The collaborative editorial effort of David Travis, Elizabeth Siegel, Keith F. Davis, Taken By Design: Photographs From The Institute Of Design, 1937-1971 is the Art Institute of Chicago exhibition catalog which was a jointly published project with the University of Chicago Press. Showcasing the photography that arose out of The Institute of Design during some three and a half decades, Taken By Design chronicles and documents a fascinating sidebar in the history of American photography. Enhanced with essays, articles, biographical sketches, course curricula, and more, Taken By Design is a welcome, original, and highly recommended contribution to personal, professional, and academic Photography historical reference and resource collections and reading lists.

Much more than a catalog

This book is not just a catalog of the show now at San Francisco's MOMA. It is a rich source that chronicles the evolution of the Chicago Institute of Design (ID) and its photography program. With 6 written essays and articles, biographies, course curricula, and other background it places the ID's photographers rightfully in the middle of the late twentieth century art revolution.

The writing is authoritative, revealing and thought provoking. Some is understandably enthusiastic, by authors named Moholy-Nagy and Siegel, some is analytical/critical, illuminating the difficulties and disagreements that resolved themselves into a program like no other. Any student of photography or modern art must know about this controversial and audacious adventure that was spun off from the Bauhaus by Moholy-Nagy, Arthur Siegel and the other subjects of this chronicle.

The authors explore some of these subjects. Why was the this such an important project and why was it controversial? What effect has it had? What does it teach us today? These are important questions simply because a large number of prominent and influential students passed through it.

No serious collection of late 20th century photographs can be without 20 or so of the prints from this group. Harry Callahan, Aaron Siskind, Ken Josephson, Ray Metzker, Linda Connor, Arthur Siegel, Art Sinsabaugh and many others all studied and taught there. Many went on the teach at places like R.I. School of Design, San Francisco Art Institute and many places in between. The influence of this group is much more extensive than its size and longevity would suggest.

At a time when the "giants" of the medium were devoted to "pure" photography, Moholy-Nagy appeared from Europe and proposed that photography be treated as a tool of graphic design. Light, texture, volume, rhythm, contrast and other elements were worth studying for their own sake in order to apply the unique strengths of photography to the art of design.

They produced something akin to Jazz. Painters like Motherwell, Johns, Rauschenberg were producing strikingly similar imagery. Paul Strand, Man Ray, Lartigue, Rodschenko and a many others had explored the same issues. The Bauhaus and the Chicago ID were an attempt to formalize the earlier experiments. Strand, Weegee, Winogrand, Blumenfeld and others contributed to the ID at various times.

The ID photographers showed how purely graphic aspects of the medium could be used to express a vision, used to dig subtle meaning from the mundane, used to reveal things in synthetic abstract that weren't visible. They expanded and elevated their medium in a very short, intense time. There is little in today's published graphics not already in the photographs of the students in this show.

An unintended consequence of this book is to have produced a key to much of abstract expressionist painting, and modern poetry. The photograph always contains an insistent link to "reality" that seems more obvious than it is in a painting, but it is no less a subject of the painter than the photographer. This show might be the trigger that makes other modern artists accessible to some people. I've recommended this book to some art teachers for this reason.

I have long been a fan of the work that came out of the Institute of Design from the 1940s-1960s. It was a highly creative and experimental time and environment. After fleeing Nazi Germany in the late 1930s, many Bauhaus design and photography educators set up shop in Chicago. They started a new school and a new method of teaching photography that emphasized experimenting with abtract forms and understanding the process of imagery through intense creative study. Lazlo Moholy-Nagy was the driving force for the early successes, along with Gyorgy Kepes and Nathan Lerner. After Maholy-Nagy died, Harry Callahan took over the job as photography head, and moved away slightly from the early experimentation period by trying to challenge his students into creating their own thesis statements. Some of the other artists that also attended or participated in this important school were Barbara Crane, Yasuhiro Ishimoto, Joseph Jachna, Kenneth Josephson, Arthur Siegel, & many others.

