By the spring of 1970, Americans were frustrated by continuing war in Vietnam and turmoil in the inner cities. Students on American college campuses opposed the war in growing numbers and joined with other citizens in ever-larger public demonstrations against the war. Some politicians—including Ronald Reagan, Spiro Agnew, and Richard Nixon—exploited the situation to cultivate anger against students. At the University of California at Berkeley, student leaders devoted themselves, along with many sympathetic faculty, to studying the war and working for peace. A group of art students designed, produced, and freely distributed thousands of antiwar posters. Posters for Peace tells the story of those posters, bringing to life their rhetorical iconography and restoring them to their place in the history of poster art and political street art. The posters are vivid, simple, direct, ironic, and often graphically beautiful. Thomas Benson shows that the student posters from Berkeley appealed to core patriotic values and to the legitimacy of democratic deliberation in a democracy—even in a time of war.

The Poster: Art, Advertising, Design, and Collecting, 1860sÐ1900s is a cultural history that situates the poster at the crossroads of art, design, advertising, and collecting. Though international in scope, the book focuses especially on France and England. Ruth E. Iskin argues that the avant-garde poster and the original art print played an important role in the development of a modernist language of art in the 1890s, as well as in the adaptation of art to an era of mass media. She moreover contends that this new form of visual communication fundamentally redefined relations between word and image: poster designers embedded words within the graphic, rather than using images to illustrate a text. Posters had to function as effective advertising in the hectic environment of the urban street. Even though initially commissioned as advertisements, they were soon coveted by collectors. Iskin introduces readers to the late nineteenth-century ÒiconophileÓÑa new type of collector/curator/archivist who discovered in poster collecting an ephemeral archaeology of modernity. Bridging the separation between the fields of art, design, advertising, and collecting, IskinÕs insightful study proposes that the poster played a constitutive role in the modern culture of spectacle. This stunningly illustrated book will appeal to art historians and students of visual culture, as well as social and cultural history, media, design, and advertising.

While high-art Japanese cinema has been documented and analysed in the West, the subject of popular and cult Japanese movies has remained largely unexplored. The fantastic vintage posters that drew the masses to Kurosawa's samurai flicks, Godzilla, and sex-laden Pink movies have also been locked away to Western audiences. This collection of the best of the genre opens up this world of snarling gangsters, fire-breathing lizards and animated dreams for anyone with a sense of humour.

Social Justice 2008 is a powerful portfolio that features 12 thought-provoking posters by world-renowned artist and designer Luba Lukova. This collection swiftly and ably showcases Lukova's masterful use of metaphors and symbols to express themes that include peace, war, ecology, health care, immigration, and privacy. Her distinctive style and vigorous visual imagination distill issues such as these into deceptively simple, yet formidably brilliant images, images that not only transfix, but that have the power to become indelible. Lukova's portfolio captures many of the complex issues our society faces today and yet each poster speaks to the viewer in an accessible and honest way. Surrounded by a case featuring hundreds of Lukova's preliminary sketches, this portfolio can only be categorized as a tour de force. In January 2009 the Health Coverage poster was in a prestigious exhibit at the Inauguration of President Obama in Washington, DC. About the Author: Luba Lukova is an internationally recognized artist and designer. Her powerful posters are exhibited around the world and have won many awards including World's Most Memorable Poster award at the International Poster Salon in Paris. Her distinctive art has been featured in The New York Times, Time, and The Nation. She lives in New York.

The naval aviation safety review.

The horrors of WWII were still fresh in our minds when the Korean War broke out. June 25, 1950, when the North Korean Communists crossed the Thirty-Eighth Parallel to invade South Korea, changed the course of my life. Betty, her roommate Marian Ott, Richard?s old Trenton buddy and roommate Harvey Seeman, and Richard were driving to ?Old Man?s Cave,? which is about a hundred miles southwest of Columbus. It was a day made for poets and we couldn?t have been in a more festive mood. The radio was tuned to the classical music station on WOSU when the program was interrupted with the news that the North Korean Communist troops had crossed the Thirty-Eighth Parallel to invade South Korea. Korea? Where?s that? Richard flunked his physical for induction into WWII but would pass muster to fight in what was tragically mislabeled as a mere ?police action.? Richard had proposed marriage to Betty earlier that spring, with plans for a wedding the following December of ?50. Little over eight months since their trip to Old Man?s Cave, Richard was among the first draftees to enter the war. The title of this book is apt. Had I been identified, it could never have been used as a symbol of American fighting forces throughout the globe. Since it was used as a symbol at the peak of the Cold War, the advertising executive who handled the USO account had no way of knowing that I was not one of the 36,0000 who were KIA in the war. And he also presumed that if I survived the war I could never prove it to be me. The AP release stated the photograph was taken by a man with the initials JM. An elderly woman in the World Wide AP photo department said, ?Why, that?s Jimmy Martenhofff!?