La communication haut de gamme du Club Méditerranée : Et vous, le bonheur, vous l'imaginez comment ?

La communication haut de gamme du Club Méditerranée : 

Et vous, le bonheur, vous l'imaginez comment ? 

Sans doute en avez-vous déjà vu, ce sont les visuels de la campagne de marque 2013 du Club Med accompagnés d'une question commune en guise de slogan : Et vous, le bonheur, vous l'imaginez comment ? Le célèbre club de vacances vous donne sa réponse en 16 images, 16 photomontages qui existent aussi en version animée. Les visuels sont signés, pour la réalisation, Nick & Chloé pour les photographies (agent : Florence Moll) et La Manufacture pour les retouches. Volontairement stéréotypées, mais stylées, c'est le bonheur de vacances de rêve qui s'affiche, de façon idyllique, voire surréaliste, si ce n'est qu'il est à portée de main. 

Cette nouvelle campagne mondiale de marque, lancée en janvier 2013, s’appuie sur le repositionnement réussi du Club Méditerranée sur le haut de gamme. C'est un bohneur différent de tous les autres qui est proposé, avec une dimension supplémentaire tel que les clients peuvent le vivre au Club Med, un bonheur différent de tous les autres car d’une intensité telle qu’il en devient unique et permet de vivre des expériences aussi intenses que dans leurs rêves. Et elle invite ainsi chacun à imaginer le(s) sien(s) au travers de la question posée qui est une nouvelle signture de marque.

Cette approche sous forme de question ouverte répond à l’évolution de la société, de plus en plus participative, ce que symbolise l’avènement du digital et des réseaux sociaux. Cette signature interpelle, invite chacun à se projeter dans une vision très personnelle du bonheur et à en faire part.  Cette liberté redonnée au client renoue avec l’ambition exprimée par Gérard Blitz à l’origine :  « Nous sommes branchés sur quelque chose de mystérieux : la libération intérieure de l’homme ». 

Construite grâce au savoir-faire des équipes de l’agence Saatchi & Saatchi + Duke, cette campagne est diffusée dans 47 pays (#) et en 22 langues. La musique de marque (Paraiso, composée par Jean-François Mory) a été réorchestrée pour renforcer sa modernité tout en conservant son identité, une rythmique chaloupée et des percussions très présentes qui expriment sérénité, joie de vivre et convivialité. Le déploiement s’est étalé sur plusieurs mois en fonction des zones géographiques :

- Janvier : France, marchés européens et certains marchés asiatiques 

- Février : Chine 

- Mars : Brésil, Etats-Unis 

Les créatifs de l'agence Saatchi & Saatchi + Duke qui ont imaginés cette campagne sont Mathieu Viloutreix (Concepteur rédacteur), Delphine Bojago (Directrice artistique) sous la direction de Anne-Cécile Tauleigne, Directeur de création, avec Nicolas Taubes, Art supervisor. 

(#) Les 47 pays où a été déployée la campagne de publicité : Afrique du Sud, Allemagne, Argentine, Australie, Autriche, Belgique, Brésil, Canada, Chili, Chine, Corée du Sud, Danemark, Espagne, Etats-Unis, Finlande, France, Grèce, Hong Kong, Hongrie, Israël, Italie, Inde, Irlande, Japon, Liban, Malaisie, Maroc, Mexique, Norvège, Nouvelle-Zélande, Paraguay, Pays-Bas, Pologne, Portugal, Royaume-Uni, Russie, Singapour, Slovaquie, Suède, Suisse, Taïwan, Thaïlande, Tunisie, Turquie, Ukraine, Uruguay, Vénézuela

LE BONHEUR SELON L'ESPRIT CLUB MED : Une mission depuis plus de 60 ans, proposer une parenthèse de bonheur 

En 1950, le Club Med s’est construit sur la vision de ses deux fondateurs, Gérard Blitz et Gilbert Trigano, convaincus que le destin de l’homme est d’être heureux et que, pour cela, il doit être libre et affranchi de toute contrainte. Gérard Blitz disait alors : « Le but dans la vie, c’est d’être heureux… Le moment pour être heureux, c’est maintenant. Et l’endroit pour être heureux, c’est ici ». Dans ce cadre, la raison d’être du Club Med est de  faire retrouver, le temps des vacances, ce que la vie devrait être ou ce qu’elle n’aurait jamais dû cesser d’être.  

