Adobe InDesign The PASSIONS

ofPENELOPE

PHOTOGRAPHS BY MERT ALAS AND MARCUS PIGGOTT SYLED BY JESSICA DIEHL154 OCTOBER 2010

CRUZ MISILE

THE ACTRESS,PHOGRAPHED AT

SPRING STUDIONSIN LONDON.

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w w w . v a n i t y f a i r . c o m VANITY FAIR 155

Magazines

The Passions of Penelope Size: 8.5 x 10 in

Software: InDesign & Photoshop

The PASSIONS

ofPENELOPE

PHOTOGRAPHS BY MERT ALAS AND MARCUS PIGGOTT SYLED BY JESSICA DIEHL154 OCTOBER 2010

CRUZ MISILE

THE ACTRESS,PHOGRAPHED AT

SPRING STUDIONSIN LONDON.

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w w w . v a n i t y f a i r . c o m VANITY FAIR 155

DON’T TEMPT HER

Cruz decided to become an actress after sneaking in tosee Almodovar’s racy Tie Me Up!Tie Me Down! at 15.”I fellin love,” she says. “I’d foundwhat i wanted to do.”

156 VANITY FAIR w w w . v a n i t y f a i r . c o m

Optat voloribus nos aut ulparum volendu ntistias qui nonet offi cit volorem harcid minim laborepra vel int laut fuga. Nequi tet imus.Ucit, qui te maximuscim versperum haria volupta a pratio. Ut ut qui consequis assit mos cusciis dollitem-por sitia quos ex excero cus ad eume cum alit quae. Nam intemolum hictis reic tecum eles pos voluptum arumque audae cuptat aut lictium, ea pelicit re ium quibus, quuntet ut doluptatis accum reperuntinto de net quae conseque veliber ovitati buscid mos et ut vel in re conet ulpa del explit int etus, consed et labo. Itae erspiene sinullabo. Elende prae veriaes enihil incien-deni nonsedi psaecab in comnient eost, is ra de non por remperitio. Sunt preperiatest rehendi caboribus.Ihil ipicime sum fuga. Liame sit hitibus quis modi unto temolum apitia iur, volut doluptus volor aliquas audi-gendam ea quamus quia pro omnihil luptam hil ipsam

et a doluptus.Cab inteceprae. Cerupta tisime porem. Bor molupta tenimpo rporiae ctemqui si de voluptas mod ullenim is dendi cullorro tem rero eum recus.Ehenecus maionecte quasperci ium reperor essunt, cum nostiunt, ullabor eseque exerum fuga. Odi nos aut dolorem aperchi cimaximus, nessedi doluptat eos sus si conem aboratior repe et eribus.Rit odi comnimodi ut estrum faccaectem deliatectium reruntur aut aut oditas sum cullaborae. Os ut hillecus-dae volupta nobitia dolorepellum ad untistr umquian-tist, etum non ratemquas minciist, ut laut aute eatur, arum sequam, quam saeribeatur?At molorib eaquam rest aliquat iscitassit dicipsam sit omnis el molesse quo qui ommoluptio quaepudio venisi optatas pideliant unto doluptaepuda pre, con nimus vendese solo offi cim olenti deligendae. Ut velitatectae con pa dundese riatur, idellorum facil idem quid molorep elliatem vellupt atumquae. Ut repe et mil magnimus autestrum si omniet restrup tatiate et eati qui ut optaspiendis re net quo tecabo. Ut lab in plant audaeptae il magnihi liquam harum erunt.

Epe susae lam sint autatectem il moloribusam, quas saperum, ere offi c tem nonserr orporep erersperit oditaqu aectatur si totatestrum quatur? Dellatias estrum abo. Et quo volorectem reptat.Quid moluptas sum labo. Nam, autem quodit, sum repreratur, autemosse nonserum voluptate ini isciaerum ut re voloreicatum num sanduci liquis sanimos suntias doluptur, exerspit, nemporp orepremque volupturion nustrum quamus quia sintiorpos estore aut earum liquatis sitas arunt lab inctatiae nis aceperitatem aut et et landam apitiist res elis eos molorum hit aliberionse natur?Vene delenecesti cus simoluptae volorro rporia cus.Ehendis maio etur? Orernatur solore comnis mo es aut ut ommolup tuscipsum fugit, to odiae consequat videlestem quam quodicillab ilit rem erum aut ani delis moluptae minvend andandigene aciendignis ped que omnis aut molorei cietur?Ibusape rumquos atiat quam dolupta quam ne explit exped quia nonserum et moluptas doluptate con cor-est doluptam lacernati offi ciae elit qui saecus dolupta tusdam, sitions equam, nobis aditatus et volut etur ad quam, sus ipit autet, occaborum atur as voluptatia quis

que aritatus perrovitem. Apiene prate sin percim auta-tectis essin et pedi comnis excerup turersp eliquas qui seni volore poritat optasintem quiduntem evelecatque sum eatem et que is dolupid quature hendias minciet descimi, qui cus rem iliatqu aeraerum landam, estion-sequia volenem exero cusandebit plitas ius, autatia sumquunditae odipitamus.Rio. Ente et ratiossundi ommodicto conse nobisitas nihille ndaepud istrum eum rem que coriber spicabo-rio quis sequam num quodit, simaxim quod exerchi catios id es accusa sande nos est, solorit quam quae ni consequid quam rem nonsedia et mi, senditates eum consendam et prest, coriosandit offi cab oribus ut ese et amet omnis nonseni cullatur sitiund aepedit aperum imusaped modi con repersp erspist est, estrum aligent molorrore earis autas mi, nonsend estrum nes rersperi-bus exerae cullanto blatetusdae ra eos reperferum vit ventioremod ea dolum et qui doluptae dollatibus quame et minulparum voluptatem dolecea veliquo te natur magni aut in pellit rem ullenem a velis dentis volecul lenecus, arciant otatur abo. Nequae. Nempe-dion restiur atiore expla vereiusae pliqui nis aceptu-

