Books and essays by Future States contributors
The first of three volumes charting the history of the modernist magazine in Britain, North America, and Europe, this collection offers the first comprehensive study of the wide and varied range of ‘little magazines’ which were so instrumental in introducing the new writing and ideas that came to constitute literary and artistic modernism in the UK and Ireland. In thirty-seven chapters covering over eighty magazines contributors investigate the inner dynamics and economic and intellectual conditions that governed the life of these publications. We learn of the role of editors and sponsors, the relation of the arts to contemporary philosophy and politics, the effects of war and economic depression and of the survival in hard times of radical ideas and a belief in innovation. The chapters include studies of the New Age, Blast, the Egoist and the Criterion, New Writing, New Verse , and Scrutiny as well as lesser known magazines such as the Evergreen, Coterie, the Bermondsey Book, the Mask, Welsh Review, the Modern Scot, and the Bell.
The second volume in this landmark series contains forty-four original essays on the role of periodicals in the United States and Canada, with discussion of more than 120 magazines. The chapters are organised into thirteen sections, each with a contextual introduction by the editors; they consider key themes in the landscape of North American modernism such as: ‘free verse’; drama and criticism; regionalism; exiles in Europe; the Harlem Renaissance; and radical politics. Critical essays explore familiar ‘little magazines’ such as Poetry, Others, transition, and The Little Review, as well as less well-known magazines such as Rogue, Palms, Harlem, and The Modern Quarterly. Of particular interest is the placing of ‘little magazines’ alongside pulps, slicks, and middlebrow magazines, demonstrating the rich and varied periodical field that constituted modernism in the United States and Canada.
The third of the three-volume series contains fifty-six original essays on the role of ‘little magazines’ and independent periodicals in Europe in the period 1880-1940. The book demonstrates how these publications were instrumental in founding and advancing developments in European modernism and the avant-garde. The chapters are organised into six main sections with contextual introductions specific to national, regional histories, and magazine cultures. Individual essays bring focussed attention to a range of celebrated and less well-known magazines, including Le Chat Noir, La Revue blanche, La Nouvelle Revue Française, La Révolution Surréaliste, Documents, De Stijl, Ultra, Der Blaue Reiter, Der Sturm, Der Dada, Ver Sacrum, Cabaret Voltaire, 391, Ma, Contemporanul, Formisci, Zdroj, and Lef.
History of Illustration covers image-making and print history from around the world, spanning from the ancient to the modern. Hundreds of color images show illustrations within their social, cultural, and technical context, while they are ordered from the past to the present. Readers will be able to analyze images for their displayed techniques, cultural standards, and ideas to appreciate the art form. This essential guide is the first history of illustration written by an international team of illustration historians, practitioners, and educators.
German illustrated magazines published an almost endless number of pictures in the first two decades of the 20th century. For Bilder als Botschaft, more than 30,000 of those pictures from three of the most widespread magazines (Berliner Illustrirte Zeitung, Die Woche, Illustrierter Beobachter) were systematically analysed to establish central content-related and formal structures. Political matters were always relevant – even more than today. But the crucial changes occurred between cultural-educational and entertaining elements. The tendency towards more entertainment through the decades is obvious – and was cultivated intentionally and strenuously during the time of the NS-regime.
The book’s elaborate analysis of picture content is complemented by extensive chapters on the diversity of occasions for press coverage, the history of the magazines, information about the most prominent illustrators and photographers, as well as overviews of the journalistic-political context. Text in German.
Louise Edensor, “Une profession de foi pour toujours: Katherine Mansfield and Beatrice Hastings in France,” in Claire Davison and Gerri Kimber, eds., Katherine Mansfield’s French Lives, Brill / Ropodi, 2016
Katherine Mansfield’s French Lives explores how both the
literary, cultural, editorial and biographical influence of French arts
and philosophy, and life as an émigré in France shaped Mansfield’s
evolution as a key modernist writer, while setting her within the
geographies and cultural dynamics of Anglo-French modernism.
Mansfield’s many stays in France were decisive in intellectual, personal and psychological terms: discovering ‘Murry’s Paris’ and the Left Bank; escaping to the War Zone to join Francis Carco; living as a civilian in wartime during the bombardments of Paris; travelling and finding lodgings as a single woman in war-ravaged towns; the experience of bereavement and debilitating ill-health abroad; and the joys and pitfalls for an outsider of a foreign land and idiom.
