755:. Scher designed with Lisa Kitchenberg of Pentagram and the NYCB's Luis Bravo, to create an identity that linked the company's legacy and location to a modern and dramatic new aesthetic. The logo was set in the font DIN, which appears slightly stacked on each layer. The palette was composed of black, white and silvery grays, resembling how the buildings of New York appear sometimes. It has a softened transparency and a subtle gradation of color that includes shades of blue blacks, green blacks and red blacks. Scher also cropped the images of City Ballet dancers to create more tension and drama. The new identity and graphics appeared on bus shelter, subway poster, magazines and newspapers ads, in the company's programs and website, and in environmental graphics at the New York State Theater at Lincoln Center, where the company performs.
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and simple paint to change the life of its students. With the help of Rogers Marvel
Architects, who designed the school as a refurbishment and expansion of the existing building. The design was based on Endeavor's teaching philosophy and a series of motivational slogans used by its teachers. Scher enlarged these concepts into super-graphics that help define the interior spaces. The graphics appear as an equations form ("Education = Choice", "Education = Freedom") in the hallways and quotations running around the wall of gymnasium and staircase, to encourage students to do better and create a unique environment of their own.
248:(SVA) in New York. She received more than 300 awards from international design associations as well as a series of prizes from the American Institute of Graphic Design (AIGA), The Type Directors Club (NY), New York Art Directors Club and the Package Design Council. She is a select member of Alliance Graphique Internationale (AGI) and her work is included in the collections of New York Museum of Modern Art, the Library of Congress in Washington, D.C., the Museum für Gestaltung, Zurich and the Centre Georges Pompidou". As an artist she is known for her large-scale paintings of
791:, "Your name is Windows. Why are you a flag?" Although Microsoft's original brand started as a window, its graphic evolved into a flag as computing systems became more powerful. As Scher assumed, the waving flag was most likely the result of comments that a plain window looked too static with severe straight lines. The old logo was flat and drawn in motion, while the new logo can convey actual motion by suggesting dimensionality using lines receding into space. This worked better with the brand, as the name Windows was originally used as a metaphor for seeing into screens.
775:, for its neutral appearance, but replaced its square-edged punctuation with round. The branding concept puts their wordmark in between two big red dots on a white background. These dots are meant to allude to the idea of periods, but they are used in a clean and modernist style. The identity also uses copy such as "Periods are not luxuries. Period." to play with the theme. The identity is serious enough for legal work, but also loud and fun, which is necessary when discussing a topic that is normally stigmatized and seen as not appropriate to discuss in public.
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and publication designs for a broad range of clients that includes, among others, Bloomberg, Microsoft, Bausch + Lomb, Coca-Cola, Shake Shack, The New School, the Museum of Modern Art, the
Sundance Institute, the High Line, Jazz at Lincoln Center, the Metropolitan Opera, the New York City Ballet, the New York Philharmonic, the New Jersey Performing Arts Center, the United States Holocaust Memorial Museum, the Philadelphia Museum of Art, and the New York City Department of Parks and Recreation.
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405:'s poster when she created the cacophony of disparate wood typefaces, silhouetted photographs and bright flat colors for the theater's posters and billboard. Scher limited her colors to two or three while highlighted the play's title and theater logo that surrounded the tap artist in a typographical be-bop. The design was to appeal to a broad audience from the inner cities to the outer boroughs, especially those who had not been attracted to theater.
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create the identity. Weiss-Wolf and
Strausfeld initially wanted to call their organization "Menstrual Equality", but Scher saw Period Equity as less off-putting. The term "period" is more playful than "menstrual", and allows for more graphic options. When the organization achieves its goal, the name can be shifted to "Equity, Period". This will allow them to later extend their work beyond menstrual inequality into other issues.
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cropped to maximize visual impact, and each quadrant of a page or a banner has a specific function. A particular image is selected as the signature focus for an exhibit and list of upcoming events unrelated to the featured into a text block. The black on white logotype placed in a vertical position whenever is possible and always bleeds off an edge.