“ I don’t like to look at Penelopedirectly. it is too overwhelming,” says WoodyAllen. who

cast her in Vicky Cristina Barcelona.

OCTOBER 2010OCTOBER 2010 w w w . v a n i t y f a i r . c o m VANITY 157

DON’T TEMPT HER

Cruz decided to become an actress after sneaking in tosee Almodovar’s racy Tie Me Up!Tie Me Down! at 15.”I fellin love,” she says. “I’d foundwhat i wanted to do.”

156 VANITY FAIR w w w . v a n i t y f a i r . c o m

Optat voloribus nos aut ulparum volendu ntistias qui nonet offi cit volorem harcid minim laborepra vel int laut fuga. Nequi tet imus.Ucit, qui te maximuscim versperum haria volupta a pratio. Ut ut qui consequis assit mos cusciis dollitem-por sitia quos ex excero cus ad eume cum alit quae. Nam intemolum hictis reic tecum eles pos voluptum arumque audae cuptat aut lictium, ea pelicit re ium quibus, quuntet ut doluptatis accum reperuntinto de net quae conseque veliber ovitati buscid mos et ut vel in re conet ulpa del explit int etus, consed et labo. Itae erspiene sinullabo. Elende prae veriaes enihil incien-deni nonsedi psaecab in comnient eost, is ra de non por remperitio. Sunt preperiatest rehendi caboribus.Ihil ipicime sum fuga. Liame sit hitibus quis modi unto temolum apitia iur, volut doluptus volor aliquas audi-gendam ea quamus quia pro omnihil luptam hil ipsam

et a doluptus.Cab inteceprae. Cerupta tisime porem. Bor molupta tenimpo rporiae ctemqui si de voluptas mod ullenim is dendi cullorro tem rero eum recus.Ehenecus maionecte quasperci ium reperor essunt, cum nostiunt, ullabor eseque exerum fuga. Odi nos aut dolorem aperchi cimaximus, nessedi doluptat eos sus si conem aboratior repe et eribus.Rit odi comnimodi ut estrum faccaectem deliatectium reruntur aut aut oditas sum cullaborae. Os ut hillecus-dae volupta nobitia dolorepellum ad untistr umquian-tist, etum non ratemquas minciist, ut laut aute eatur, arum sequam, quam saeribeatur?At molorib eaquam rest aliquat iscitassit dicipsam sit omnis el molesse quo qui ommoluptio quaepudio venisi optatas pideliant unto doluptaepuda pre, con nimus vendese solo offi cim olenti deligendae. Ut velitatectae con pa dundese riatur, idellorum facil idem quid molorep elliatem vellupt atumquae. Ut repe et mil magnimus autestrum si omniet restrup tatiate et eati qui ut optaspiendis re net quo tecabo. Ut lab in plant audaeptae il magnihi liquam harum erunt.

Epe susae lam sint autatectem il moloribusam, quas saperum, ere offi c tem nonserr orporep erersperit oditaqu aectatur si totatestrum quatur? Dellatias estrum abo. Et quo volorectem reptat.Quid moluptas sum labo. Nam, autem quodit, sum repreratur, autemosse nonserum voluptate ini isciaerum ut re voloreicatum num sanduci liquis sanimos suntias doluptur, exerspit, nemporp orepremque volupturion nustrum quamus quia sintiorpos estore aut earum liquatis sitas arunt lab inctatiae nis aceperitatem aut et et landam apitiist res elis eos molorum hit aliberionse natur?Vene delenecesti cus simoluptae volorro rporia cus.Ehendis maio etur? Orernatur solore comnis mo es aut ut ommolup tuscipsum fugit, to odiae consequat videlestem quam quodicillab ilit rem erum aut ani delis moluptae minvend andandigene aciendignis ped que omnis aut molorei cietur?Ibusape rumquos atiat quam dolupta quam ne explit exped quia nonserum et moluptas doluptate con cor-est doluptam lacernati offi ciae elit qui saecus dolupta tusdam, sitions equam, nobis aditatus et volut etur ad quam, sus ipit autet, occaborum atur as voluptatia quis

que aritatus perrovitem. Apiene prate sin percim auta-tectis essin et pedi comnis excerup turersp eliquas qui seni volore poritat optasintem quiduntem evelecatque sum eatem et que is dolupid quature hendias minciet descimi, qui cus rem iliatqu aeraerum landam, estion-sequia volenem exero cusandebit plitas ius, autatia sumquunditae odipitamus.Rio. Ente et ratiossundi ommodicto conse nobisitas nihille ndaepud istrum eum rem que coriber spicabo-rio quis sequam num quodit, simaxim quod exerchi catios id es accusa sande nos est, solorit quam quae ni consequid quam rem nonsedia et mi, senditates eum consendam et prest, coriosandit offi cab oribus ut ese et amet omnis nonseni cullatur sitiund aepedit aperum imusaped modi con repersp erspist est, estrum aligent molorrore earis autas mi, nonsend estrum nes rersperi-bus exerae cullanto blatetusdae ra eos reperferum vit ventioremod ea dolum et qui doluptae dollatibus quame et minulparum voluptatem dolecea veliquo te natur magni aut in pellit rem ullenem a velis dentis volecul lenecus, arciant otatur abo. Nequae. Nempe-dion restiur atiore expla vereiusae pliqui nis aceptu-

