#Verlage on Stage

[hoerbahnblog]

"Das Gedicht" – Uwe Kullnick spricht mit dem Verleger Anton G. Leitner, Jan-Eike Hornauer und Uwe-Michael Gutzschhahn über den Verlag

Jan Eike Hornauer, Uwe Michael Gutzschhahn, Uwe Kullnick, Anton G. Leitner (v.L .) “Das Gedicht” – Uwe Kullnick spricht mit dem Verleger Anton G. Leitner, Jan-Eike Hornauer und Uwe-Michael Gutzschhahn über ihren Verlag  (Hördauer ca. 60 min) https://literaturradiohoerbahn.com/wp-content/uploads/2024/10/VoS-Das-Gedicht-Leitner-upload.mp3 Anton G. Leitner gründete 1992 seinen Lyrikverlag. Die…

[fitzrove]

The insane story of how Pia was cast as Elisabeth

"Still completely overwhelmed by the offer to play this role - not just any role, but the main role in a world premiere - I began to study not only the book of the play, but also the story of Elisabeth of Austria. [...] What is the historical truth, which real figures are behind the roles in the musical? All of these questions suddenly became relevant to me, and I found all of the answers to them in Hamann's books. [...] While studying the countless photos of Elisabeth in the picture section of the book, one particular image suddenly took my breath away. When I looked at the photo of the empress's death mask, I thought I recognized the delicate facial features of my colleague Pia Douwes.

What happened next is something Pia still likes to tell as an anecdote. After a performance of Les Misérables, I showed up in a coffee house with that book in my hand, put it on the table in front of Pia, turned to the page with the picture of the death mask and said: "Pia, look, that's definitely you!" She replied, somewhat piqued: "Hello, Uwe, that's a death mask and I'm sitting here and I'm still alive. Thank God!" Despite my uncharming comparison, she couldn't deny a certain resemblance. Apparently, that evening I spent a long time chatting to her about all the details I already knew - the musical and the historical details about the empress. A plan had been maturing in my mind for a long time: I wanted to stand on stage alongside Pia in the role of the empress, or at least I could imagine it very well. In Vienna, the castings for the title role had long been underway and were almost complete, but Pia nevertheless began to put out feelers through contacts in the scene. Names like Dagmar Hellberg and Daniela Ziegler had already been mentioned, and the division of the role within the play between a young and an old empress was also being considered. [...]

As chance or fate would have it, director Kupfer had to go to the Amsterdam Opera for work, and so he and his production team, including Viktor Gernot, who had flown in especially for the role of the already-cast Emperor Franz Joseph, took the opportunity to conduct a casting for the title role on site. After Pia had sung "Wie du" and "Ich gehör nur mir", everything was clear for Sylvester Levay, who was also present at this important decision. The subsequent duet with Gernot was just a formality."

From Uwe Kröger's autobiography "Ich bin, was ich bin. Mein Leben". Amalthea Verlag 2014.

[germanpostwarmodern]

On the left bank of the Sava River and opposite the old town lies Novi Beograd, New Belgrade, the Serbian capital’s fastest growing municipality. It is a planned city and today’s inhabitants and businesses benefit from its rather modern infrastructure, a distinctive advantage over the old town. Novi Beograd’s construction began in 1948 but especially during 1960s and 1970s the municipality grew and numerous housing blocks and public buildings were erected. Because of these Novi Beograd in recent years has become something of a brutalist icon that is roaming social media platforms but is simultaneously subject to great change due to permanent new construction.

But while most photographers focus on the undeniable appeal of the architecture, Norwegian Marius Svaleng Andresen takes a closer look at the intersection of architecture and everyday life and the architecture in relation to the individual. In his book „Life in the New“, published last years by Kerber Verlag, Andresen explores the actual life going on inside, outside and in between the architecture: in view of the little stories of life the monumental architecture recedes into the background and becomes the stage of day-to-day life. People peeking out from behind the curtain, old men playing cards, a woman cleaning her windows and children running around, all of them populate Andresen’s photographs and bring up the question of what it is actually like to live in Novi Beograd. Apparently the photographer, who is also a journalist, asked himself this question too and met with 12 individuals who tell their own story of living in New Belgrade: there is Mirjana, the widow of a former military airport commander, who has been living in Novi Beograd for more than 50 years and at first didn’t really like it. And there is also Filip, the dog loving graphic designer and rapper, who philosophizes about the stepped volumes of the blocks and how they symbolize his daily struggle to reach the top.

