems ahead. In order to articulate his proposal, Ambasz turned to the speculative realm: discursive design critique, metaphysical cybernetics, design fiction, and storytelling. By critically engaging with some of the participants’ conference presentations, the article first discusses how the concept of the environment was reconfigured by the emerging ecological catastrophe. Then the article discusses ideological responses to the Universitas Project to show how the seemingly different ideological positions between French so-called “radical left” and American “right-wing technocrats” were grounded in the same; all-encompassing uncertainty and a strive for open-endedness. Finally, the article analyses Ambasz’s design fiction writing and the speculative nature of the Universitas and thereby identifies the Universitas as a rare moment in the history of design in which design stopped engaging in the status quo and turned towards a speculative future for finding seeds for new beginnings. The article re-visits the Universitas in order to support a presentist argument: that speculation, discursive design critique, and storytelling might not be sufficient methods on their own to tackle the forthcoming accelerating wicked uncertainties that lie ahead.
{"title":"Seeds for New Beginnings? Ecological Uncertainty, Blurry Ideology, and Speculative Design at the Universitas Symposium, 1972","authors":"Ingrid Halland","doi":"10.1093/jdh/epad040","DOIUrl":"https://doi.org/10.1093/jdh/epad040","url":null,"abstract":"In 1972, designer Emilio Ambasz (b. 1943) organized the symposium “The Universitas Project” at MoMA in New York City. The issue at stake was how the field of design should tackle the possibly irresolvable societal, political, and ecological problems of post-industrial society. Ambasz proposed a new design approach, which he named design as a mode of thought, with the aim of building a new research-education institution for design that could tackle the wicked problems ahead. In order to articulate his proposal, Ambasz turned to the speculative realm: discursive design critique, metaphysical cybernetics, design fiction, and storytelling. By critically engaging with some of the participants’ conference presentations, the article first discusses how the concept of the environment was reconfigured by the emerging ecological catastrophe. Then the article discusses ideological responses to the Universitas Project to show how the seemingly different ideological positions between French so-called “radical left” and American “right-wing technocrats” were grounded in the same; all-encompassing uncertainty and a strive for open-endedness. Finally, the article analyses Ambasz’s design fiction writing and the speculative nature of the Universitas and thereby identifies the Universitas as a rare moment in the history of design in which design stopped engaging in the status quo and turned towards a speculative future for finding seeds for new beginnings. The article re-visits the Universitas in order to support a presentist argument: that speculation, discursive design critique, and storytelling might not be sufficient methods on their own to tackle the forthcoming accelerating wicked uncertainties that lie ahead.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":"74 2","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138512326","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Journal Article Taking Travel Home: The Souvenir Culture of British Women Tourists, 1750-1830 Get access Taking Travel Home: The Souvenir Culture of British Women Tourists, 1750-1830 Emma Gleadhill, Manchester University Press, 2022. 312 pp., cloth, £25.00. ISBN: 9781526155276. Freya Gowrley Freya Gowrley University of Bristol, Bristol, UK Email: freya.gowrley@bristol.ac.uk Search for other works by this author on: Oxford Academic Google Scholar Journal of Design History, epad048, https://doi.org/10.1093/jdh/epad048 Published: 13 November 2023
{"title":"Taking Travel Home: The Souvenir Culture of British Women Tourists, 1750-1830","authors":"Freya Gowrley","doi":"10.1093/jdh/epad048","DOIUrl":"https://doi.org/10.1093/jdh/epad048","url":null,"abstract":"Journal Article Taking Travel Home: The Souvenir Culture of British Women Tourists, 1750-1830 Get access Taking Travel Home: The Souvenir Culture of British Women Tourists, 1750-1830 Emma Gleadhill, Manchester University Press, 2022. 312 pp., cloth, £25.00. ISBN: 9781526155276. Freya Gowrley Freya Gowrley University of Bristol, Bristol, UK Email: freya.gowrley@bristol.ac.uk Search for other works by this author on: Oxford Academic Google Scholar Journal of Design History, epad048, https://doi.org/10.1093/jdh/epad048 Published: 13 November 2023","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":"63 9","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136282016","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Toward the end of the 1960s, the car industry in Japan was reaching its maturity, and it seemed increasingly certain that Japan’s future was firmly linked to cars. At the 16th and 17th Tokyo Motor Shows, in 1969 and 1970, an unprecedented number of show cars made by Japanese car manufacturers were introduced. At these shows, Toyota introduced a series of show cars, the EX-I, EX-II, EX-III, and EX-7, as well as the Commuter. The end of the 1960s was not just a turning point for the Japanese car industry but also for Japanese society as a whole. Through rapid (re)modernization, the country had attained economic wealth and power, but the consequences of modernization were becoming increasingly devastating. The anticipated and endorsed future was under revision when the news about pollution and political turmoil reached the nation’s media. Focusing on Toyota Motors, this article examines early Japanese “show cars” by approaching them from the viewpoint of the anticipated but complex and uncertain future at the turn of the 1960s to the 1970s. The purpose of this article is to analyze and summarize the future vision(s) of Toyota by applying a close analysis of the design objects.
{"title":"Envisioning the Future by Design: Toyota’s Show Cars at the 1969 and 1970 Tokyo Motor Shows","authors":"Frans Autio","doi":"10.1093/jdh/epad028","DOIUrl":"https://doi.org/10.1093/jdh/epad028","url":null,"abstract":"Abstract Toward the end of the 1960s, the car industry in Japan was reaching its maturity, and it seemed increasingly certain that Japan’s future was firmly linked to cars. At the 16th and 17th Tokyo Motor Shows, in 1969 and 1970, an unprecedented number of show cars made by Japanese car manufacturers were introduced. At these shows, Toyota introduced a series of show cars, the EX-I, EX-II, EX-III, and EX-7, as well as the Commuter. The end of the 1960s was not just a turning point for the Japanese car industry but also for Japanese society as a whole. Through rapid (re)modernization, the country had attained economic wealth and power, but the consequences of modernization were becoming increasingly devastating. The anticipated and endorsed future was under revision when the news about pollution and political turmoil reached the nation’s media. Focusing on Toyota Motors, this article examines early Japanese “show cars” by approaching them from the viewpoint of the anticipated but complex and uncertain future at the turn of the 1960s to the 1970s. The purpose of this article is to analyze and summarize the future vision(s) of Toyota by applying a close analysis of the design objects.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":"9 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135975791","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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