The print culture of the early twentieth century has become a major area of interest in contemporary Modernist Studies. Modernism’s Print Cultures surveys the explosion of scholarship in this field and provides an incisive, well-informed guide for students and scholars alike. Surveying the key critical work of recent decades, the book explores such topics as: periodical publishing – from ‘little magazines’ such as Rhythm to glossy publications such as Vanity Fair; the material aspects of early twentieth-century publishing – small presses, typography, illustration and book design; the circulation of modernist print artefacts through the book trade, libraries, book clubs and cafes; edu-cational and political print initiatives. Including accounts of archival material available online, targeted lists of key further reading, and a survey of new trends in the field, this is an essential guide to an important area in the study of modernist literature.
A century ago, the golden age of magazine publishing coincided with the beginning of a golden age of travel. Images of speed and flight dominated the pages of the new mass-market periodicals. Magazines, Travel, and Middlebrow Culture centres on Canada, where commercial magazines began to flourish in the 1920s alongside an expanding network of luxury railway hotels and transatlantic liner routes. The leading monthlies – among them Mayfair, Chatelaine, and La Revue Moderne – presented travel as both a mode of self-improvement and a way of negotiating national identity. This book announces a new cross-cultural approach to periodical studies, reading both French- and English-language magazines in relation to an emerging middlebrow culture. Mainstream magazines, Hammill and Smith argue, forged a connection between upward mobility and geographical mobility. For readers who could not afford a trip to Paris or Bermuda, these magazines offered proxy access to the glamour and prestige associated with travel.
Faye Hammill, “The New Yorker, the middlebrow, and the periodical marketplace in 1925,” in Fiona Green, ed., Writing for The New Yorker: Critical Essays on an American Periodical, Edinburgh University Press, 2015
This collection of commissioned critical essays reads across and between New Yorker departments, from sports writing to short stories, cartoons to reporters at large, poetry to annals of business. Attending to the relations between these kinds of writing and the magazine’s visual and material constituents, the collection examines the distinctive ways in which imaginative writing has inhabited the ‘prime real estate’ of this enormously influential periodical. Bringing together a range of sharply angled analyses of particular authors, styles, columns, and pages, this book offers multiple perspectives on American writing and periodical culture at specific moments in twentieth-century history.
This important new collection examines the relationship between the Chinese women’s periodical press and global modernity in the late nineteenth and twentieth centuries. The essays probe the ramifications for women of two monumental developments in this period: the intensification of China’s encounters with foreign powers and a media transformation comparable in its impact to the current internet age. The book offers a distinctive methodology for studying the periodical press, supported by the development of a bilingual database of early Chinese periodicals. Essays are punctuated by transdisciplinary reflections from scholars working on periodicals outside of the Chinese context, encouraging readers to rethink common stereotypes about lived womanhood in modern China, and to reconsider the nature of Chinese modernity in a global context.
Becoming the Second City examines the development of Chicago’s press and analyses coverage of key events in its history to call attention to the media’s impact in shaping the city’s cultural and historical landscape. In concise, extensively documented prose, Richard Junger illustrates how nineteenth-century newspapers acted as accelerants that boosted Chicago’s growth in its early history by continually making and remaking the city’s image for the public. Junger argues that the press was directly involved in Chicago’s race to become the nation’s most populous city, a feat it briefly accomplished during the mid-1890s before the incorporation of Greater New York City irrevocably recast Chicago as the “Second City”. The book is populated with a cast of influential figures in the history of Chicago and in the development of journalism. Junger draws on newspapers, personal papers, and other primary sources to piece together a lively portrait of the evolving character of Chicago in the nineteenth century. Highlighting the newspaper industry’s involvement in the business and social life of Chicago, Junger casts newspaper editors and reporters as critical intermediaries between the elite and the larger public, and revisits key events and issues including the Haymarket Square bombing, the 1871 fire, the Pullman Strike, and the World’s Columbian Exposition in 1893.