In tandem with his sensible photographs Andersen provides an unusual, more humane portrait of Novi Beograd that is both visually stunning and emotionally touching. A warmly recommended read!

[fashionbooksmilano]

Sworn Virgins

Pepa Hristova

Text : Sophia Greiff, Danail Yankov

Kehrer Verlag, Heidelberg 2013, 228 pages, 71 col. 63 b&w ill., 22x26,5cm, ISBN 978-3-86828-347-1

euro 92,00

email if you want to buy booksinprogressmilano@yahoo.it

Exhibition Stadtmuseum München, FotoDoks 2013 15.10.2013 – 19.10.2013

In her debut 'Sworm Virgins', Pepa Hristova deals with the last man-women of Europe. These so-called sworm virgins are respected, acquire the status of men and they fill their role so perfectly that they are hardly recognizable as women outside the family

"Pepa Hristova, born 25 April 1977, is a Bulgarian photographer, based in Hamburg and Berlin. She has a degree in communication design with a specialization in photography from the Hamburg University of Applied Sciences and became a member of the Ostkreuz photographic agency in Berlin in 2006. Hristova was born in Sevlievo, Bulgaria. Hristova's photographic work is driven by her fascination with the fractured beauty of the east and her interest in social phenomena and archaic traditions, leading to an examination of the unknown, changing side of Europe. She focuses on the alienation of Muslims in orthodox Bulgaria, documents a centuries-old custom in North Albania with ‘Sworn Virgins’ or looks behind the closed doors of Bulgarian children's homes. Hristova approaches her subjects with intuition and emotion and experiments with different genres and the ambiguity of photographic imagery. Snapshots combine with staged images and precise observations of situations, opening up an associative space, in which there is still scope for individual interpretations and points of contact." 13/01/24

[girlflapper]

Anita Dorris

German postcard by Ross Verlag, no. 4194/1, 1929-1930. Photo: Atelier Ernst Sandau, Berlin.

Beautiful German leading lady Anita Dorris (1903 - 1993) started as a stage actress in 1921, after which some 15 silent films followed. Dorris was beloved in the late 1920s and smoothly made the passage to sound. In 1930, however, she married Austrian film director E. W. Emo and withdrew from the cinema. Her daughter, Maria Emo, would also become a well-known stage and film actress.

[thejazzera]

Anita Dorris, 1929

German postcard by Ross Verlag, no. 4821/1, 1929-1930. Photo: Mario von Bucovich (Atelier K. Schenker).

Beautiful German leading lady Anita Dorris (1903-1993) started as a stage actress in 1921, after which some 15 silent films followed. Dorris was beloved in the late 1920s and smoothly made the passage to sound. In 1930, however, she married film director E. W. Emo and withdrew from the cinema. Her daughter, Maria Emo, would also become a well-known stage and film actress.

[harvardfineartslib]

Summer fun is over, though here in much of the United States we're experiencing the heatwaves, so it's a perfect day for the beach day! But technically it is Fall and it's the time for “works & days.” But don’t be sad! Take Sigmar Polke (1941 –2010) as an inspiration to get through this semester with a sense of humor, curiosity, and imagination with floods of color and experiments, experiments, and more experiments. Good luck this semester, and remember, we’re always here for your reference and research questions!

Image 1: Photo of two women floating in a blue pool with a small insert of the artist at work outdoor on the lower right corner. P. 82-83

Image 2: Zirkusfiguren/Circus Figures, 2005

Image 3: Book cover, “Bühnentrick. Die zersägte Frau/Stage Trick, The Sawed Woman, 2005

Sigmar Polke : works & days Curiger, Bice, 1948- Cologne : DuMont Verlag ; Zurich : Kunsthaus Zürich, c2005. English Catalog of exhibition held Apr. 8-June 19, 2005, Kunsthaus Zürich, Zurich, Switzerland. c2005 HOLLIS number: 990099260280203941

[monkeyssalad-blog]