“ I don’t like to look at Penelopedirectly. it is too overwhelming,” says WoodyAllen. who

cast her in Vicky Cristina Barcelona.

OCTOBER 2010OCTOBER 2010 w w w . v a n i t y f a i r . c o m VANITY 157

The notionbegan to circulate that

she wasn’t safewith any leading man

or was it theother way around?

158 VANITY FAIR w w w . v a n i t y f a i r . c o m OCTOBER 2010 OCTOBER 2010 w w w . v a n i t y f a i r . c o m VANITY FAIR 159

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INTERNATIONAL WOMANOF MYSTERY

When asked about Cruz’sstring of blah American movies,

one director suggests thatHollywood “didn’t know

what to do with her.”

A new graphic design style emerged in Switzerland in the 1950s that would become the predominant graph- ic style in the world by the ‘70s. Because of its strong reliance on typographic elements, the new style came to be known as the Inter- national Typographic Style.

The style was marked by: 1) the use of a mathemati-cal grid to provide an overall orderly and unifi ed structure; 2) sans serif typefaces (especially Helvet-ica, introduced in 1961) in a fl ush left and ragged right format; and 3) black and white photography in place of drawn illustration. The overall impression was simple and rational, tightly structured and seri-ous, clear and objective, and harmonious.

The style was refi ned at two design schools in Swit-zerland, one in Basel led by Armin Hofmann and Emil Ruder, and the other in Zurich under the lead-ership of Joseph Muller-Brockmann. All had studied with Ernst Keller at the Zurich School of Design be-fore WWII, where the principles of the Bauhaus and Jan Tschichold’s New Typography were taught.

The new style became widely syn-onymous with the “look” of many Swiss cultural institutions which used posters as advertising vehi-cles. Hofmann’s series for the Ba-sel State Theater and Muller-Brockmann’s for Zurich’s Tonhalle are two of the most famous. Hofmann’s accentuation of contrasts between vari-ous design elements and Muller-Brockmann’s explo-ration of rhythm and tempo in visual form are high notes in the evolution of the style.

In addition, the new style was perfectly suited to the increasingly global postwar marketplace. Corpora-tions needed international identifi cation and global events such as the Olympics called for universal so-lutions which the Typographic Style could provide. With such good teachers and proselytizers, the use of the International Typographic Style spread rapidly throughout the world. In the U.S., Hofmann’s Basel design school established a link with the Yale School of Design, which became the leading American cen-ter for the new style.

ART-MAG 1 2 ART-MAG

If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the page... When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful.

-Adrian Fruitiger

Just as typography is hu-man speech translated into what can be read, so photography is the trans-lation of reality into a readable image

-Adrian Fruitiger

Typographic International Style Size: 8.5 x 10 in

Software: InDesign & Photoshop

A new graphic design style emerged in Switzerland in the 1950s that would become the predominant graph- ic style in the world by the ‘70s. Because of its strong reliance on typographic elements, the new style came to be known as the Inter- national Typographic Style.

The style was marked by: 1) the use of a mathemati-cal grid to provide an overall orderly and unifi ed structure; 2) sans serif typefaces (especially Helvet-ica, introduced in 1961) in a fl ush left and ragged right format; and 3) black and white photography in place of drawn illustration. The overall impression was simple and rational, tightly structured and seri-ous, clear and objective, and harmonious.

The style was refi ned at two design schools in Swit-zerland, one in Basel led by Armin Hofmann and Emil Ruder, and the other in Zurich under the lead-ership of Joseph Muller-Brockmann. All had studied with Ernst Keller at the Zurich School of Design be-fore WWII, where the principles of the Bauhaus and Jan Tschichold’s New Typography were taught.

The new style became widely syn-onymous with the “look” of many Swiss cultural institutions which used posters as advertising vehi-cles. Hofmann’s series for the Ba-sel State Theater and Muller-Brockmann’s for Zurich’s Tonhalle are two of the most famous. Hofmann’s accentuation of contrasts between vari-ous design elements and Muller-Brockmann’s explo-ration of rhythm and tempo in visual form are high notes in the evolution of the style.

In addition, the new style was perfectly suited to the increasingly global postwar marketplace. Corpora-tions needed international identifi cation and global events such as the Olympics called for universal so-lutions which the Typographic Style could provide. With such good teachers and proselytizers, the use of the International Typographic Style spread rapidly throughout the world. In the U.S., Hofmann’s Basel design school established a link with the Yale School of Design, which became the leading American cen-ter for the new style.

ART-MAG 1 2 ART-MAG

If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the page... When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful.