The book in in conjunction with the exhibition at the Art Institute of Chicago of the same title. The exhibition should not be missed if you are in the Chicago area, but if you cannot make it to the exhibition (which closes May 12, 2002), this book is a great representation of the exhibits masterpieces. Inside are hundreds of fine-art images from ID, along with interviews, quotes, in-depth commentaries, and a lot of really great candids of the artists. It is really worth it. And I would certainly suggest buying this book at Amazon...

If you have any interest in modern art or photography, this book is a fantastic history lesson on the impact of these innovators on the entire possibilities of the medium. The Institute of Design helped shape photography into an art form of its own, and to push the boundaries of the medium at the same time. What a great time it must have been!

A wonderful book of eighty-five, beautifully printed, Dorothea Lange photos. I think the best ones are forty-seven from the thirties when Lange was part of a small group of photographers employed by the Government to record the plight of the rural poor. Their output (now in the Library of Congress and accessible to all) was the most complete photographic record of a nation ever undertaken. Lange and Walker Evans were, depending on your point of view, the most talented of this group and you can see why by looking at her photos in this book. Keith Davis says in the introduction... "Her photographs are at once bluntly factual and deeply sympathetic. While Lange recorded innumerable scenes of destitution, she consistently evoked the resilience, faith and determination of her subjects". I think her point-of-view comes across in all the work shown in this book. After the thirties the remaining photos cover her work up to 1958.

All the photos have dated captions and many have background information about what is being shown plus the thoughts of Lange and her subjects. The back of the book has a chronology, bibliography and print source. This is a lovely record of her photographic work but if you want to know more, these two books take a comprehensive look at her life, 'Dorothea Lange: American Photographs' by Therese Heyman, Sandra Phillips and John Szakowski and 'Dorothea Lange: Photographs of a Lifetime' by Robert Coles.

BTW, this is the second book of American images I have reviewed in the last few days, the other one was a selection of photos taken over a number of years by British photographer Nick Waplington of a small town in New Mexico called Truth or Consequences (also the books title) but what a contrast, the Lange book has captions and other information, the photographer's thoughts, chronology, bibliography, sources while Waplington's book has none of this, not even page numbers! It raises questions (least to me) about how publishers regard their readers.

Mr. Bauer's - Boeing: The First Century - is a great follow-on to his earlier work - Boeing in Peace and War. Although it has much of the same text as its predecessor, it boasts of numerous illustrations to match the text to the Boeing aircraft he describes. A good work well worth the price.

The Spanish-American war is vividly described, beginning with the sinking of the Maine. Many famous people are involved with the war and Michael Blow weaves a rich story of their actions.

'A Ship to Remember' is an excellent introduction to both the saga of the U.S.S. Maine and the Spanish American War as a whole. In this book, Michael Blow, gives a thorough explanation of the war from political, personal and military perspectives.

Michael Blow, grandson of a crew member of the Maine, begins his narrative with a history of the events which had created such turmoil in Cuba as to attract the attention of the American government and public. He then gives a detailed account of the destruction of the Maine on February 15, 1898. The tale of the investigations examines the theories attempting to explain the explosion and contradicts some myths which many of us have heard. The major issue was whether the Maine was destroyed by an external source, such as a mine, or whether the cause was an accidental mishap internal to the ship. Its Captain, Charles Sigsbee, and much of the American press, always insisted that his command was the victim of a mine. I remember being told in school that the Navy could have very easily determined if the explosion was internal or external, but chose to sink the Maine in deep water before an investigation was concluded. In fact, the vessel was subjected to thorough investigations by both American and Spanish authorities. The American court of inquiry of 1898 concluded that the Maine had been sunk by a mine. Further investigation in 1912 again concluded that the source of the explosion was external. Not until the 1970s did Adm. Hiram Rickover, upon review of the evidence, conclude that the cause of the explosion was internal.

Blow does a good job of analyzing the potential motives of the forces in Cuba which could have attacked the Maine by mine.

The tragedy of the Maine was used by much of the American press to incite the American public, which was already incensed by the Spanish atrocities in Cuba, to demand war. Blow does an excellent job of explaining journalistic agitations and the political maneuvers which lead up to the declaration. He makes clear President McKinley's efforts to seek a peaceful solution to the problem until forced, by political pressures, to ask for a declaration of war.