Marie Prevost by Truus, Bob & Jan too! Via Flickr: German postcard by Ross Verlag, no. 4467/1, 1929-1930. Collection: Geoffrey Donaldson Institute. Marie Prevost (1898-1937) was an American silent screen actress. Born in Ontario, Canada, as Mary Bickford Dunn, Prevost was still a child when the family moved to the US. First, the Dunn family settled in Denver, Colorado, then in Los Angeles. Mary was hired as a secretary but in the meantime, she sought work in the cinema. Mack Sennett, also of Canadian origin, entrusted her with the role of an exotic "French girl" and inserted her into his Bathing Beauties, with the stage name of Marie Prevost. In 1919, Marie was secretly married to Sonny Gerke, a young man from high society, but the marriage failed after only six months because Gerke did not have the courage to tell his mother that he had married an actress. Fearful of the bad publicity resulting from a divorce, Marie remained married until 1923, always keeping everyone unaware of her marriage. One of Prevost's first successful films was Love, Honor, and Behave (Richard Jones, Erle Kenton, 1920), alongside another Sennett protégé, George O'Hara. A series of small roles followed in which she played the part of the young, innocent sexy girl. In 1921, Marie signed a contract with Universal after getting the attention of Irving Thalberg. Thalberg decided to make her a star and organized a great advertising hype for her. He announced that Marie would star in two films, The Moonlight Follies (King Baggot, 1921) and Kissed (King Baggot, 1922), and sent her to Coney Island. There the actress publicly burned her bathing suit, signifying the end of her "bathing" days. At Universal, Marie Prevost only got light comedy roles. When the contract expired, Jack Warner had her signed for Warner Bros, recognizing $ 1,500 a week. Alongside actor Kenneth Harlan as Tony, Marie played Gloria in The Beautiful and the Damned (Sidney Franklin, 1922), based on F. Scott Fitzgerald's bestseller on two idle spendthrifts who do not know how to cope with money running out. To publicize the film, the production company announced that the actors would get married during filming on the set. The advertising launch worked and the studios were flooded with letters and gifts for the spouses. But when in the Los Angeles Mirror the story of Prevost's earlier secret marriage appeared: "Marie Prevost will become bigamist if she marries Harlan", Warner immediately took charge of the annulment of that marriage, so Harlan and Marie could marry. Despite the bad publicity, The Beautiful and Damned was successful. By consequence, Ernst Lubitsch wanted Marie as a co-host for his film The Marriage Circle (1924), with Adolphe Menjou, Florence Vidor, and Monte Blue. Lubitsch said that Prevost was one of the few actresses in Hollywood who knew how to underplay comedy to achieve the maximum effect. At Warner's in the mid-1920s, Prevost would star in comedies and dramas with Harrison Ford [the silent actor], Monte Blue, Matt Moore, Douglas Fairbanks jr., and Harlan. In 1926, Warner decided not to prolong the contracts of Harlan and Marie Prevost. The Canadian actress also lost her mother - who, in a car with actress Vera Steadman and producer Al Christie - was killed in an accident in Florida. Devastated by her mother's death and losing her work, Marie's marriage deteriorated, she began to drink and soon slipped into alcoholism. In 1927, she separated from her second husband, and despite a reconciliation in between, she divorced him altogether in 1929. To overcome the crisis, Prevost threw herself completely at work. After seeing her in The Beautiful and Damned, in 1928 Howard Hughes wanted her to star in The Racket. The two had a brief relationship but Hughes soon left her and Marie fell into a deepening depression. The Racket would be her last feature film. She began to gain weight and could no longer control either food or alcohol. In 1934 her financial situation became dramatic. To find work again, he faced drastic diets that further weakened her. In 1937, Marie Prevost died of a heart attack due to malnutrition and acute alcoholism. Her body was found only two days later, due to the continuous and insistent barking of her dachshund dog. A bellhop came into the house and found her lying face down on the bed, legs marked by the teeth of her dog, which had tried to wake her by biting her. The funeral at the Memorial Cemetery in Hollywood was paid for by Joan Crawford: in addition to Crawford, Clark Gable, Wallace Beery and Barbara Stanwyck participated. Her poor case prompted the Hollywood community to create in the early 1940s the Motion Picture & Television Country House and Hospital to provide medical care for employees of the television and motion picture industry. Sources: Wikipedia (Italian and English) and IMDb. And, please check out our blog European Film Star Postcards.

[oxalisirene]

Of the Beetle in Nature and Culture.

Finding creative inspiration in connections between the Arts and Science through the concept of symmetry Pt2.

The BEETLE (or COLEOPTERA) is an order of holometabola (or endopterygota), which means they undergo a complete metamorphosis between larval, pupal and adult stages. The beetle ia a bilateral animals are more or less symmetric with respect to the sagittal plane, while plants and sessile animals have radial or rotational symmetry (e.g. echinoderms have five fold rotational symmetry). Its order is a fascinating one, sporting somber and flamboyant pigmentation, and seemingly infinite aesthetic variations.