In the early twentieth century, new technologies of media, communication, and transportation opened up a world of possibilities and led to transformations of the public sphere. Amongst the hundreds of new periodicals flooding the Australian marketplace, quality culture and leisure magazines beckoned to readers with the glamour of modernity and exotic images of pre-modern paradise. Through instructive and entertaining content, these glossy modern magazines widened the horizons of non-metropolitan audiences and connected readers in rapidly urbanising cities such as Sydney and Melbourne with the latest fashions, current affairs, and cultural offerings of London, Paris, New York, Los Angeles, and beyond. Designed by fashionable commercial artists, travel advertisements for shipping companies such as Burns Philp, Cunard, Matson, and P&O lined their pages. The golden age of the culture and leisure magazine coincided with the golden age of sea travel, middlebrow aspiration, and modernity.
Focusing on the Australian interwar periodicals The Home, The BP Magazine, and MAN, this book explores the contraction of vast geographical spaces and the construction of cultural hierarchies alongside the advent of new media. This book investigates the role tastemaking culture and leisure magazines played in transporting the public imagination outward beyond the shores of Australia and upward or downward on the rapidly changing scales of cultural value. By delivering a potent mix of informative instruction, entertainment, worldliness, and escape, these magazines constructed distinct geographical imaginaries connected to notions of glamour, sophistication, and aspiration. They guided their readers through the currents of international modernity and helped them find their place in the modern world.
This open access book discusses the relationship between periodicals, tourism, and nation-building in Mexico. It enquires into how magazines, a staple form of the promotional apparatus of tourism, articulated an imaginative geography of Mexico at a time when that industry became a critical means of economic recovery and political stability after the Revolution. Notwithstanding their popularity, reach, and affiliations to commerce and state, magazines have not received sustained critical attention. This book aims to redress this, arguing that illustrated magazines like Mexican Folkways (1925–1937) and Mexico This Month (1955–1971) offer rich materials, not only as tools for interrogating the ramifications of tourism on the country’s reconstruction, but as autonomous objects of study that form a vital part of Mexico’s visual culture.
Photography has been a key means by which Australians have sought to define their relationships with Japan. From the fascination with all things Japanese in the late nineteenth century, through the era of ‘White Australia’, the bitter enmity of the Pacific War, the path to reconciliation in the post-war period and the culturally complicated bilateralism of today, Australians have used their cameras to express a divided sense of conflict and kinship. The remarkable photographs collected here shed new light on the history of Australia’s engagement with its regional partner. Pacific Exposures argues that photographs tell a story of cultural production, response and reaction—not only about how Australians have pictured Japan, but how they see their own place in the Asia-Pacific.
Photography, Truth and Reconciliation charts the connections between photography and a crucial issue in contemporary social history. The book examines the prevalence of photography in cultural responses to processes of truth and reconciliation, and argues that photographs are a valuable means through which stories can be retold and historiography can be rethought.
Photography is a ubiquitous part of the public sphere. Yet we rarely stop to think about the important role that photography plays in helping to define what and who constitute the public. Photography and Its Publics brings together leading experts and emerging thinkers to consider the special role of photography in shaping how the public is addressed, seen and represented. This book responds to a growing body of recent scholarship and flourishing interest in photography’s connections to the law, society, culture, politics, social change, the media and visual ethics.
Myths of a distinctly Australian light have shaped national identity and belonging, with particular significance for the country’s photographic works. In this lucid, beautifully illustrated study, Melissa Miles reveals how myths of light and place have been reinvented, renewed, and challenged. She explores how approaches to darkness and light have been affected by debates about colonisation, the landscape, urban development, and patterns of global and environmental change. Addressing topics from indigenous histories to the iconography of national discourse, and from evolving photographic techniques to light therapy, The Language of Light and Dark offers a new approach to the visual history of a nation and a continent.
Maria Antonella Pelizzari, “The Charade of Bruno Munari’s Foto-reportage (1944),” in Pierpaolo Antonello, Matilde Nardelli and Margherita Zanoletti, eds., Bruno Munari. The Lightness of Art (Oxford: Peter Lang, 2017): 133-191
Bruno Munari was one of the most important and eclectic twentieth-century European artists. Dubbed the «Leonardo and Peter Pan» of contemporary art, he pioneered what would later be labelled kinetic art, playing a key role in the constitution and definition of the aesthetic programmes of groups such as Movimento Arte Concreta and Programmed Art. He became an internationally recognized name in the field of industrial design, winning the prestigious «Compasso d’Oro» prize four times, while also being a prominent figure in Italian graphic design, working for magazines such as Tempo and Domus, as well as renowned publishing companies such as Einaudi and Bompiani. He left an indelible mark as an art pedagogue and popularizer with his famous 1970s artistic laboratories for children and was the author of numerous books, ranging from essays on art and design to experimental books.