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that contained large-scale images of cities, states, and continents blanketed with place names and other information. It is full of mistakes, misspellings, and visual allusions to stereotypes of places such as South
America, painted with hot colors and has two ovaries on the sides. It was not created
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Based on the challenge to raise public awareness and attendance at the Public
Theater along with trying to appeal to a more diverse demographic, Scher created a graphic language that reflected street typography and graffiti-like juxtaposition. In 1995, Scher and her Pentagram team created promotional
162:, where she became the art director, designing her first album covers. A year later Scher returned to CBS as an art director for the cover department. During her eight years at CBS Records, she is credited with designing as many as 150 album covers a year. Some of those iconic album cover designs are
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For the
Achievement First Endeavor Middle School at Clinton Hill, Brooklyn, a charter school for grades 5 through 8, Scher created a program of environmental graphic that helps school interiors to become a better learning environment. She created a vibrant space with bold typography font of Rockwell
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had redrawn a new custom typeface named MoMA Gothic. Although MoMA's core identity is a well developed iconic museum, applications like the web, print, and physical environment have not been unified or visionary like the museum itself. In order to continually carry the spirit of the institution, the
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In 2006, an exhibition at Maya
Stendhal Gallery in New York City, Scher painted two 9-by-12-foot maps that resembled patchwork quilts from afar, but contain much textual detail. She created lines that represented the separation of political allies or borders dividing enemies. Scher created the maps
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magazine, Scher began consulting and joined
Pentagram as a partner in the New York office. Since then, she has been a principal at the New York office of the Pentagram design consultancy, where she has developed identity and branding systems, promotional materials, environmental graphics, packaging
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The logo itself is based on classical perspective drawing rather than computerized perspective. The cross bars on the window stay the same size no matter what the size of the logo is, meaning it must be redrawn for each time it increases in size. The focus on the analogy of perspective was used to
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In 2008, Maya
Stendhal released a limited edition print map of China and renowned artist Scher. The map is 48.5 x 40 inches, printed on deluxe Lanaquarelle paper, hand-made in the Vosges region of France. Scher collaborated with Alexander Heinrici to convey the hand-painted map to represent the
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Scher worked with associate designer
Courtney Gooch to create the identity for Period Equity, a non-profit that is dedicated to providing affordable and safe access to menstrual products in the United States. She worked with Period Equity co-founders, Jennifer Weiss Wolf and Laura Strausfeld, to
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To create a new approach that modernizes the institution's image, Scher designed a complete methodology for the new system to work at any scale, from an exterior banner to a print advertisement in the newspaper. She designed a strong grid to uniform placement of images and types. The artwork is
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This was Scher's first solo exhibition as a fine artist and she sold every piece between $ 40,000 to $ 135,000. The Maya Stendhal's owner decided to extend the exhibition for four weeks, until January 21. Therefore, Scher decided to produce silk-screened prints of
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as Shylock. Scher's festival promotional campaign focused on the reminiscent language in both plays by pulling lines from each production to meet in a dimensional expressive of words and typography. This campaign was awarded for Print Regional Design Annual 2011.
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that were printed on hand-made deluxe Lana Quarelle paper. NYC Transit portrays the island of Manhattan as a busy destination crisscrossed by a subway system of loopy, color-coded lines and stations. It also shows the Manhattan night famed neighborhoods.
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In 1984 she co-founded Koppel & Scher with editorial designer and fellow Tyler graduate Terry Koppel. During the seven years of their partnership, she produced identities, packaging, book jackets, and advertising, including the famous Swatch poster.
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convey the idea that Microsoft products are tools for individuals to achieve their goals from their own perspective. The logo design is neutral to show that it can work in many situations, and for any user. The new logo is meant to work with the
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Scher's Shakespeare in the Park campaign had become a seasonal tradition in the city. The identity has progressed over the years, and the Public Theater logo was redesigned in 2005 and 2008. The campaign in 2008 for the productions of
212:, which incorporated outmoded typefaces into her work. The Russian constructivism had provided Scher inspiration for her typography; she did not copy the early constructivist style but used its vocabulary of form on her works.
