This lavishly illustrated volume presents in full color more than 300 of the finest posters selected from the rich resources of the graphic design collection of The Museum of Modern Art.

A classic study of fifteen crucial years in the formation of the modern world The Birth of the Modern has established itself as a new kind of historical work - an examination of the way the matrix of the modern world was formed. Paul Johnson, one of today's most popular historians, takes fifteen critical years and subjects them to a fascinatingly detailed analysis: their geopolitics and politics, their cultural and intellectual life, their technology and science. He investigates every area of life, in every corner of the world. And he makes of this huge variety of elements a coherent narrative, told through the lives and actual words of the age's people - outstanding and ordinary - so that the reader feels he was there.

The best way to learn history is to visualize it! Since 1998, Josh MacPhee has commissioned and produced over one hundred posters by over eighty artists that pay tribute to revolution, racial justice, women's rights, queer liberation, labor struggles, and creative activism and organizing. Celebrate People's History! presents these essential moments—acts of resistance and great events in an often hidden history of human and civil rights struggles—as a visual tour through decades and across continents, from the perspective of some of the most interesting and socially engaged artists working today. Celebrate People's History includes artwork by Cristy Road, Swoon, Nicole Schulman, Christopher Cardinale, Sabrina Jones, Eric Drooker, Klutch, Carrie Moyer, Laura Whitehorn, Dan Berger, Ricardo Levins Morales, Chris Stain, and more.

Modern British Posters explores the interaction between modern art and graphic design in Britain throughout the twentieth century. A distinctive characteristic of modern society is the progressively more complete integration of art, design and architecture. The poster has been an integral expression of this phenomenon since its invention, in modern form, during the 1860s. The poster was made possible by the development of industrial colour lithography and by the appearance of large hoardings as a consequence of metropolitan redevelopment. Furthermore, this co-incidence developed at precisely the same time as the birth of the cultural avant-garde. Following the First World War, during a period of social and political realignment, major artists embraced the developing technologies of graphic reproduction to make commercial poster images and reach out to an audience beyond the complacent limits of the gallery. This required artists to embrace the possibilities of new technologies in print media, and was thus instrumental in transforming commercial art into graphic design. From this point forward, the poster and the artistic avant-garde have been inextricably linked. The poster reached a level of maturity in design just as the cultural reform of the 1920s was beginning. This synchronicity has established the poster as a particularly significant cultural object. Every great artist in Britain contributed to this effort and Modern British Posters features the work of artists such as John Minton, Paul Nash, Hubert Williams, Edward McKnight Kauffer, Leonard Cusden, Edward Wadsworth and Tom Eckersley, amongst many others. These images speak broadly of people, landscape, technology and identity and cover themes such as transport, architecture, the seaside, accident prevention and popular culture. In Britain, the graphic archive is dispersed amongst various institutions. This fragmentation means that, for practical purposes, the general story of British poster design remains to be told. As such Modern British Posters provides an important addition to the history of visual culture in Britain during the twentieth century.

The 1828 presidential election, which pitted Major General Andrew Jackson against incumbent John Quincy Adams, has long been hailed as a watershed moment in American political history. It was the contest in which an unlettered, hot-tempered southwestern frontiersman, trumpeted by his supporters as a genuine man of the people, soundly defeated a New England "aristocrat" whose education and political résumé were as impressive as any ever seen in American public life. It was, many historians have argued, the country's first truly democratic presidential election. It was also the election that opened a Pandora's box of campaign tactics, including coordinated media, get-out-the-vote efforts, fund-raising, organized rallies, opinion polling, campaign paraphernalia, ethnic voting blocs, "opposition research," and smear tactics. In The Birth of Modern Politics, Parsons shows that the Adams-Jackson contest also began a national debate that is eerily contemporary, pitting those whose cultural, social, and economic values were rooted in community action for the common good against those who believed the common good was best served by giving individuals as much freedom as possible to promote their own interests. The book offers fresh and illuminating portraits of both Adams and Jackson and reveals how, despite their vastly different backgrounds, they had started out with many of the same values, admired one another, and had often been allies in common causes. But by 1828, caught up in a shifting political landscape, they were plunged into a competition that separated them decisively from the Founding Fathers' era and ushered in a style of politics that is still with us today.

Looks at the origins and impact of World War I, discusses the premiere of Stravinsky's ballet, and analyzes public opinion of the period.

This book is a thematic history of the world from 1780, the pivotal year of the revolutionary age, to the outbreak of the First World War in 1914. It brings together historical data and arguments from different societies in order to show how interconnected the world was, even before the onset of modern globalization. "The Birth of the Modern World, 1780-1914 demonstrates how events in Asia, Africa, and South America, from the decline of the eighteenth-century Islamic empires to the anti-European Boxer rebellion of 1900 in China, had a direct impact on European and American history. Conversely, it sketches the "ripple effects" of crises such as the European revolutions and the American Civil War. The book also considers the great themes of the nineteenth-century world: the rise of the modern state, industrialization, liberalism, and the progress of world religions. Engaging and original, this book both challenges and complements the dominant regional and national approaches traditionally adopted by historians.

From band posters stapled to telephone poles to the advertisements hanging at bus shelters to the inspirational prints that adorn office walls, posters surround us everywhere—but do we know how they began? Telling the story of this ephemeral art form, Elizabeth E. Guffey reexamines the poster’s roots in the nineteenth century and explores the relevance they still possess in the age of digital media. Even in our world of social media and electronic devices, she argues, few forms of graphic design can rival posters for sheer spatial presence, and they provide new opportunities to communicate across public spaces in cities around the globe. Guffey charts the rise of the poster from the revolutionary lithographs that papered nineteenth-century London and Paris to twentieth-century works of propaganda, advertising, pop culture, and protest. Examining contemporary examples, she discusses Palestinian martyr posters and West African posters that describe voodoo activities or Internet con men, stopping along the way to uncover a rich variety of posters from the Soviet Union, China, the United States, and more. Featuring 150 stunning images, this illuminating book delivers a fresh look at the poster and offers revealing insights into the designs and practices of our twenty-first-century world.