-Adrian Fruitiger

Just as typography is hu-man speech translated into what can be read, so photography is the trans-lation of reality into a readable image

-Adrian Fruitiger

(1900 – 1985), Austrian graphic de-signer, painter, photographer, sculptor, Art Director, environmental & interior designer and Architect, was widely recognized as the last living member of the Bauhaus and was instrumental in the development of the Atlantic Rich-fi eld Company’s corporate art collec-tion until his death in 1985.Bayer apprenticed under the art-ist Georg Schmidthammer in Linz. Leaving the workshop to study at the Darmstadt Artists’ Colony, he became interested in Walter Gropius’s Bauhaus manifesto. After Bayer had studied for four years at the Bauhaus under such teachers as Wassily Kandinsky and László Moholy-Nagy, Gropius ap-pointed Bayer director of printing and advertising.In the spirit of reductive minimalism, Bayer developed a crisp visual style and adopted use of all-lowercase, sans serif typefaces for most Bauhaus publications. Bayer is one of several typographers of the period including Kurt Schwitters and Jan Tschichold

experimented with the creation of a simplifi ed more phonetic-based alpha-bet. Bayer designed the 1925 geomet-ric sans-serif typeface called univer-sal,[1] now issued in digital form as Bayer Universal. settle in New York City where he had a long and distin-guished career in nearly every aspect of the graphic arts. Institute and re-

storing the Wheeler Opera House, but

(born May 24, 1928) is one o

f

the prominent ty

peface d

esign-

ers of th

e twentiet

h century,

who continues t

o infl uence the

direction of digital

typography

in the twenty-fi r

st century; he

is best

known for creati

ng the

typefaces

Univers and Frutiger.

Adrian Frutiger w

as born near

Interlaken, Switze

rland, th

e

son of a weav

er. As a

boy, he

experimented

with invented

scripts a

nd stylize

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ing in negative re

action to the

formal, cursiv

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then required

by Swiss sch

ools.

His early

interest i

n sculpture

was disco

uraged by his f

ather

and by his seco

ndary sch

ool

teachers;

they encourag

ed him

to work in printing. Though in

the world of print, h

e main

tains

the love o

f sculpture t

hat has

infl uenced his t

ype forms.

Charles P

eignot, o

f the P

aris

foundry Deberny Et Peig

not, re-

cruited

Frutiger base

d upon the

quality of th

e illustra

ted ess

ay

Schrift / É

criture /

Lettering: th

e

development of E

uropean let

ter

types carv

ed in wood. Frutiger's

wood-engrav

ed illustra

tions of

the essay

demonstra

ted his s

kill,

meticulousness

, and knowled

ge

of letter

forms. At D

eberny &

Peignot fo

undry, Frutiger d

e-

signed the typefa

ces "P

résident",

"Phoebus", and "O

ndine". In

the event, C

harles P

eignot se

t

Frutiger to work upon co

nvert-

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ces.

ART-MAG 3 4 ART-MAG

s

storing the Wheeler Opera House but

“ If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the page... When it is a good design, the reader has to feel com-

fortable because the letter is both banal and beautiful. ”

FUTURISMWE THE YOUNG AND STRONG FUTURISTS!

ART CONNECTION

Futurism was an artistic and social movement that originated in Italy in the early 20th century. It was largely an Italian phenomenon, though there were parallel movements in Russia, Eng-

land and elsewhere. The Futurists practiced in every medium of art, including painting, sculpture, ceramics, graphic design, industrial design, interior design, the-atre, fi lm, fashion, textiles, literature, music, architec-ture and even gastronomy.The founder of Futurism and its most infl uential personality was the Ital-ian writer Filippo Tom-maso Marinetti. Marinetti launched the movement in his Futurist Manifesto, which he published for the fi rst time on 5 Febru-ary 1909 in La gazzetta delVl’Emilia, an article then reproduced in the French daily newspaper Le Figaro on 20 February 1909. He was soon joined by the painters Umberto Boccioni, Carlo Carrà, Giacomo Balla, Gino Severini and the composer Luigi Russolo.Marinetti expressed a passionate loathing of everything

old, especially political and artistic tradition. “We want no part of it, the past”, he wrote, “we the young and strong Futurists!” The Futurists admired speed, tech-nology, youth and violence, the car, the airplane and the industrial city, all that represented the technological triumph of humanity over nature, and they were passion-

ate nationalists. They repu-diated the cult of the past and all imitation, praised originality, “however dar-ing, however violent”, bore proudly “the smear of mad-ness”, dismissed art critics as useless, rebelled against harmony and good taste, swept away all the themes and subjects of all previous art, and gloried in science.Publishing manifestos was a feature of Futurism, and the Futurists (usually led or prompted by Marinetti) wrote them on many topics, including painting, archi-tecture, religion, clothing and cooking.The founding manifesto did

not contain a positive artistic programme, which the Fu-turists attempted to create in their subsequent Technical Manifesto of Futurist Painting. This committed them to