"Pigmentation in beetles comes either from pigmentation or optical interference or both factors in combination. […] Optical interference colours result when light reflecting and refracting through the micro-thin transparent outer layer of the cuticle interacts visually with the pigmented layer beneath." (Living Jewels, Poul Beckmann, Prestel-Verlag, 2004).

Some are aposematic (or at least batesian mimics): advertising by an animal through bright colours and patterns of its toxicity to predators, signalling it is not worth attacking or eating (e.g. hycleus lugens, coccinellidae, etc.). Others have effective camouflage.

Some beetles’ bright colours are ordinarily hidden by somber elytra, in order to stun the predators with their sudden appearance at take off.

Some are bioluminescent in order to attract attention and signal a potential mate, such as the lampyridae (commonly, fireflies), phengodidae and elateridae. These are delicately built and soft bodied, and their light varies in pattern and in colour (from light green to orange).

Historically, beetles have been mystified creatures, often associated with the creation of the universe (e.g. in ancient Egypt) or with sin (e.g. in christianity).

The scarabeus sacer (sacred scarab, dung beetle or kheper in ancient Egyptian) was linked with Khepri, god of creation and the rising sun, via imagery (the rolling of dung into a ball by the beetle resembled the rolling of the sun by the god) and etymology (kheper and Khepri both derive from the same root meaning ‘coming into being’ or ‘to transform’). The kheper also held funerary significance, as in the case of heart scarabs and of similitude between the pupa and the mummy.

Ritual objects and jewellery are often crafted from the elytra (the hard forewings, not actually usable for flying), or shapes of beetles made out of bone, ivory, stone, and tjehenet (a kind of faience, self-glazing clay).

(Images from An Inordinate Fondness for Beetles, A.V. Evans, C.L. Bellamy, photography by L.C. Watson and G. Poinar, University of California Press, 1996.)

[environmentaltreaties]

Seminar 1 - Prep Reading - Fragmentation and Regime Interaction in International (Environmental) Law

This session aims to provide a basic overview of the academic and policy debate regarding fragmentation and regime interactions in international (environmental) law. In our discussion we will attempt to conceptualise the phenomenon of fragmentation, locate its causes, evaluate its consequences, and identify means of managing those of its consequences that we deem as negative. We will also discuss the role that problem-framing plays in terms of encouraging or discouraging positive regime interactions, both between environmental regimes and between environmental and environment-related regimes.   

This session will be led by Dr Mara Ntona. 

Required reading

Completion requirements

Peter H Sand, ‘Literature Review Article: International Environment Agreements’ in Peter H Sand (ed), International Environmental Agreements (Edward Elgar 2019), available here: https://www.elgaronline.com/view/Research_Reviews/9781788118644/intro.xml 

Margaret A Young, ‘Fragmentation and International Environmental Law’ in Lavanya Rajamani and Jacqueline Peel (eds), Oxford Handbook of International Environmental Law (2nd edn, OUP 2021), ch 5, available here: https://academic.oup.com/edited-volume/41336/chapter/352410662 

Hope Johnson and others, ‘Conceptualizing the Transnational Regulation of Plastics: Moving Towards a Preventative and Just Agenda for Plastics’ (2021) 11 Transnational Environmental Law 325, available here: https://www.cambridge.org/core/journals/transnational-environmental-law/article/conceptualizing-the-transnational-regulation-of-plastics-moving-towards-a-preventative-and-just-agenda-for-plastics/B6BD29139610E779500C205A41FDB5E3 

Questions

Completion requirements

Read the papers by PH Sand and MA Young and consider the following questions:

What do we mean when we speak of the fragmentation of international (environmental) law? 

What are the causes of fragmentation? 

What are the consequences of fragmentation? 

What are some ways of managing the negative consequences of fragmentation?

Instructions for our in-class exercise

Completion requirements

Read the assigned paper by Johnson et al. At this early stage in your studies, the paper is likely to appear complex - do not let that discourage you! For the purposes of this exercise, you are asked to concentrate only on the authors’ general argument and not on the minutiae of the legal regimes they bring up in their analysis. The following questions will help you maintain your focus:

Broadly speaking, which regimes play a role in the transnational regulation of plastics?

Broadly speaking, how do these different regimes conceptualise plastics?   

Broadly speaking, what are the pros and cons of different legal conceptualisations of plastics?

During class, you will be divided into groups and asked to come up with answers to the following questions:

What is problem-framing and why is it important in environmental law and governance?

Is problem-framing a question of ‘either-or’ (i.e. a choice between alternatives) or a question of ‘both/and’ (i.e. a question of emphasis)?