1006:, arranged by an art director named Harris Lewine, where she took her portfolio to him. In 1973, she and Chwast married, and divorced five years later. They remarried in 1989. Scher and Chwast live and work in New York City.
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Julia Hoffman, MoMA's creative Director for Graphic and Advertising, and her internal team have used the new system and brought the system to life in applications from larger banners and subway posters to the website.
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735:. The print ad campaign launched on August 20, 2006 and according to Thomas Michel, the Metropolitan's marketing director, it was a successful sales day in the history of the organization.
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Regional Design Annual - 2011 for Shakespeare in the Park 2010 campaign, Map Murals for Queens Metropolitan Campus, and Environmental Graphic for Parking Garage at 13-17 East 54th Street
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that takes the logo back to its roots as a window. The logo re-imagines their older four-colour symbol as a more modern geometric shape. Early in the development process, Scher asked
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utilized the strict 90 degree angles of a De Stijl-inspired grid, a pattern in Manhattan's streetscape. The identity is like New York itself, constantly evolving.
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110:(born October 6, 1948, Washington, D.C.) is an American graphic designer, painter and art educator in design. She also served as the first female principal at
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1784:"'Make It Bigger' - Book surveying Pentagram partner Paula Scher's work spanning three decades and providing a firsthand examination of her design process"
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is represented in a stark black and white palette, hinting at a tortured colonial past. The land of the red rising sun is represented when we think of
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to the advertising and promotions department. After two years, she left CBS Records to pursue a more creative endeavor at a competing label,
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2633:"Achievement First Endeavor Middle School - Environmental graphics designed for Achievement First charter school in Clinton Hill, Brooklyn"
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2851:"Art World's Latest Sensation, Paula Scher, Paints the Town Red, Yellow, Green and Blue." PR Newswire Europe 7 Dec. 2007,: NewsBank. Web.
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196:). Her designs were recognized with four Grammy nominations. She is also credited with reviving historical typefaces and design styles.
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Piafsky, Michael; Karlin, Ben; Scher, Paula; Javerbaum, David; Stewart, Jon (2005). "An Interview with the Writers of America".
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Scher has been described as a "maximalist," stating, "Less is more and more is more. It's the middle that's not a good place."
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In 2010, Scher designed the New York Shakespeare Festival in Central Park poster which presented powerful productions of
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2862:"Photo Release -- 'China:' Limited Edition Print by Artist Paula Scher Released to Public by Maya Stendhal Gallery"
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3945:. Added commentary by Angelika Nollert and Caroline Fuchs. Köln: Verlag der Buchhandlung Walther und Franz König.
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was painted in blocky white print and full with a list of facts that we comprehend when we think about cities.
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In 1991, after the studio suffered from the recession and Koppel took the position of Creative Director at
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Graphic Design, Referenced: A Visual Guide to the Language, Applications, and History of Graphic Design
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She left Atlantic Records to work on her own in 1982. Scher developed a typographic solution based on
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rapid economic growth, booming industry, the success of Olympic bid, and superpower status on China.
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In 1994, Scher was the first designer to create a new identity and promotional graphics system for
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into layers that reference what we think when we think of Japan, Kenya, or the Upper East Side.
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2020:"Netflix launches new documentary series Abstract: The Art of Design with a stellar lineup"
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538:– the first project Scher did for the Public Theater / Pentagram: Paula Scher/USA, 1994
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museum hired Pentagram to design a more powerful and integrated comprehensive system.
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campaign were seen across New York, including buses, subways, kiosks, and billboards.
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to be a reliable map but convey a sense of the places that are mediated and mangled.
287:. Together they created a parody issue in 1985, a genealogy chart of graphic design.