Capturing a resurgent interest in Munari at the international level, the exceptional array of critical voices in this volume constitutes an academic study of Munari of a depth and range that is unprecedented in any language, offering a unique analysis of Munari’s seven-decade-long career. Through original archival research, and illuminating and generative comparisons with other artists and movements both within and outside Italy, the essays gathered here offer novel readings of more familiar aspects of Munari’s career while also addressing those aspects that have received scant or no attention to date.
In this beautifully illustrated book, Maria Antonella Pelizzari traces the history of photography in Italy from its beginnings to the present while also guiding us through the country’s history.
Pelizarri considers the role of photography in the formation of Italian national identity during times of political struggle, such as the lead up to unification in 1860, and much later in the nationalist wars of Mussolini’s regime. While many Italian and foreign photographers – such as Fratelli Alinari or Carlo Ponti, John Ruskin or Kit Talbot – focused on architectural masterpieces, others documented the changing times and political heroes. Pelizzari also considers the visual traditions of photography through the decades – from the collages of Bruno Munari to the neo-realist work of photographers such as Franco Pinna, the bold stylized compositions of Mario Giacomelli or controversial images created by Oliviero Toscani for Benetton advertising in the 1980s. In doing so, she also examines photography’s institutional and commercial status as an independent art form in Italian culture.
An unprecedented sartorial revolution occurred at the beginning of the twentieth century when the tight-laced silhouettes of Victorian women gave way to the figure of the flapper. Modernism, Fashion and Interwar Women Writers demonstrates how five female novelists of the interwar period engaged with an emerging fashion discourse that concealed capitalist modernity’s economic reliance on mass-manufactured, uniform-looking productions by ostensibly celebrating originality and difference. For Edith Wharton, Jean Rhys, Rosamond Lehmann, Elizabeth Bowen and Virginia Woolf fashion was never just the provider of guidelines on what to wear. Rather, it was an important concern, offering them opportunities to express their opinions about identity politics, about contemporary gender dynamics and about changing conceptions of authorship and literary productivity. By examining their published work and unpublished correspondence, this book investigates how the chosen authors used fashion terminology to discuss the possibilities available to women to express difference and individuality in a world that actually favoured standardised products and collective formations.
Between 1929 and 1943, an outstanding new lifestyle magazine called Die Neue Linie (“The New Line”) was published by Beyer Press in Leipzig. No other publication in this period was so consistent in bringing avant-garde typographic ideas to a mass audience; leading graphic designers from the Bauhaus, including László Moholy-Nagy, Umbo and Herbert Bayer, steered the look of the magazine, whose contents combined fashion, literature, graphic design and art. Despite media conformity during the Nazi era, strangely Die Neue Linie was largely spared the regime’s sanctions. The Bauhaus at the Newsstand illustrates the turbulent times in which the magazine appeared, reproducing spreads, statements, articles, and analyses of the magazine’s delicate balancing act between modernism and conformity. The Bauhaus at the Newsstand is a bilingual (German, English) edition.
In the preannouncements of the “Bauhaus books” of the 1920s, there was repeated mention of a “picture magazine of the time”. It was planned as volume 15 of the legendary series. László Moholy-Nagy envisioned a critical survey of contemporary magazine production. In it, the typographer Joost Schmidt was to make suggestions for a better, “correct” magazine. However, the idea was never realized, and so this book approaches the question of how the planned “Bauhaus book” could have argued. Based on Moholy-Nagy’s thoughts on new typography and especially on his well-known essay on the “Guidelines for a Synthetic Magazine” (1925), the unfinished project is discussed against the background of the iconic turn of that era and illustrated with numerous pictorial examples. Bildermagazin der Zeit is a bilingual (German, English) edition.