Groups will have 15 minutes to discuss these questions and write up their answers. Each group will then be given the opportunity to present their work to the rest of the class.

Further reading

Completion requirements

Rüdiger Wolfrum and Nele Matz, Conflicts in International Environmental Law (Springer-Verlag 2003)

ʻFragmentation of International Law: Difficulties Arising from the Diversification and Expansion of International Law - Report of the Study Group of the International Law Commission finalized by Martti Koskenniemiʼ (13 April 2006) UN Doc A/CN.4./L.682 and Corr.1

Le Club des Juristes: International Group of Experts for the Pact, ʻDraft Global Pact for the Environment by the IGEPʼ (La Sorbonne, 24 June 2017)

Margaret A Young, Regime Interaction in International Law: Facing Fragmentation (CUP 2012)

Donald Anton, '"Treaty Congestion" in Contemporary International Environmental Law' in Shawkat Alam and others (eds), Routledge Handbook of International Environmental Law (Routledge 2013)

Anne Peters, 'The Refinement of International Law: From Fragmentation to Regime Interaction and Politicization' (2017) 15 International Journal of Constitutional Law 671

UNGA, ʻGaps in International Environmental Law and Environment-Related Instruments: Towards a Global Pact for the Environment - Report of the Secretary-Generalʼ (30 November 2018) UN Doc A/73/419

Jeffrey L Dunoff, 'Multilevel and Polycentric Governance', in Lavanya Rajamani and Jacqueline Peel (eds), Oxford Handbook of International Environmental Law (2nd edn, OUP 2021)

[hoerbahnblog]

"Hentrich & Hentrich" – Uwe Kullnick spricht mit der Verlegerin Nora Pester über ihren Verlag - Verlage on Stage

[vc_row][vc_column][vc_column_text] “Hentrich & Hentrich” – Der Verlag für jüdische Kultur und Zeitgeschichte – Uwe Kullnick spricht mit der Verlegerin Nora Pester über ihren Verlag – Verlage on Stage     (Hördauer ca. 60 min https://literaturradiohoerbahn.com/wp-content/uploads/2024/05/Verlag-on-Stage-Hentrich-Hentrich-Pester.mp3 Hentrich & Hentrich hat sich ausschließlich auf…

[piindiabacklink]

Publish Industry India Pvt Ltd began its official operation on March 29, 2008, in Pune, India. With this announcement, the German publishing house Publish-Industry Verlag GmbH Germany, set the stage for bringing its flagship magazines, Automation & Digitization (A&D) and Efficient Manufacturing (EM), into the Indian market.

[germanpostwarmodern]

For a long time the complete oeuvre of Bauhaus artist Xanti Schawinsky (1904-79) was inaccessible due to a legal battle. This was all the more pitiful since his multifaceted art crossed genre borders. Fortunately, the legal disputes were settled and Schawinsky’s work can finally be received by the public at large. Currently and up until January 5, 2025 the Mudam Luxembourg shows the comprehensive retrospective „Xanti Schawinsky - Play Life Illusion“ that spans six decades of fervent art production.

Alongside the exhibition Hirmer Verlag recently published the eponymous catalogue that isn’t your average  exhibition catalogue: as the its subtitle hints at, it is a collection of texts, letters and pictures that primarily lets the artist talk himself and whose title quotes a performance Schawinsky developed in 1936 with students at Black Mountain College. To the latter he was lured by Josef Albers after he had escaped both N@zi Germany and f@scist Italy. What Schawinsky continued to carry with him was the multidisciplinary Bauhaus education: in 1924 he enrolled at the Weimar school and soon developed his idea of the „Spectodrama“ in which he connected art, architecture, theater and music. During this period the conflict/relation between man and machine became a major topic and would remain with him for the rest of his life. When in 1926 the Bauhaus relocated to Dessau Schawinsky was involved with the setup of the stage workshop and until his departure in 1929 explored the possibilities of photography and painting.

In the decades after Bauhaus and Black Mountain College graphic design became Schawinsky’s living before in the 1950s he fully committed to art and frequently experimented with the performative dimension of painting. The results e.g. were „Smoke Paintings“ or „Untitled (Architecture)“ in which he prefigured future aesthetic developments and became a reference for other, younger artists.

This continued inventiveness makes Schawinsky one of the most interesting former Bauhäusler and the present catalogue makes these trait come to life: in his texts and letters he reflects on his art but also brings to life the buzzing environment he existed in. A great read!