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The Art Directors Annual 88: Advertising Design Illustration Interactive Photography
681:(MoMA) has one of the most recognizable logotypes in the museum world. In 1964, the
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2601:"NJPAC - The New Jersey Performing Arts Center launches a vibrant new identity"
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747:(NYCB), one of the largest and well-known dance companies, founded in 1933 by
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nomination - 1981 for best compilation of written and graphic material for
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Scher moved to New York City and took her first job as a layout artist for
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Designing Brand Identity: An Essential Guide For The Entire Branding Team
1822:"One Step Ahead: we meet Paula Scher, the trailblazing Pentagram Partner"
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3339:"Paula Scher exhibits two-storey high installation at Die Neue Sammlung"
2980:"A la carte: Paula Scher's American maps chart more than just territory"
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3043:"Paula Scher's Insanely Detailed US Maps Elevate Data Viz to Fine Art"
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3145:"Paula Scher exhibition looks at graphic design in the public sphere"
2526:"After 20 long years, Windows gets a logo that looks...like a window"
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used throughout The Public Theater's identity. Scher was inspired by
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The Honeymoon Book: A Tribute to the Last Ritual of Sexual Innocence
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The Honeymoon Book: A Tribute to the Last Ritual of Sexual Innocence
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project published a book focused on and interviewing Scher in 2011:
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The Public Theater's Season Print Ads, Rendered in the New Identity
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2742:"Paula Scher: The Maps - November 3rd through January 21st, 2006"
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campaigns for the Public Theater's production of Savion Glover's
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Paula Scher: Maps: Paintings, Installations, Drawings and Prints
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2493:"Windows: Identity for the Microsoft Windows 8 operating system"
1350:"Who Gives The Best Info? A Short History Of Information Design"
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Simeone, Luca (2011). "Learning from Interstitial Typography".
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Scher designed a new identity and promotional campaign for the
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in New York for over two decades, along with positions at the
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3757:"Paula Scher Makes Enormous Maps That Are Only Sort of Right"
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1651:"The most influential female designers of the last century"
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Scher is currently represented by Bryce Wolkowitz Gallery.
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Paula Scher: Twenty-Five Years at the Public, a Love Story
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Scher, Paula (2009). Great design is serious, not solemn.
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Paula Scher: Twenty-Five Years at the Public, a Love Story
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Scher and Julia Hoffman designed the new identity for the
1200:. Köln: Verlag der Buchhandlung Walther und Franz König.
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In 1994, Scher created the first poster campaign for the
4087:. Berlin: Jovis. pp. 232, 319, 504, 508, 544, 546.
1924:"Helvetica: the story of the most famous Swiss typeface"
436:, Public Theater poster/Pentagram: Paula Scher/USA, 1995
424:, which provided affordable and accessible productions.
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Coggins, David (2006). "Paula Scher at Maya Stendhal".
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Paula Scher on a conference at Higher School of Design
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In 1992, she became a design educator, teaching at the
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Scher, Paula (2000). "The Queen Of Howdy Doody Dada".
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New York Shakespeare Festival in Central Park poster:
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New York Shakespeare Festival in Central Park poster:
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New York Shakespeare Festival in Central Park poster:
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New York Shakespeare Festival in Central Park poster:
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New York Shakespeare Festival in Central Park poster:
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New York Shakespeare Festival in Central Park poster:
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New York Shakespeare Festival in Central Park poster:
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New York Shakespeare Festival in Central Park poster:
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New York Shakespeare Festival in Central Park poster:
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New York Shakespeare Festival in Central Park poster:
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New York Shakespeare Festival in Central Park poster:
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New York Shakespeare Festival in Central Park poster:
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New York Shakespeare Festival in Central Park poster:
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The Merry Wives of Windsor and Two Gentlemen of Verona
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New York Shakespeare Festival in Central Park posters:
442:, On-Broadway poster/Pentagram: Paula Scher/USA, 1996
334:. Scher was profiled in the first season of the 2017
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Bouabana, Samira; Tillman Sperandio, Angela (2011).
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Bouabana, Samira; Tillman Sperandio, Angela (2011).
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Fucking A, A Contemporary Take on The Scarlet Letter
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Scher has authored several books including the 2002
812:In 2000, Scher designed an interior design for the
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3207:"20/20 - Twenty Artworks Celebrating Twenty Years"
3083:"Weekend Heller: Paula Scher Navigates The U.S.A."