Si ce qui rend heureux s’est transformé au cours de ces 60 dernières années, au Club Med le bonheur reste spécifique car teinté par l’Esprit Club Med. A chaque décennie le Club Med a entendu coller aux attentes de la société, avec le soucis de réinventer une certaine alchimie du bonheur : 

• Dans les années 1970-80 : le bonheur est simple comme un retour aux sources dans une période d’expansion économique qui donne lieu aux campagnes des « Verbes » et « Andidote for civilization ». 

• Dans les années 1980-90 : le bonheur est un choix libre, assumé et revendiqué devant la montée de l’individualisme. C’est la campagne « Le bonheur, si je veux ». 

• Dans les années 2000 : le bonheur est un ressourcement, face à un monde en crise et en guerre. C’est la campagne « Etre-re ». 

• En 2005, le bonheur c’est de s’ouvrir aux autres, dans une société qui se replie sur elle-même. C’est la campagne des « Visages ». 

• En 2008, le bonheur est multiple, dans un univers de plus en plus complexe. C’est la campagne des « Bonheurs ». 

• Désormais, en 2013, dans un monde où le digital a tout bousculé sur son passage (conventions, habitudes, certitudes), le bonheur devient participatif. Chacun doit pouvoir en donner sa propre vision… son bonheur idéal. 

www.clubmed.fr

Designers Stefan Sagmeister & Jessica Walsh, The Jewish Museum, New York, USA

First Exhibition by Designers Stefan Sagmeister and Jessica Walsh: Six Things: Sagmeister & Walsh
The Jewish Museum, New York, USA
Through August 4, 2013

Designers Stefan Sagmeister and Jessica Walsh

Sagmeister & Walsh 

Stills from If I Don’t Ask, 2013 

HD video, 2min., 12 secs. 

In collaboration with Santiago Carrasquilla 

© Sagmeister & Walsh

The designers Stefan Sagmeister and Jessica Walsh are known for their experimental typography and striking visual imagery. Six Things: Sagmeister & Walsh, on view at The Jewish Museum since March 15 through August 4, 2013, marks the first exhibition of their newly minted design firm Sagmeister & Walsh. For the last ten years, Sagmeister has researched the nature of happiness, asking, “Is it possible to train my mind in the same way I can train my body?” In five short films and a sculpture, the studio investigates six things, culled from Sagmeister's diary, that he believes have increased his personal happiness such as: “Now Is Better” and “If I Don’t Ask I Won’t Get.” In addition, intrigued by a recent nationwide survey in which Jews reported the highest levels of well-being of all religious groups, Sagmeister & Walsh are placing a text in the gallery that connects this scientific data to his personal exploration of happiness.

Before this partnership, Stefan Sagmeister was already taking an unusual approach to design. He has created signature album covers for Lou Reed, Talking Heads, the Rolling Stones, and OK Go, and others, and executed indelible ad campaigns for major companies such as HBO and Levi’s. In an iconic 1999 poster for the American Institute of Graphic Arts (AIGA), he incised type into the skin of his naked torso like a tattoo. At the contemporary art gallery Deitch Projects in 2008 he stacked 10,000 bananas against a wall. Unripe green bananas among the yellow ones spelled out the rallying sentence, “Self-confidence produces fine results.” The legibility of the text fluctuated as the fruit turned from green to yellow to black over the course of the exhibition. 

To stimulate his own creativity Sagmeister has gone on regular sabbaticals since 2000, traveling and investigating ideas. Over the last decade he has delved into the nature of happiness. Inspired by the psychologist Jonathan Haidt, whose research connects spiritual wisdom with modern science, Stefan Sagmeister developed an intensive regimen of meditation, cognitive therapy, and mood-altering drugs as an experiment in self-discovery. From this emerged a forthcoming documentary entitled The Happy Film and from that The Happy Show, a traveling exhibition and its accompanying publications, organized by the Institute of Contemporary Art, Philadelphia. 

Six Things is a continuation of this project on happiness, in which Jessica Walsh has been an integral partner. In five compelling short videos and a sound-activated sculpture, Sagmeister & Walsh examines six things culled from Sagmeister’s diary that he believes have increased his personal happiness: 

If I Don’t Ask I Won’t Get 

Keeping a Diary Supports Personal Development 

Be More Flexible 

It Is Pretty Much Impossible to Please Everyone 

Now Is Better 

Feel Others Feel 

Sugar cubes, bubbles, and water balloons are just some of the materials used to spell out the phrases. The ambiguous connections between the six epigrams and the objects of which they are composed are left for visitors to decipher, a provocative game based in the pleasure of looking. 