[ziskastaubli]

Hi, I'm Ziska,

a guitar and bass player, producer, songwriter, composer and singer. Here’s my -> Instagram My self produced solo EP called ”sun exposure” will be out on A Tree In A Field Records in April 2024.

- If you’d like to see me performing on stage please check out the websites of the bands I work with at the moment: DALAI PUMA and ONE SENTENCE. SUPERVISOR

- Before that I’ve also played for LONG TALL JEFFERSON, NONE OF THEM, HAUBI SONGS, KIMBO and others. I’ve also co-founded ACID AMAZONIANS and was a member of the group for 6 years.

- I’ve given songwriting and band workshops for Helvetiarockt and wrote ZISKA’S SONGBOOK – a collection of lyrics, published 2018 by Amsel Verlag Zürich. 2021 I was awarded a grant by Nico Kaufmann Stiftung for being active for gender equality in the swiss music scene. In November 2022 the City of Zurich awarded me a Werkjahr. Lately I’ve been venturing into producing and wrote and staged a piece for 10 electric guitars.

-

Here's a playlist with songs I've worked on: https://open.spotify.com/playlist/7x9aMY78WOixWs62tWjgGS?si=bcc6b61f0e24421a

Email -> ziska.staubli (at) gmail.com

[antonlaub]

Punctum - Exhibition of the nominees for the Art Prize of Haus am Kleistpark

September 1 – October 1, 2023

With works by nominees: Claudia Angelmaier, Matthew Cowan and Jana Müller, Marta Djourina, Léo Faulhaber, Daniela Friebel, Ingo Gerken, Lukas Hoffmann, Anton Roland Laub, Noah Lübbe, Julian Netzer, Fiene Scharp, Aaron Scheer, Laura Suryani Thedja, Ivana de Vivanco, Manuela Warstat, Paul Wesenberg. 

The jury, consisting of Julia Rosenbaum (jury chair), Frank Jimin Hopp, Bob Jones, Christoph Tannert and Barbara Esch Marowski selected from a total of 472 applications.

Photo: Amelie Losier; exhibition view: N.T., from the series LAST CHRISTMAS (of Ceausescu), 2015-2020; 2 Archival Pigment Prints on Photo Rag Baryta Paper, each 119×84 cm

The eponymous photo book was published in 2020 as a bilingual edition (De/En) at Kehrer Verlag, Heidelberg, edited by Frizzi Krella, with texts by Frizzi Krella and Lotte Laub. The monograph came in 2020 on the shortlist at the Athens Photo Festival, on the longlist of the German Photo Book Prize in 2021, and on the shortlist for the Photo-Book Award at the Belfast Photo Festival in 2022.

-

Every year in the 1980s around Christmastime, my father had to register his typewriter and the imprints of each key to submit them to the police (miliția). He hammered every single letter into his Olympia. In this way, the state archived the characteristic wear of all typefaces in the country and thus kept control over the written word. Any critique of the regime could be easily tracked and identified. But at Christmas 1989, the typewriter remained silent.  In his last speech on December 21, 1989, from the balcony of the Central Committee in Bucharest, Romanian dictator Nicolae Ceausescu shouted "Alo" (Hello) into the microphone fifteen times. Again and again he restarted, but the crowd no longer responded to the "Conducator," to whom tribute poems had until recently been recited. The mood had changed. While the overthrow of the other East European dictatorships in 1989 was mostly peaceful, Romania’s Revolution ended in a bloodbath. Leaders called upon civilians to fight against nameless “terrorists”, leading to a great deal of friendly fire. 30 years after the system change, in December 2019, an EU resolution was passed, calling on the Romanian state to officially process the past events, an appeal that remains unfulfilled in Romania to this day. The events of those violent days remain shrouded in mystery and intrigue, leaving the question: was it a people’s uprising or a staged coup d’état? LAST CHRISTMAS (of Ceaușescu) focuses on questions of representation of history and institutional memory, three decades after the fall of the dictatorship.

[emgrad603materialsandmedia]

Finalising information

I then put all the text and images  I wanted to use in one spot so that it was easy to find and I had all the designers info ready. This also means I have the best design content ready available, and if I want extra photos I can always have a look at the other ones I have.

Joseph Churchward 

Joseph is a samoan born New Zealand graphic designer who mainly focuses on typographic work - Joseph is best known for having designed 690 original typefaces. He attended Wellington Technical college at age 13 where he perfected his craft and love for design.