a “universal dynamism”, which was to be directly repre-sented in painting. Objects in reality were not separate from one another or from their surroundings: “The six-teen people around you in a rolling motor bus are in turn and at the same time one, ten four three; they are motion-less and they change places. ... The motor bus rushes into the houses which it passes, and in their turn the houses throw themselves upon the motor bus and are blended with it.”The Futurist painters were slow to develop a distinctive style and subject matter. In 1910 and 1911 they used the techniques of Divisionism, breaking light and color down into a fi eld of stippled dots and stripes, which had been originally created by Giovanni Segantini and oth-ers. Later, Severini, who lived in Paris, attributed their backwardness in style and method at this time to their distance from Paris, the centre of avant garde art.[3] Sev-erini was the fi rst to come into contact with Cubism and following a visit to Paris in 1911 the Futurist painters ad-opted the methods of the Cubists. Cubism offered them a means of analysing energy in paintings and expressing dynamism.They often painted modern urban scenes. Carrà’s Funeral of the Anarchist Galli (1910-11) is a large canvas repre-senting events that the artist had himself been involved in in 1904. The action of a police attack and riot is ren-dered energetically with diagonals and broken planes. His Leaving the Theatre (1910-11) uses a Divisionist technique to render isolated and faceless fi gures trudging home at night under street lights.

Boccioni’s The City Rises (1910) represents scenes of construction and manual labour with a huge, rearing red horse in the centre foreground, which workmen struggle to control. His States of Mind, in three large panels, The Farewell, Those who Go, and Those Who Stay, “made his fi rst great statement of Futurist painting, bringing his interests in Bergson, Cubism and the individual’s com-plex experience of the modern world together in what has been described as one of the ‘minor masterpieces’ of early twentieth century painting.” The work attempts to convey feelings and sensations experienced in time, us-ing new means of expression, including “lines of force”, which were intended to convey the directional tendencies of objects through space, “simultaneity”, which com-bined memories, present impressions and anticipation of future events, and “emotional ambience” in which the artist seeks by intuition to link sympathies between the exterior scene and interior emotion.Boccioni’s intentions in art were strongly infl uenced by the ideas of Bergson, including the idea of intuition, which Bergson defi ned as a simple, indivisible experi-ence of sympathy through which one is moved into the inner being of an object to grasp what is unique and in-effable within it. The Futurists aimed through their art thus to enable the viewer to apprehend the inner being of what they depicted. Boccioni developed these ideas at length in his book, Pittura scultura Futuriste: Dinamismo plastico (Futurist Painting Sculpture: Plastic Dynamism) (1914).Balla’s Dynamism of a Dog on a Leash (1912) exempli-

fi es the Futurists’ insistence that the perceived world is in constant movement. The painting depicts a dog whose legs, tail and leash - and the feet of the person walking it - have been multiplied to a blur of movement. It illustrates the precepts of the Technical Manifesto of Futurist Paint-ing that, “On account of the persistency of an image upon the retina, moving objects constantly multiply them-selves; their form changes like rapid vibrations, in their mad career. Thus a running horse has not four legs, but twenty, and their movements are triangular.” His Rhythm of the Bow (1912) similarly depicts the movements of a violin-ist’s hand and instrument, rendered in rapid strokes within a triangular frame.The Futurist architect Anto-nio Sant’Elia expressed his ideas of modernity in his drawings for La Città Nu-ova (The New City) (1912-1914). This project was never built and Sant’Elia was killed in the First World War, but his ideas infl uenced later generations of architects and artists.Futurist architects were sometimes at odds with the

Fascist state’s tendency towards Roman imperial/clas-sical aesthetic patterns. Nevertheless, several interesting Futurist buildings were built in the years 1920–1940, including public buildings such as railway stations, mari-time resorts and post offi ces. Good examples of Futurist buildings still in use today are Trento’s railway station,

built by Angiolo Maz-zoni, and the Santa Maria Novella station in Flor-ence. The Florence station was designed in 1932 by the Gruppo Toscano (Tus-can Group) of architects, which included Giovanni Michelucci and Italo Gam-berini, with contributions by Mazzoni.Russian Futurism was a movement of literature and the visual arts. The poet Vladimir Mayakovsky was a prominent member of the movement. Visual art-ists such as David Burlyuk, Mikhail Larionov, Natalia Goncharova and Kazimir Malevich found inspiration

in the imagery of Futurist writings and were poets them-selves. Other painters adopting Futurism included Veli-mir Khlebnikov and Aleksey Kruchenykh.

22 CONNECTION CONNECTION 23

FUTURISMWE THE YOUNG AND STRONG FUTURISTS!

ART CONNECTION

Futurism was an artistic and social movement that originated in Italy in the early 20th century. It was largely an Italian phenomenon, though there were parallel movements in Russia, Eng-

land and elsewhere. The Futurists practiced in every medium of art, including painting, sculpture, ceramics, graphic design, industrial design, interior design, the-atre, fi lm, fashion, textiles, literature, music, architec-ture and even gastronomy.The founder of Futurism and its most infl uential personality was the Ital-ian writer Filippo Tom-maso Marinetti. Marinetti launched the movement in his Futurist Manifesto, which he published for the fi rst time on 5 Febru-ary 1909 in La gazzetta delVl’Emilia, an article then reproduced in the French daily newspaper Le Figaro on 20 February 1909. He was soon joined by the painters Umberto Boccioni, Carlo Carrà, Giacomo Balla, Gino Severini and the composer Luigi Russolo.Marinetti expressed a passionate loathing of everything