A text in the Six Things exhibition gallery connects this scientific data to the personal exploration of happiness. It notes: “According to a recent nationwide survey, Jewish Americans report higher levels of happiness than all other major faith groups in the country. This finding is based on more than 676,000 interviews conducted in 2010-2011 for the Gallup-Healthways Well-Being Index. Within each faith surveyed, very religious members are happier than their nonreligious counterparts. For example, observant Jews are generally happier than secular Jews. But a higher proportion of practicing members does not predict greater well-being for the faith. Interestingly, though Jews are among the least religious faith groups in America, with only 16.9% identifying themselves as very religious and 53.5% as secular, they still appear to be the happiest. The Well-Being Index does not definitively say that religious observance leads to greater happiness. It does note that belief in a higher power, prayer, acts of charity, and neighborly love can promote a sense of belonging; alleviate stress and depression; and lead to a positive outlook on life.”

Six Things: Sagmeister & Walsh has been organized by Rebecca Shaykin, Leon Levy Curatorial Assistant at The Jewish Museum. 

STEFAN SAGMEISTER & JESSICA WALSHS are the principals of Sagmeister & Walsh, a New York-based design firm. They have been engaged to create a new graphic identity for The Jewish Museum. 

STEFAN SAGMEISTER  born in Bregenz, Austria, in 1962, established the design firm Sagmeister Inc. in New York in 1993. He is the recipient of many awards, including two Grammy awards for his packaging designs, the Lucky Strike Designer Award, and an award from the Cooper-Hewitt National Design Museum. 

Born in 1986 in New York, JESSICA WALSHS  a multidisciplinary designer, has worked at Pentagram Design and Print magazine and counts The New York Times, AIGA, EDP, Computer Arts, and I.D. magazine among her clients. She was named Computer Arts' Top Rising Star in Design in 2009 and an Art Director’s Club Young Gun in 2010, as well as Print’s New Visual Artist for 2011.

Exhibition Related Program: On Thursday, May 2 at 6:30pm, Stefan Sagmeister will talk about his recent projects including the exhibition, Six Things: Sagmeister & Walsh.

Among other exhibition on view at The Jewish Museum in New York is the project: As it were … So to speak. A Museum Collection in Dialogue with Barbara Bloom, Through August 4, 2013.

Support: This exhibition is made possible by the Irma L. and Abram S. Croll Charitable Trust. Additional support is provided by StampStampede.org. 

The Jewish Museum, New York, USA
Museum website: www.thejewishmuseum.org

Reverting to Type – New North Press London Exhibition

Exhibition: Reverting to Type
New North Press, London
Through 22 January 2011

 

Graphic Design © & courtesy New North Press, London

 

Reverting to Type is an exhibition of contemporary letterpress practitioners, showcasing how a centuries-old craft is being reinvented for modern day usage

The exhibition is curated by Graham Bignell of New North Press and graphic designer Richard Ardagh and features prints and publications by progressive practitioners from around the world.

Reverting to Type aims to highlight the pioneers at the helm of the current resurgence of interest in letterpress; from computer-based designers with a desire to ply a craft with a tactile immediacy that has been lost with modern technology, to traditional presses finding new ways to revitalise their design output.

Established in 1986 by Graham Bignell, New North Press is an artisan letterpress print studio, specialising in setting and printing by hand. Richard Ardagh is a graphic designer who has worked with New North Press to produce collaborative poster editions such as Oranges & Lemons and a 150th anniversary print for Wilton’s Music Hall.

To coincide with the exhibition, New North Press has published the first of an on-going series of collaborative prints by contemporary artists, designers and wordsmiths. The majority of the show’s unique exhibits are for sale and the gallery also host a working Adana press to hand-print your own personalised cards.

Contributers
Black Stone CAN / Brad Vetter USA / Carl Middleton UK / Dafi Kühne CH / Flowers&Fluerons UK / Hand & Eye UK  / Hatch Show Print USA / Hi-Artz UK / IMPO$T AUS  / Jens Jørgen Hansen DEN / Marcus Müller CH  / Mark Pavey UK / Mr Smith UK / Occasional Print Club UK / Prensa La Libertad ARG / Rosa De Carlo UK / Team Nerd USA / Typoretum UK / Yee Haw! Industries USA

Collaborators
Catherine Dixon / David Peason / Fraser Muggeridge Studio / OPX design / Peter Aston Jones / Phil Baines / Stevey Scullion / Vikram Seth

NEW NORTH PRESS / Standpoint Gallery
45 Coronet street
LONDON N1 6HD, UK

www.new-north-press.co.uk

10.12 - 24.12.2010 / 04.01 - 22.01.2011

d[x]i Magazine No. 32 Dec. 2008-March 2009

d[x]i Magazine is a complimentary quarterly publication distributed throughout Spain. It is devoted to design and its related disciplines, such as art, architecture, interior design, graphic communication and fashion.