After graduating, Joseph went on to work as a commercial designer, starting up his own company in 1969 - Churchward International Typefaces - which became one of New Zealand’s largest typesetting spaces. Not long after this was established, leading German type company Berthold Fototypes accepted some of his fonts for international distribution, and they were soon in use throughout the world.

“His accomplishments are not only significant on a national scale, but place him highly on the global stage. He is a pioneer and I admire his continued dedication to the craft of design. He is a true inspiration.”  - John Britten, Black Pin Winner  (2009)

Information compiled from AUT Materials and Media lecture slides - 2023 3/23

“Designers Institute” 2009 - John Britten

David Bennewith – 20.10.2005 “Joseph Churchward in his home studio.”

Tobias Frère Jones

For 25 years, Tobias Frere-Jones has created a major and significant name for himself as one of the world’s most successful typeface designers, creating some of the most widely used typefaces, including Interstate, Poynter Oldstyle, Whitney, Gotham, Surveyor, Tungsten and Retina.

He gained a BFA in Graphic Design from the Rhode Island School of Design in 1992. Then joining Yale University School of Art in 1996 and has lectured throughout the United States, Europe and Australia. His work is apart of collections in Victoria & Albert Museum in London and the Museum of Modern Art in New York. He has received the Gerrit Noordzij Prijs, the AIGA Medal, and most recently Cooper Hewitt’s 2019 National Design Award for Communication Design, recognizing his contributions to typographic design, writing and education.

Alot of Tobias retro and vintage based graphics come from his love of collecting various antiques when he was younger - we can see the inspiration for alot of his work today from this.

Information compiled from Tobias Frere Jones website.

AUT Materials and Media lecture slides 3/23

Photos by http://www.grahammacindoe.com/ Uploaded onto Tobias Frere Jones website.

Verena Gerlach

Verena Gerlach was a photography instructor at the Hochschule der Künste in Berlin in 1991 and spent 1992 doing a first-year course at Glasgow School of Art. From 1993 to 1998 she then went on to study communication design at Kunsthochschule Berlin Weißensee and spent one year (1996) as an exchange student at the London College of Printing. FF Karbid, FF Sizmo, and Chambers Sans are some of the few typefaces she created, Verena has her own studio for corporate design in Berlin.

In 1998, Verena Gerlach began her studio for graphic design, typedesign and typography in Berlin. Since 2006, she has been consistently working as a freelance book designer for art book publishers like Hatje Cantz and Kerber Verlag. She began lecturing in type design, and typography in 2003,and currently gives lectures and workshops all over the world. as well as designing corporate fonts for global companies, she also is working on the typographic production for international contemporary artists.

Information provided and uploaded on Verena Gerlach's website and portfolio.”Silk Screen posters” 2010

AUT Materials and Media Lecture Slides 3/23.

photograph by © Daniel Rodríguez - provided on her portfolio

Nadine Chahine

Dr. Nadine Chahine is an award-winning and very successful Lebanese type designer working as a UK Type Director and Legibility Expert at Monotype. She has an MA in Typeface Design from the University of Reading, UK, and a PhD from Leiden University, The Netherlands. Nadine’s research focus is on eye movement and legibility studies for the Arabic, Latin, and Chinese scripts. She has numerous awards including two Awards for Excellence in Type Design from the Type Directors Club in New York in 2008 and 2011. Her typefaces include the best-selling Frutiger Arabic, Neue.

Nadine’s work has been featured in the 5th edition of Megg’s History of Graphic Design and in 2012 she was selected by Fast Company as one of its 100 Most Creative People in Business. In 2016 her work was showcased in the 4th edition of First Choice which highlights the work of the 250 top global designers practising today. In 2017, Nadine was selected by Creative Review to their Creative Leaders 50 which aims to celebrate, educate and inspire those who are leading creative businesses, organisations and teams in the UK.

Nadine is a current CEO at I love typography.

Information compiled and found on 

http://arabictype.com/about/ and Materials and Media AUT Lecture slides 3/23

Photo provided and uploaded onto Nadia Chahines portfolio website “http://arabictype.com/about/”

Carol Twombly

Carol Twombly is an incredible and unique creative force who is to thank for majority of the graceful characters found in several typefaces such as Trajan and Charlemagne. During Carols childhood in New England, she spent a lot of her time exploring several artistic techniques and composition. Having specific interest in sculpture, Carol followed her architect brother to Rhode Island School of Design (RISD). Once there, she changed her major to graphic design. Carol says, “I discovered that communicating through graphics - by placing black shapes on a white page - offered a welcome balance between freedom and structure.” Though graphic design became her career focus, Carol also specialises in  basketweaving, drawing, painting, and jewellery making.

