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When art collided with the American magazine
Senior curator Mason Klein explains how photography, graphic design and magazines transformed American visual culture from 1930 to 1960, ahead of a new exhibition at the Jewish Museum in New York 06/04/2021 7:57 am
Visual culture is informed by a multitude of influences, especially now as we meander through the digital age like seasoned pros. But before the internet became our main source of visual communication, magazines would dictate the stories we read, the images we saw, and the way they were presented to us.
The modern magazine comes in all sorts of shapes, formats, and designs, and though there are house aesthetics and style guides, ultimately there are no set rules. This sense of freedom in publishing was slow in coming though, and in the US specifically it took a set of experimental creatives to show what could be done. A new show opening this week at the Jewish Museum, New York highlights the importance of these figures,
The Fugitive: One of the finest dramas of all time
The Fugitive
Viewers who tuned in to ABC at 10 PM on Sept. 17, 1963, a Tuesday, to try out the brand-new show entitled
The Fugitive could have no idea that the program they were about to watch would soon develop into one of the true glories of 1960s television. Today, of course,
The Fugitive needs no introduction, and you hardly need me to tell you of what a quality and timeless entertainment it remains to this day. Its story line has since become something of a classic, and you would need to have been living in a cave for the past half century not to be familiar with it. The program has since been transformed into a megahit 1993 film starring Harrison Ford, been reimagined into several more television programs, and been the subject of at least a half a dozen books, several conventions, and a lively Facebook fan page. Even those who have never seen or read any of the above probably know, merely by cultural osmosis, that the ori
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