Highlights from this issue: - Jugar con Miedo

- Pioneers of Contemporary Design

- Loudspeaker: Vicent Martinez

- Francisco Torres

- Horror! Spain is Different

- Silvia Prada. Artista, Ilustradora

- Fresh Blood

Previous Posts:

- Tecknaren Magazine No. 6 - 2008 - IdN Magazine February 2009 Vol.16 No.1 - Apprareils photo marque Phokina - Photos Plage Annees 1920 - Vente aux enchères de photographies anciennes et m... - Double Super 8 Pathe EPC Webo DS8

Cover (c) d[x]i - All rights reserved

Tecknaren Magazine No. 6 - 2008

Tecknaren is the official publication of the Association of Swedish Illustrators. It covers news and articles concerning artists, illustrators and graphic designers. It aims to provide information, initiate debates and increase the knowledge of those wide areas of expertise in which the members are professionally active. The journal also contains entertainment, union bulletins, updates concerning grants, awards, competitions and more.

Highlights from this issue: - Annie Winblad Jakubowski - Frånsidans Formgivare

- Hannes Rydell Om Over and Over

- 1B Andersen - Lysande dansk tecknare

- Joanna Hellgren - Tour de France

- 4 X Jacobson Ställer Ut

- Krönikan - Magnus Näsmark

- tecknat i Tiden - Finn Graff, Owe Gustafson, Wordless Books Och Lars Fuhre

- Lasse Sandberg Död

- Notiser - Pristagare, Möten Och Kolla

On the cover: "Omslagsillustration" by Anna Giertz (c) Tecknaren / Anna Giertz - All rights reserved

IdN Magazine February 2009 Vol.16 No.1

IdN magazine is an international publication for creative people on a mission to amplify and unify the design community in Asia-Pacific and other parts of the world. It is devoted to bringing designers from around the globe together to communicate with, learn from and inspire one another.

Highlights from this issue:
- Feature: the craft issue: Keeping their hand in

- Getting noticed by being versatile

- Toujours Paris - but now with a new design twist

- Cutting the distance between eyes and ears

- Like only Spider-Man can!

- Pick of the month

IdN Cover (c) IdN - All rigths reserved

Design City 2008 Expo Graphic Designers

Le salon canadien pour Graphiques Designers "Design City 2008" se tiendra à Toronto au Direct Energy Centre les 22-24 novembre prochain. C'est la troisième édition de ce salon organisé dans le cadre de Print World 2008.

Y seront présents : Archetype Bag Makers, Asia Pulp & Paper, Cascades Fine Papers, CJ Graphics, Colour Innovations, Design Edge Canada, Entire Imaging Solutions, Flash Reproductions, Fotoware – Laidback Solutions, FSC Canada, Graphic Direction, iStockphoto, Majic Paper, Moveable Inc., Pearson Tech Group, Quark, RGD Ontario, SFI, Shutterstock, Specialties Graphic Finishers, Tembec, The Silver Sign, Ultima Displays et Your Web Department.

Informations : http://www.designcityshow.com/

et http://www.printworldshow.com/

Saul Bass: The Hollywood Connection

 

Source: Skirball Cultural Center - Left: Saul Bass in his studio, circa 1974; courtesy of the Academy of Motion Picture Arts and Sciences. - Right: Saul Bass–designed poster for Alfred Hitchcock’s Vertigo; © Paramount Pictures.

 

Saul Bass: The Hollywood Connection, an exhibition focusing on the graphic designer’s acclaimed work for the American film industry, was presented at the Skirball Cultural Center from January 4 through April 1, 2007. The exhibition included more than 20 movie posters and six soundtrack-album covers designed by Saul Bass for such films as Vertigo (1958), Anatomy of a Murder (1959), Exodus (1960) and In Harm’s Way (1965). It also featured, on continuous loop, a rare 22-minute montage —edited by Saul Bass and his wife, Elaine— of many of Bass’s motion-picture title sequences, from The Man with the Golden Arm (1955) to The Age of Innocence (1993). These are recognized as among the most innovative title sequences ever produced in Hollywood. Alternately screened with the montage were Why Man Creates (1968), the Oscar-winning short documentary Saul Bass produced and co-directed with Elaine Bass.

