by David Brody
In July, my Parsons colleague, Clive Dilnot, will publish his edited volume A John Heskett Reader. Heskett, who died in 2014, was a remarkable thinker who brought design to life for diverse audiences through his engaging prose. Indeed, Heskett helped bring the field of design history and design criticism to life through his numerous books that covered topics from industrial design to German design to corporate design. He was, as many of us have grown to appreciate, unwilling to simply embrace design as a formal practice. Heskett was committed to social and historical context and the essays in Dilnot’s text speak to Heskett’s larger oeuvre.
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The Deep “Why” of the 2016 Election Tragedy
Mate Yelavich, handy man, c. 1950.
by Susan Yelavich
By sheer coincidence, my students and I read Clive Dilnot’s 2012 essay “Chris Killip: The Last Photographer of the Working Class”1 on our blackest Tuesday: Election Day, November 8th. (We were originally meant to discuss it a week earlier.) Either way, back in August when I was refining the syllabus, it didn’t cross my mind how acutely relevant his discussion of Killip’s photographs would prove.
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