Between the two world wars, the illustrated press gained major relevance thanks to a change in the media landscape which in review is often described as the ‘iconic turn’. Indicating the increase of visual media available for the Weimar public, silent movies and magazines reaching large audiences were its driving forces. This catalogue on occasion of an exhibition in Munich and Erfurt presents 100 cases of outstanding magazines which raised awareness not only in their period but still qualify as highlights of the genre. Included as striking examples, they convey the variety of the German magazine market in the 1920s and 1930s, and serve as markers for the major discussion arenas that were shaped by the visual coverage of the illustrated press.
With the functional graphic design of the New Typography, a creative movement that rejected classic layout principles prevailed in the 1920s. The aim was to optimize printed matter in terms of legibility, standardize fonts and page formats, and generally orient it to the German Industrial Standard (DIN). In Germany, New Typography produced an impressive series of important graphic designers of the 20th century, including Willi Baumeister and Kurt Schwitters, Max Burchartz and Walter Dexel. The book brings together selected key works, but also freshly discovered work samples of well-known and less well-known functional designers. New Typographies was published to accompany the exhibition “The Bauhaus Advertises. New Typography and Functional Graphic Design in the Weimar Republic”, at the KunstForum Gotha, March-May 2019.
The new photo-illustrated magazines of the 1920s traded in images of an ideal modernity, promising motorised leisure, scientific progress, and social and sexual emancipation. Modernist Magazines and the Social Ideal is a pioneering history of these periodicals, and offers an essential primer to interwar magazine culture. The book focuses on two of the leading European titles: the German monthly UHU, and the French news weekly VU, taken as representative of the broad class of popular titles launched in the 1920s. Modernist Magazines explores, in particular, the use of regularity and repetition in magazine photography, reading these repetitious images as symbolic of ideals of social order in the aftermath of the First World War.
This study provides the first substantial history and analysis of the To-Day and To-Morrow series of 110 books, published by Kegan Paul Trench and Trübner from 1923 to 1931, in which writers chose a topic, described its present, and predicted its future. Contributors included J. B. S. Haldane, Bertrand Russell, Robert Graves, Vera Brittain, Sylvia Pankhurst, André Maurois, and many others. The argument focuses on science and technology, not only as the subject of many of the volumes, but also as method applied to other disciplines; and as a source of metaphors for representing other domains. It also includes chapters on war, technology, cultural studies, and the arts. The book aims to reinstate the series as a vital contribution to the writing of modernity, and to reappraise modernism’s relation to the future, establishing a body of progressive writing which moves beyond the discourses of post-Darwinian degeneration and post-war disenchantment.
France experienced a golden age of photobook production from the late 1920s through the 1950s. Avant-garde experiments in photography, text, design, and printing, within the context of a growing modernist publishing scene, contributed to an outpouring of brilliantly designed books. Making Strange offers a detailed examination of photobook innovation in France, exploring seminal publications by Brassaï, Henri Cartier-Bresson, Robert Frank, Pierre Jahan, William Klein, and Germaine Krull. Kim Sichel argues that these books both held a mirror to their time and created an unprecedented modernist visual language. Sichel provides an engaging analysis through the lens of materiality, emphasizing the photobook as an object with which the viewer interacts haptically as well as visually. Rich in historical context and beautifully illustrated, Making Strange reasserts the role of French photobooks in the history of modern art.
This collection highlights the contributions of women writers, editors and critics to periodical culture in the late nineteenth and early twentieth centuries. It explores women’s role in shaping conversations about modernism and modernity across varied aesthetic and ideological registers, and foregrounds how such participation was shaped by a wide range of periodical genres.
The essays focus on well-known publications and introduce those as yet obscure and understudied — including middlebrow and popular magazines, movement-based, radical papers, avant-garde titles and classic Little Magazines. Examining neglected figures and shining new light on familiar ones, the collection enriches our understanding of the role women played in the print culture of this transformative period.
This innovative book examines the development of modernist writing in four European cities: London, Paris, Berlin and Vienna. Focusing on how literary outsiders represented various spaces in these cities, it draws upon contemporary theories of affect and literary geography. Particular attention is given to the transnational qualities of modernist writing by examining writers whose view of the cities considered is that of migrants, exiles or strangers, including Mulk Raj Anand, Blaise Cendrars, Bryher, Joseph Conrad, T. S. Eliot, Christopher Isherwood, Hope Mirrlees, Noami Mitchison, Jean Rhys, Sam Selvon and Stephen Spender.