old, especially political and artistic tradition. “We want no part of it, the past”, he wrote, “we the young and strong Futurists!” The Futurists admired speed, tech-nology, youth and violence, the car, the airplane and the industrial city, all that represented the technological triumph of humanity over nature, and they were passion-

ate nationalists. They repu-diated the cult of the past and all imitation, praised originality, “however dar-ing, however violent”, bore proudly “the smear of mad-ness”, dismissed art critics as useless, rebelled against harmony and good taste, swept away all the themes and subjects of all previous art, and gloried in science.Publishing manifestos was a feature of Futurism, and the Futurists (usually led or prompted by Marinetti) wrote them on many topics, including painting, archi-tecture, religion, clothing and cooking.The founding manifesto did

not contain a positive artistic programme, which the Fu-turists attempted to create in their subsequent Technical Manifesto of Futurist Painting. This committed them to

a “universal dynamism”, which was to be directly repre-sented in painting. Objects in reality were not separate from one another or from their surroundings: “The six-teen people around you in a rolling motor bus are in turn and at the same time one, ten four three; they are motion-less and they change places. ... The motor bus rushes into the houses which it passes, and in their turn the houses throw themselves upon the motor bus and are blended with it.”The Futurist painters were slow to develop a distinctive style and subject matter. In 1910 and 1911 they used the techniques of Divisionism, breaking light and color down into a fi eld of stippled dots and stripes, which had been originally created by Giovanni Segantini and oth-ers. Later, Severini, who lived in Paris, attributed their backwardness in style and method at this time to their distance from Paris, the centre of avant garde art.[3] Sev-erini was the fi rst to come into contact with Cubism and following a visit to Paris in 1911 the Futurist painters ad-opted the methods of the Cubists. Cubism offered them a means of analysing energy in paintings and expressing dynamism.They often painted modern urban scenes. Carrà’s Funeral of the Anarchist Galli (1910-11) is a large canvas repre-senting events that the artist had himself been involved in in 1904. The action of a police attack and riot is ren-dered energetically with diagonals and broken planes. His Leaving the Theatre (1910-11) uses a Divisionist technique to render isolated and faceless fi gures trudging home at night under street lights.

Boccioni’s The City Rises (1910) represents scenes of construction and manual labour with a huge, rearing red horse in the centre foreground, which workmen struggle to control. His States of Mind, in three large panels, The Farewell, Those who Go, and Those Who Stay, “made his fi rst great statement of Futurist painting, bringing his interests in Bergson, Cubism and the individual’s com-plex experience of the modern world together in what has been described as one of the ‘minor masterpieces’ of early twentieth century painting.” The work attempts to convey feelings and sensations experienced in time, us-ing new means of expression, including “lines of force”, which were intended to convey the directional tendencies of objects through space, “simultaneity”, which com-bined memories, present impressions and anticipation of future events, and “emotional ambience” in which the artist seeks by intuition to link sympathies between the exterior scene and interior emotion.Boccioni’s intentions in art were strongly infl uenced by the ideas of Bergson, including the idea of intuition, which Bergson defi ned as a simple, indivisible experi-ence of sympathy through which one is moved into the inner being of an object to grasp what is unique and in-effable within it. The Futurists aimed through their art thus to enable the viewer to apprehend the inner being of what they depicted. Boccioni developed these ideas at length in his book, Pittura scultura Futuriste: Dinamismo plastico (Futurist Painting Sculpture: Plastic Dynamism) (1914).Balla’s Dynamism of a Dog on a Leash (1912) exempli-

fi es the Futurists’ insistence that the perceived world is in constant movement. The painting depicts a dog whose legs, tail and leash - and the feet of the person walking it - have been multiplied to a blur of movement. It illustrates the precepts of the Technical Manifesto of Futurist Paint-ing that, “On account of the persistency of an image upon the retina, moving objects constantly multiply them-selves; their form changes like rapid vibrations, in their mad career. Thus a running horse has not four legs, but twenty, and their movements are triangular.” His Rhythm of the Bow (1912) similarly depicts the movements of a violin-ist’s hand and instrument, rendered in rapid strokes within a triangular frame.The Futurist architect Anto-nio Sant’Elia expressed his ideas of modernity in his drawings for La Città Nu-ova (The New City) (1912-1914). This project was never built and Sant’Elia was killed in the First World War, but his ideas infl uenced later generations of architects and artists.Futurist architects were sometimes at odds with the

Fascist state’s tendency towards Roman imperial/clas-sical aesthetic patterns. Nevertheless, several interesting Futurist buildings were built in the years 1920–1940, including public buildings such as railway stations, mari-time resorts and post offi ces. Good examples of Futurist buildings still in use today are Trento’s railway station,

built by Angiolo Maz-zoni, and the Santa Maria Novella station in Flor-ence. The Florence station was designed in 1932 by the Gruppo Toscano (Tus-can Group) of architects, which included Giovanni Michelucci and Italo Gam-berini, with contributions by Mazzoni.Russian Futurism was a movement of literature and the visual arts. The poet Vladimir Mayakovsky was a prominent member of the movement. Visual art-ists such as David Burlyuk, Mikhail Larionov, Natalia Goncharova and Kazimir Malevich found inspiration

in the imagery of Futurist writings and were poets them-selves. Other painters adopting Futurism included Veli-mir Khlebnikov and Aleksey Kruchenykh.