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3789:"Paula Scher: Maps Introduction by Stephen Doyle"
2790:"Graphics' Grande Dame Remakes the World in Type"
3371:"Design Couples: Paula Scher and Seymour Chwast"
2438:"How Design Can Help Eliminate The 'Tampon Tax'"
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1400:Fox, Amy (September 22, 2015) . "Scher, Paula".
968:20/20 - Twenty Artworks Celebrating Twenty Year
534:New York Shakespeare Festival in Central Park:
448:, Final Season/Pentagram: Paula Scher/USA, 1997
260:, Yale University and the Tyler School of Art.
3941:Scher, Paula (2023). Nollert, Angelika (ed.).
3823:"Paula Scher's Exquisite Book of Lying 'Maps'"
1273:Chwast, Seymour; Scher, Paula (May 31, 1998).
930:Paula Scher Limited Edition Screenprint Series
705:MOMA also holds a collection of Scher's work.
3615:"The National Design Award Winners Announced"
3581:"Awards: Print's Regional Design Annual 2011"
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477:New York Shakespeare Festival in Central Park
408:From 1993 to 2005, Scher worked closely with
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4171:Temple University Tyler School of Art alumni
1727:Walker, Alissa (2010). "Design Revelation".
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273:Scher has contributed to numerous issues of
194:Sakura: Japanese Melodies for Flute and Harp
1186:. New York: Princeton Architectural Press.
1018:nomination - 1981 for best book design for
729:and the campaign featured a performance of
2943:"Paula Scher: Maps Screenprints 2006-2010"
2823:"Interview with Design Legend Paula Scher"
1479:Gomez-Palacio, Bryony; Vit, Armin (2009).
1416:10.1093/gao/9781884446054.article.T2021994
299:(New York: Princeton Architectural Press.
192:) and Jean-Pierre Rampal and Lily Laskin (
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1172:New York: Princeton Architectural Press.
1158:New York: Princeton Architectural Press.
685:No.2 logotype was originally designed by
472:, poster/Pentagram: Paula Scher/USA, 2002
307:) based on her experience as a designer.
2154:"New Work: Shakespeare in the Park 2010"
1751:Hamlett, Phil (2002). "Make It Bigger".
937:Paula Scher: Maps Screenprints 2006-2010
885:In 2007, Scher created screen-prints of
820:Achievement First Endeavor Middle School
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1040:Chrysler Award for Innovation in Design
460:poster/Pentagram: Paula Scher/USA, 1994
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3286:from the original on December 15, 2023
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3063:from the original on December 17, 2023
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2959:from the original on September 3, 2013
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1999:from the original on February 22, 2024
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1649:McLaughlin, Aimée (February 5, 2018).
939:- Maya Stendhal Gallery, New York City
932:- Maya Stendhal Gallery, New York City
925:- Maya Stendhal Gallery, New York City
918:- Maya Stendhal Gallery, New York City
783:In 2012, Scher created a new logo for
440:Bring in 'da Noise, Bring in 'da Punch
4045:"Great design is serious, not solemn"
4024:from the original on December 8, 2023
3821:Murphy, Heather (December 23, 2011).
3460:from the original on October 14, 2023
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3402:
3400:
3398:
3351:from the original on December 3, 2023
3157:from the original on January 23, 2024
3143:Williams, Megan (November 25, 2019).
2782:
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1903:from the original on October 10, 2023
1815:
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1362:from the original on December 5, 2022
446:Bring in 'da Noise, Bring in 'da Funk
434:Bring in 'da Noise, Bring in 'da Funk
390:Bring in 'da Noise, Bring in 'da Funk
16:American graphic designer and painter
7:
4110:Paula Scher: Bryce Wolkowitz Gallery
3337:Fulleylove, Rebecca (July 4, 2023).
2921:"Paula Scher: Recent Paintings 2008"
2787:Goldwasser, Amy (January 12, 2006).
2536:from the original on August 14, 2022
2524:Conneally, Tim (February 17, 2012).