SAUL BASS (1920–1996) attended the Art Students League in Manhattan in his native New York. He then studied at Brooklyn College under the painter, designer and educator Gyorgy Kepes, a Hungarian émigré who had collaborated with Bauhaus artist and professor László Moholy-Nagy in 1930s Berlin. Gyorgy Kepes introduced his student to the Bauhaus movement and to Russian Constructivism, the styles of which influenced Saul Bass’s art.

Following his schooling, Saul Bass began working as a commercial artist in New York, but he felt constrained by the creative limitations of the city’s advertising agencies. Saul Bass moved to Los Angeles in 1946 and opened his own studio, Saul Bass & Associates, in 1952. During his distinguished career, Saul Bass became a graphic-design legend for conceiving the corporate identity packages of such companies as AT&T, Warner Communications and United Airlines. The logos he created for these business giants are considered among the most instantly recognized in 20th-century American popular culture.

Award-winning filmmaker Otto Preminger was the first to offer Saul Bass the opportunity to design a title sequence, for the film Carmen Jones (1954). Saul Bass approached the formerly unremarkable moments before the film began as an opportunity to set audience mood and enhance entertainment value, not just list credits. The following year, for the opening sequence to Otto Preminger’s The Man with the Golden Arm, Saul Bass used an animated paper cut-out of a disjointed arm, which helped draw the audience into the film’s tale of drug addiction from the very first frames. On view will be the now-famous and often-imitated title sequence for The Man with the Golden Arm along with the poster and soundtrack-album cover, both of which repeated the disjointed-arm motif. Taken together, these works reveal the visual identity Saul Bass created for the film as a whole.

From this groundbreaking early work, Saul Bass would eventually work with illustrious filmmakers Alfred Hitchcock, Stanley Kubrick, John Frankenheimer, Billy Wilder and many more. These directors valued Saul Bass’s innovative use of animation, live action and dynamic typography. Saul Bass —who, beginning with Spartacus (1960), worked in collaboration with his wife, Elaine— created more than 50 title sequences and fully integrated advertising campaigns for such celebrated films as North by Northwest (1959) West Side Story (1961), Vertigo, Exodus and Grand Prix (1966). The title sequences for these films were featured in the exhibition’s montage. For Hitchcock’s Psycho (1960), Saul Bass not only contributed the title sequence but helped to storyboard the film. A reproduction of Bass’s storyboard for the film’s classic shower scene were also displayed in the exhibition.

After winning, in 1969, the Academy Award for Best Documentary, Short Subjects, for Why Man Creates, an animated film exploring the nature of creativity, Saul Bass took a nearly decade-long hiatus from film work and focused on his landmark graphic-design campaigns for companies worldwide.

The Basses returned to the movies in the 1980s, producing the title sequences, among many others, for Danny De Vitos’s War of the Roses (1989), Billy Crystal’s Mr. Saturday Night (1992) and Martin Scorcese’s GoodFellas (1990) and Cape Fear (1991). The montage in the exhibition includes these later works. In 1991 and 1993–1996, Saul Bass designed the official posters for the Academy Awards, all of which were displayed in the exhibition. Saul Bass had served as a member of the Academy’s Board of Governors for nine years.

Saul Bass: The Hollywood Connection was on view in the Skirball’s Ruby Gallery and Hurd Gallery. The exhibition was presented as part of the Skirball’s Our California series, exploring the changing cultural, social and civic forces that have shaped California.

Related film screenings: During the run of Saul Bass: The Hollywood Connection, the Skirball presented free Tuesday afternoon screenings of the following films for which Saul Bass created the title sequences and advertising campaigns: Psycho (January 9) Vertigo (January 23), Anatomy of a Murder (February 6) and Bonjour Tristesse (February 27). The Skirball also showing Phase IV, a rarely screened science-fiction film directed by Saul Bass (February 22).

 

The Exhibition was developed with the curatorial guidance of the FILM ARCHIVE OF THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES.