22 CONNECTION CONNECTION 23

Adobe InDesign

Futurism Size: 8.5 x 10 in

Software: InDesign & Photoshop

INTERFAITH WEEK“TRANSFORMATION – FROM POISON TO MEDICINE”

November 29 - December 3

ISLAMIC SUMMIT8:30 A.M. TO 12:00 P.M.Tech-128 Sponsored by MSA, Multicultural Affairs Office andSharon Goldstein, director of civic engagement andgovernment relations.

LUNCH AND CHAT ON “THESHACK” 12:00 P.M. TO 1:00 P.M.Room S-110A light lunch will be provided. Professor Carrie Polnyjand Margaret Hayes will facilitate the event.

OPENING CEREMONY: TEA ANDTREATS3:00 P.M. TO 5:00 P.M.Room W-226 Religious Clubs will share their faith.

BUDDHISM, A PHILOSOPHYFOR TODAY11 A.M. TO 12:30 P.M.Room A-104Multimedia Presentation with video and sound illus-trating the history and practice of Buddhism.Sponsored by the Buddhist Student Association.

TRANSORMATION IN HUMANLIFE AND IDENTITY12:30 P.M. TO 1:30 P.M.Room C-313What does it mean to be human? What doesit mean to be YOU?” Join Logos and the

Philosophy and Religion Club for an open discussion ofthese questions.

SPEAKER RABBI LAWRENCETROSTER1:40 P.M. TO 3:00 P.M.ROOM A-104Rabbi Troster Rabbinic Scholar-in-Residence forGreenFaith, the interfaith environmental coalition in

New Jersey, will discuss “Many Streams from a Single Living source:Environmentalism as a Transforming Movement in the World.”

TRANSFORMING YOUR LIFEWITH MEDITATION AND POSITIVE THINKING1:30 P.M. TO 2:30 P.M.ROOM W-226BDiscover meditation practices and techniques.

DISCUSSION WITH PROFESSORJESSICA DATEMA 6:30 P.M. TO 9:00 P.M.ROOM C-313

Professor Datema will discuss the work “Agnes ofGod” and the novel “Love Medicine.”

YOGA CLASS12:00 - 1:30 P.M.Room C-210Hatha Yoga Class - Practice different postures to balanceindividuals’ energy and relieve anger and tension.

DISCUSSION WITH AUTHORFIRST LADY THERESA WHITFIELD3:00 P.M. TO 4:00 P.M.Tech-128 Gospel singer First Lady Theresa Whitfield will discussher book “Celebrate Your Scars: Living Boldly for Christ.”

PERFORMANCE WITH “PRAISEDANCE”4:00 P.M. TO 5:00 P.M.Tech-128 Praise dance is a form of worship that seeks to articulate the word and spirit of God through the body.

INTERFAITH DIALOGUE WITHFAITH BASED CLUBS12 P.M. TO 1:30 P.M.Room C-211

INTERFAITH WEEK KEYNOTESPEAKER1:40 P.M. TO 3:00 P.M.Tech-128Dr. Lou Marinoff, PhD, is the author of “Plato notProzac” and “Transforming Poison into Medicine

Ancient Wisdom for Everyday Life.”

“THE MEDICINE OF RELIGION:HEALING BALM OR TOO BITTERA PILL TO SWALLOW?”3:00 P.M. TO 4:40 P.M.Tech-128 A panel discussion will be presented by thePhilosophy and Religion Department. Panelists

include Dr. George Cronk, Dr. Vanda Bozicevic, Professor Paul Eckstein,Dr. Michael Redmond, Professor Jennifer Lyden, and Dr. Paul Witek.

YOGA CLASS5:15 P.M. TO 6:45 P.M.Room C-210Hatha Yoga Class - Practice different postures to balanceindividuals’ energy and relieve anger and tension.

TRANSFORMATION SUMMIT9:30 A.M. TO 10:45 A.M. AND 11 A.M. TO 12:30 P.M.Tech-128“Transformation Summit” is presented by Win Win Kyi

and Bergen students.

DISCUSSION OF “THE CHARTERFOR COMPASSION”1:45 P.M. TO 3:00 P.M.Room A-104“The Charter for Compassion,” is a cooperative effort

to restore not only compassionate thinking but compassionate actionto the center of religious, moral and political life.

B E R G E N C O M M U N I T Y C O L L E G E

M o n d a y , N o v . 2 9

T u e s d a y , N o v . 3 0

W e d n e s d a y , D e c . 1

T h u r s d a y , D e c . 2

F r i d a y , D e c . 3

QuarkXpress

Interfaith Week Bergen Community College Internship

Size: 30 x 20 in Software: QuarkXpress

Posters were created in my Internship in the PR Department

GLBT Awareness WeekBergen Community College Internship

Size: 30 x 20 in Software: QuarkXpress

Staff Dinner PartyBergen Community College Internship

Size: 11 x 17 in Software: QuarkXpress

Interfaith Web BannerBergen Community College Internship

640 x 250 pixels Software: QuarkXpress

Web banner for Bergen Community Collegehome page, which links to the

interfaith Week PDF

Monday, November 15Pastor Katrina FosterKeynote Speaker for GLBT week

Room C-210 and C-21111:00 a.m. – 12:30 p.m.

