DE GRUYTER

The book responds to the challenge of the global turn in the humanities from the perspective of art history. A global art history, it argues, need not follow the logic of economic globalization nor seek to bring the entire world into its fold. Instead, it draws on a theory of transculturation to explore key moments of an art history that can no longer be approached through a facile globalism.

Rather than simply augmenting existing accounts with the addition of exceptional women, Gerda Breuer identifies the formats—such as women’s collectives, workshops, and (more recently) digital platforms— they used to make a mark on the world. Both little-known collectives and renowned graphic designers such as Lyubov Popova, Änne Koken, Ethel Reed, and Sarah Wyman Whitman contributed to the history of graphic design. Breuer’s approach demonstrates the ways that women’s important contributions been devalued, ignored, or relegated to the background—in short, made to disappear—in the narrative that is usually presented. In the context of contemporary challenges to the traditional canon of graphic design, integrating these contributions into design history is long overdue.

How do I teach design? Why is listening so important? What can we learn from other disciplines and cultures and from each other?



Answers to these and other questions are offered by Sven Ingmar Thies and his 24 interviewees, who are all united by a single wish: that their students should experiment, experience, and grow as designers. This book allows teachers of graphic design, design theory, game development, industrial design, and behavioral research from China, Germany, Great Britain, Japan, Austria, and the USA to each have their say.



The in-depth conversations are complemented by a comprehensive reflection and sample assignments. This is a book for teachers and students alike that offers insights into the experiences of others, as well as inspiration for teaching, learning, and professional practice.