After graduating RISD and a year spent working in a small Boston graphic design studio, Carol accepted an invitation from Bigelow and joined a small group of students in a newly formed digital typography program at Stanford University. The program, which has been discontinued, awarded Carol and her colleagues Masters of Science degrees after two years of study in computer science and typographic design.  Carol has designed a number of very popular and widely used text and display typefaces. Trajan, Charlemagne, Lithos, and Adobe Caslon are inspired by classic typefaces and characters from the past - from early Greek inscriptions, around 400 B.C., to William Caslon’s typefaces of the 1700s. Designs like Viva and Nueva explore new territory while maintaining traditional roots. In 1994, she received the Charles Peignot award from the Association Typographique Internationale for outstanding contributions to type design. She was the first woman and only the second American to receive this prestigious honor.

Information provided by Adobe Fonts. 

“Carol Twombly” Image sourced by Oak Knoll Books - Stock-Allen, Nancy

Veronika Burian

Veronika Burian studied Industrial Design in Munich and worked in that space in Vienna and Milan over a few years. Discovering a true passion for type, she graduated with distinction from the MA in Typeface Design in Reading, UK, in 2003 and worked as type designer at DaltonMaag in London for a few years. After staying for some time in Boulder, USA, and her hometown Prague she is now living in sunny Cataluña.

Veronika Burian is a type designer and co-founder of independent type foundry TypeTogether. She has created award-winning typefaces and collaborating on specific typefaces for a large number of clients. She is involved with Alphabettes.org, a showcase for work and research on lettering, typography and type design by women. She continues to give lectures and workshops at international conferences and universities. Her typeface Maiola received, amongst others, the TDC Certificate of Excellence in Type Design 2004. Several other typefaces by TypeTogether have also been recognised by international competitions, including ED-Awards and ISTD.

She is also a founding member of typography platform Alphabettes.org created by and for women, being solely involved in mentoring program the GRANSHAN project for non-Latin fonts and typography, which is unique in the world, she engages in communication and sponsorship. “Her typeface Maiola received the TDC Certificate of Excellence in Type Design 2004. Several other typefaces by TypeTogether have also been recognised by international competitions, including ED-Awards and ISTD.” - Type Together

“Veronika Burian” Image by Type Together.

Information provided by: 

http://bitscon.asia/speakers/2016/veronika-burian https://fonts.adobe.com/designers/veronika-burian

Jessica Hische

Jessica Nicole Hische is an American letterer, illustrator, and type designer. Jessica has spoken at over 100 conferences, colleges, and other design events on nearly every continent. Winning awards such as New York Times Best-selling Author, Forbes under 30, New Visual Artist, ADC Young GunGDUSA, Person to Watch.

When Jessica is not drafting letterforms, manipulating beziers, writing kids books, or letterpressing on my Vandercook, she spends her time trying to help others find the same happiness and fulfillment that she finds in her work.

Information compiled and found on https://www.jessicahische.is/afanofoxfam

Image by Helena Price.

Johnson Witehira: Johnson Witehiras work has the purpose of bringing all cultural aspects of Maori culture back into the lives of Maori and has alot of cultural responsive media and design.

Johnson lives in Wellington, where his work is prominent and successful there.

“My kaupapa (mission) as both an artist and designer is to bring Māori visual culture back into the lives of all Māori. This is done through careful consideration of how indigenous culture, design and technology intersect. We once created all the things in our world; the clothes, buildings, vehicles and tools. Nowadays everything is made for us. If we’re lucky we get to decorate. I want to put Māori back in the drivers seat, so we’re active participants in creating the tools and the world we want to live in.”

Overseas, works from Ko Aotearoa Tēnei (2012) series are on permanent display in a number of New Zealand Embassies and Consulates (Shanghai Consulate, NZ Embassy in Dublin, NZ High Commissionto  Canberra and the NZ Consulate Hawaii). In 2015, the Land of Tara series was exhibited at the Talente Munich design Fair. He has also showcased in group exhibitions in Canada including; InDigiNous Aotearoa: Virtual Histories (Winnipeg, 2017), The Space Between Us (Banff, 2018) Gathering Across Moana (Tornoto, 2019) and REGENERATION: Breaking Time with Indigenous Video Games (2019, Vancouver).

Information complied via his website: 

https://www.johnsonwitehira.studio

Johnson Whitera - Shown on his website and provided by https://semipermanent.com/profiles/johnson-witehira