Tuesday, November 16Parvaz Sharma, a Gay Muslim Representative

Room A-1041:45 p.m. – 3:00 p.m.Followed by

Film: “A Jihad of Love”

Wednesday, November 17A Big Gay Tupperware Party

Cafeteria12:00 p.m. – 2:00 p.m.

Wednesday, November 17“Life can be a drag!” Show starring Angel Sheridan andtwo former Miss “Drag” New Jerseycontest winners

Ender Hall Lab Theatre7:00 p.m. – 8:30 p.m.

Thursday, November 18Ice Cream Social Cafeteria12:00 p.m. – 2:00 p.m.

Film: “Kinky Boots”

Room L-1316:30 p.m. – 8:30 p.m.

B E R G E N C O M M U N I T Y C O L L E G E

October 13th, 20106:30 p.m.

SEASONS644 Pascack Road

Washington Township, NJ 07675

Additional guests will be $50 each

If you have any questions, you may contact Laurie Hodge (lhodge@bergen.edu)

Co-sponsored by the BCCFA and NJEA in par tnership with Bergen Community College

FALL KICK OFFDINNER

You’re invited

Bergen Community College Presents

CABARETthe Bergenstages production of

Book by Joe Mastero� Music & Lyrics by John Kander & Fred EbbDirected by Jim BumgardnerMusic DIrected by Tim Weltch

Anna Maria Ciccone TheatreDec. 2, 3, 9, 10 11 at 7:30 p.mDec. 4, & 11 at 3:00 p.m

Dec. 3

$10.00 General Admission$7.00 for students,all BCC & seniors (65+)$12.50 preferred seating

Tickets may be purchasedone hour before the performance at the theatrebox o� ce

Information and Reservations :201-447-7428http://tickets.bergen.edu

Photoshop

Posters

Cabaret Size: 11 x 17 in

Software: InDesign & PhotoshopPoster for school play

Corona Ad Size: 30 x 20 in

Software: PhotoshopHere I practice light and shadow

techniques in Photoshop

ALL ABOUT THE FLAVOR

anti smoking campaign Size: 11 x 17 in

Software: Photoshop

The Labyrinth Magazine Size: 5.5 x 9 in

Software: InDesign & PhotoshopCover for a Bergen Community College

Lieterary Magazine

Kiss Me Kate Size:11 x 17 in

Software: InDesign & PhotoshopPoster for school play

T h e L a b y r i n t hL I T E R A R Y M A G A Z I N E O F B E R G E N C O M M U N I T Y C O L L E G E

2010-2011

End of Time Size: 11 x 17 in

Software: Photoshop

Travis Barker Size: 8.5 x 10 in

Software: Painter

Candel Size: 8 x 5 in

Software: Photoshop

StewART Wallpaper Size: 1600 x 1200 pixels

Software: Photoshop

Illustrator

Family Guy Size: 8.5 x 11 in

Software: Illustrator

Che Size: 8 x 8 in

Software: Photoshop

Octopus Size: 800 x 500 pixels Software: Illustrator

Atletico Nacional Soccer Ball Size: 500 x 500 pixels Software: Illustrator

First Aid Kit Size: 6 x 6 in

Software: Illustator

Colombian Peso Size: 8 x 8 in

Software: Illustrator

typographic Bomb Size: 8.5 x 11

Software: InDesign

Frankestein Reloaded Size: 11 x 17

Software: Photoshop

Be Events Software: IllustratorLogo for a night club promoting company

Blue Grill Software: Illustrator

Logo for a seafood restaurant

Web Banner Software: PhotoshopSize: 650 x 420 pixels

Web Banner for my professors blog page

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BAM Brochure Size: 14 X 10 in

Software: InDesign & Photoshop

Tri - Fold BrochureBergen Community College Internship

Size: 30 x 20 Software: QuarkXpress

Brochure for one of the degree programs

Holiday PostcardBergen Community College Internship

Size: 7 x 5 in Software: Illustrator

Postcard was emailed blast to over 25,000 stu-dents and staff

403040 50

STEWAR HERNANDEZ (201) 388-5501Graphic Designer www.coroflot.com/sth2art

OBJECTIVEI’ve been studying graphic design for two years now at Bergen Community College. Before finishing my Associate Degree, I wanted to possess work experience from the real world. Currently working in the Public Relations Department at Bergen Community College, I have gained great experience in the field, learned to work in a fast paced environment, worked with a creative team and to communicate with the clients. I want to work with you team to learn and expand my knowledge and to help your company grow.

CAPABILITIES Bilingual (English, Spanish)MultitaskingResponsiblePersonableEfficientLeadership

WORK EXPERIENCE Bergen Community College Public Relations DepartmentGraphic Design Intern – September 2010 – January 2011Responsibilities:

EDUCATIONBergen Community CollegeAssociates in Graphic Design – Anticipated Graduation January 2011

SOFTWARE SKILLSAdobe Creative Suite: Photoshop, Illustrator, InDesign, Dreamwaver.

Motion Graphics: Flash.Photography: Traditional and Digital PhotographyOthers: QuarkXpress.

ACHIEVEMENTS Designed Christmas’s Postcard for Bergen Community College three

locations: Paramus, Hackensack and Meadowlands. Postcard was Emaile Blast to faculty, staff and students to a total of over 20,000 email accounts.

REFERENCESFurnished upon request