Issue link: http://digital.copcomm.com/i/1332040
J A N U A R Y / F E B R U A R Y 2 0 2 1 | P E R S P E C T I V E 3 1 R E S O U R C E S IN SEARCH OF AFRICAN AMERICAN SPACE: REDRESSING RACISM EDITED BY JEFFREY HOGREFE, SCOTT RUFF, CARRIE EASTMAN, ASHLEY SIMONE Richly illustrated with vintage adverts, maps, posters and architectural plans, and organized thematically, this anthology is divided into three sections. The section "The Monument, Memorial, and Mundane," explores the analytical methods of architects Scott Ruff , Yolande Daniels, Rodney Leon, Elizabeth Kennedy, Sara Caples and Everardo Jeff erson, who have dedicated their studies and practices to examining spatial typologies related to the African diaspora. As architects working directly in the afterlife of slavery, conscious of spatial performances of opposition in relationship to architecture, they introduce their own interpretations of African American space from their personal experiences and a dedication to an aspect of practice that has been operating largely outside of the academy. The section "Politics Without a Proper Locus" contextualizes the development of African American space in everyday practices that arose in the antebellum period and beyond, among enslaved persons on plantations and the growing population of freed Africans in urban settlements in the North and South. The oppositional performances of African Americans are at the foundation of a search for African American space—a space that is continually erased by the state apparatus. BILL GOLD: POSTERWORKS BY TONY NOURMAND & CHRISTOPHER FRAYLING American graphic designer Bill Gold (1921-2018) was the "Mad Man" of movie posters. His life's work spans seven decades and over two thousand fi lms, and he was the man behind campaigns for the greatest movies the world has ever seen. The fi rst movie poster Gold designed was for Casablanca in 192. Over the next 70 years, he designed posters for Dial M for Murder, The Exorcist, Bonnie and Clyde, Bullitt, My Fair Lady, Get Carter, Dirty Harry, The Untouchables, Unforgiven and many more. Several of these posters became as iconic as the fi lms they advertised, coveted items cherished by moviegoers all over the world. The book is introduced by a foreword from longtime collaborator and friend, Clint Eastwood, who comments, "I am proud of the work that Bill has created for me over the years, and prouder still that it has been collected here in this beautiful book for you to enjoy." The accompanying text is by Christopher Frayling, formed from hours spent in conversation with Gold. Gold was archivist of his own work, and PosterWorks details the creative process through his personal collection of unseen designs, alternative versions, sketches, drafts, notes and photographs, as well as giving due credit to the roster of illustrators and artists whose talents he fostered through his agency.