War having been declared, action first occurred in the Philippines, an unexpected theatre, . The U.S. Navy Asiatic Squadron under Adm. George Dewey had destroyed the Spanish squadron in Manila Bay, giving Dewey command of the Bay, if not the city or archipelago itself. This started the long American debate over what to do with the islands, once the conquest was completed.

With news of a favorable and stable situation in the Philippines, attention switched to the location of the Spanish fleet under Adm. Cervera which had left Cape Verde on April 29, 1898. Until sited near Santiago de Cuba on May 18, speculation about the location of the Spanish fleet was rampant. It was feared from New England to Texas and was reported as being sited as far as the North Atlantic. The fear was so universal that cottages at Newport, Rhode Island were not opened for fear of Spanish attack.

With Cervera in Santiago harbor and the American Army landed in Cuba, that island became the center of attention. The war reached a climax in early July. The American offensive against Santiago was highlighted by the charge of the Rough Riders on July 1. The military pressures against Santiago forced Cervera to attempt to run the fleet out to see against the blockading American forces on July 2. The ensuing running battle resulted in the destruction of the Spanish fleet, ending the Spanish naval threat in the Caribbean.

Toward the end of the book, Blow relates the practical problems presented by the need to return American troops home before tropical diseases accomplished what the Spanish forces had been unable to do. Ample attention is also paid to the political dilemmas in the Unites States created by the conquest of Cuba, the Philippines, Puerto Rico and Guam.

This narrative is livened by revelations of the characters and personalities of the principal personalities involved, both American and Spanish. Excitement is added to the story by the tale of the dash of the U.S.S. Oregon from the Pacific, around Cape Horn, to arrive in Cuban waters just in time to play a major role in the actions of July 2.

I was left with three major impressions of this war from 'A Ship to Remember'. One is the poor state of communications in comparison to those of today. The cable from Manila having been cut by the Spanish, Adm. Dewey was forced to send a ship back to Hong Kong to wire news of the Battle to Washington. This caused a delay of about a week in the relay of the news to Washington. The other surprise was the utter lack of knowledge about the whereabouts of Adm. Cervera. In this day of aircraft and satellite surveillance, it seems incredible that a fleet could be loose on the high seas for three weeks with its location being unknown over a range of several thousand miles, but it happened.

The second impression is of the Spanish American as a largely naval war. The battle of Manila Bay was won by the Navy. The main threat in the Caribbean was the Spanish fleet, which was hunted down and destroyed by the Navy. While the Army did conquer Cuba through its battles around Santiago, it relied on the Navy for transportation and supply.

The third impression is that this was a war in which American territory was in jeopardy. Although it now seems that it was a war limited to Spanish colonial areas, Cervera did have the potential to have attacked any on of many ports along the eastern seaboard.

When I chose this book I was hoping to obtain a general understanding of the Spanish American war. That hope has been fulfilled.

This text chronicles the depth of the Hallmark Cards photography collection through a carefully developed and well written scholarly history. Curator and author Keith F. Davis addresses the fundamental value of photographic imagery as demonstrated by many of the most significant makers in the past one hundred years. Using as a basis a single country's development (America) in the medium's history, Davis sets out his argument that many if not all successful photographs are inherently about the truthfulness of the images produced. He does not over interpret the documented images to establish a point of view but rather allows the flow of the photographs to reveal a rich tapestry of imagery beginning with the snapshot aesthetic of the late 19th century and ending with the mass media influences upon contemporary photographs. Many of the images have not been reproduced before -- always a plus! His thorough research is supported fully by extensive endnotes and an excellent bibliography. Best of all, the overall quality of image reproduction suggests to the reader the individual tonalities of the photographs. This second edition is a successful follow-up to the earlier catalogue of the same name (1995)and records the remarkable growth of this important collection of photographs.

This book drags on and on and on with stories that attempt to be humourous, but just come up long-winded and pointless...On Berkowicz's chapter on Why Men are Jerks...he explains that women want men to be jerks...On his chapter regarding sex, he explains in detail how men love and will do anything to get it. Now, true many women are attracted to jerks, and men infact enjoy and love sex, but what's the big secret you're letting us in on here? I found the book to be rather boring, and hard to read.

How can I do this without reading the book

This book should be read by all women. Your communication skills with men will change because of it. Very much a must read!