 

SAUL BASS: THE HOLLYWOOD CONNECTION
January 4–April 1, 2007

SKIRBALL CULTURAL CENTER
2701 N. Sepulveda Blvd.
Los Angeles, CA 90049

Updated

Dreams and Disillusion: Karel Teige and the Czech Avant-Garde at the Grey Art Gallery, NYU

Dreams and Disillusion

Karel Teige and the Czech Avant-Garde

Grey Art Gallery, NYU, New York

May 1 - July 7, 2001

Dreams and Disillusion provides a long-overdue exploration of the career of the most important Czech proponent of modernism, KAREL TEIGE.  Previously overlooked in Western accounts of the European avant-garde, Karel Teige (1900–1951) was a graphic designer and architectural theorist whose innovations in book design, poetry, stage sets, and collage revolutionized Czech artistic production in the 1920s and '30s. The exhibition both reveals the major contributions of Karel Teige and his circle to the development of modernism and illuminates the social and political forces that affected Czechoslovakia from the end of the First World War to the Soviet occupation. It features some 100 objects, including 21 of Teige's surrealist collages— never before been seen in the United States—as well as a full-scale model of Teige's ideal apartment for workers. This exhibition is organized by The Wolfsonian–Florida International University, Miami Beach, Florida.

"We are very pleased that the Grey Art Gallery will be able to participate in the tour of Dreams and Disillusion: Karel Teige and the Czech Avant-Garde," observes Lynn Gumpert, director of the Grey Art Gallery. "Teige's multi-faceted accomplishments certainly deserve a wider audience. The broad range of media explored by the artist, along with the important social issues he raises, are still extremely relevant today."

Drawn primarily from the superb collection of Central European graphic arts of The Wolfsonian–Florida International University, Dreams and Disillusion focuses on Teige's key artistic production between the wars. Faced with the challenges of defining a newly independent Czech culture after the end of the First World War, Teige brought international attention to the Czech avant-garde through his connections to well-known Constructivists, Purists, Dadaists, Surrealists, and Bauhaus designers in Russia, France, and Germany. Karel Teige, who was eighteen years old when the Republic of Czechoslovakia gained its independence from Austria-Hungary, served as a conduit of ideas between East and West in the early days of the Soviet government.

One of the founders of Devetsil, a leading association of young artists and intellectuals in Prague, Karel Teige edited a number of significant avant-garde journals on art and architecture, and wrote books and essays on art, architecture, typography, photography, film, and theater. He also acted in his own plays, designed stage sets, and taught at the Bauhaus. Putting theory into practice, he produced poems, paintings, prints, book illustrations, film scripts, and photomontages. His embrace of technology and the cutting edge of modernist design techniques is evident throughout this remarkable body of work.

During the Great Depression in the 1930s, Karel Teige remained confident in the potential of socialism to improve conditions for the masses. He sought solutions to the economic and political crisis through architecture, offering theoretical housing projects that rejected the bourgeois way of life and addressed the needs of a newly empowered working class. However, the rise of Stalin, the Nazi invasion, the Second World War, and finally the Soviet occupation of Czechoslovakia shattered Teige's dreams of utopia. From the late 1930s until his untimely death in 1951, he turned inward, creating a series of edgy, erotic, and disturbing Surrealist collages.

The installation consists of five sections. The introductory section examines the rise of oppositional culture in Prague through photos, objects, and text, and introduces visitors to Teige's role in the Czech avant-garde. The second explores his early work and Devetsil; the third relates to poetism, the movement he founded with poet Vítezslav Nezval; the fourth illuminates his significant influence on modernist architecture. The exhibition concludes with the final phase of Teige's life, from Hitler's closing of the Bauhaus in 1933 to the artist's death in 1951. This section includes his surrealist collages, shown for the first time in the United States, from the Museum of Czech Literature in Prague.

The exhibition was organized by Dr. Eric Dluhosch, Professor Emeritus of Architecture at MIT; Wendy Kaplan, former Associate Director for Exhibitions and Curatorial Affairs at The Wolfsonian–Florida International University; and James Wechsler, former Assistant Curator at the Wolfsonian. The exhibition will be touring next fall to the Smart Gallery of Art at the University of Chicago, where it will be shown from October 4 to December 9, 2001.

The exhibition is accompanied by the publication Karel Teige, 1900–1951: L'Enfant Terrible of the Czech Modernist Avant-Garde (MIT Press, 1999), edited by Dr. Eric Dluhosch and Rostislav Svachá of the Czech Academy of Science.

GREY ART GALLERY, NYU

New York University

100 Washington Square East, New York, NY 10003

www.nyu.edu/greyart