2321:"The Metropolitan Opera's New Stage"
2275:from the original on October 1, 2023
2186:"New Work: The Museum of Modern Art"
2018:Pritchard, Owen (January 19, 2017).
1828:. Photography by Caroline Tompkins.
1746:
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717:. The Metropolitan general manager,
3628:from the original on August 3, 2023
3318:from the original on March 19, 2024
3250:from the original on April 17, 2024
3217:from the original on March 25, 2023
3094:from the original on March 24, 2023
2406:from the original on August 8, 2022
1820:Bourton, Lucy (November 15, 2017).
1002:. They met through an interview at
970:- Bryce Wolkowitz Gallery, New York
953:- Bryce Wolkowitz Gallery, New York
946:- Bryce Wolkowitz Gallery, New York
330:where she discussed her dislike of
326:Scher was interviewed for the 2007
3794:American Institute of Graphic Arts
3485:American Institute of Graphic Arts
3041:Stinson, Liz (February 22, 2016).
2295:"New Work: The Metropolitan Opera"
1987:Coles, Stephen (August 28, 2007).
1893:"25-Plus Books on Women in Design"
1099:Columbus College of Art and Design
14:
4115:Paula Scher Curriculum Vitae (CV)
4057:from the original on June 2, 2024
4043:Scher, Paula (January 16, 2009).
3835:from the original on May 31, 2023
3769:from the original on June 3, 2024
3516:from the original on July 3, 2023
3504:"The Masters Series: Paula Scher"
3480:"Paula Scher - Biography by AIGA"
3236:Millman, Debbie (July 21, 2023).
3124:from the original on July 9, 2022
3022:from the original on July 1, 2022
2978:Binlot, Ann (February 24, 2016).
2874:from the original on May 31, 2024
2803:from the original on May 21, 2023
2694:from the original on May 31, 2024
2342:from the original on May 31, 2024
2318:Bosman, Julie (August 29, 2006).
1968:from the original on June 2, 2024
1934:from the original on May 11, 2023
1832:from the original on June 2, 2024
1796:from the original on June 1, 2024
1453:from the original on June 2, 2024
1348:Scher, Paula (January 27, 2011).
1329:"OP-ART; Better Signs of Trouble"
1327:Potts, Sam (September 13, 2009).
1054:- Master Series Award - 2002 for
814:New Jersey Performing Arts Center
808:New Jersey Performing Arts Center
466:/Pentagram: Paula Scher/USA, 1994
454:/Pentagram: Paula Scher/USA, 1994
348:Branding & Identities Systems
188:), Roger Dean and David Howells (
4166:American women graphic designers
3238:"For Paula Scher, Type is Image"
2436:Miller, Meg (January 25, 2017).
2365:"New Work: New York City Ballet"
1989:"Scher Makes Up With Helvetica?"
1601:Meggs' History of Graphic Design
3488:. March 1, 2001. Archived from
3421:Gale Literature Resource Center
2194:. February 2009. Archived from
1034:Art Directors Club Hall of Fame
401:'s American Wood Types and the
3798:. October 2011. Archived from
2373:. January 2008. Archived from
2053:"New Work: The Public Theater"
1306:Scher, Paula (April 5, 2007).
960:- Design Manchester 19 at the
485:in Central Park production of
190:The Ultimate Album Cover Album
91:, painter, author and educator
1:
4176:School of Visual Arts faculty
4151:Artists from Washington, D.C.
3899:Princeton Architectural Press
3860:Princeton Architectural Press
3721:Princeton Architectural Press
3612:Keenan, Sandy (May 9, 2013).
3306:"Paula Scher - Type is Image"
3177:"Paula Scher: Public Theater"
2303:. August 2006. Archived from
2225:(3rd ed.). Hoboken, NJ:
1605:(5th ed.). Hoboken, NJ:
1547:Princeton Architectural Press
1140:Princeton Architectural Press
998:when she was a senior at the
803:Environmental graphic designs
483:New York Shakespeare Festival
184:), Bob James and Earl Klugh (
146:'s children's book division.
4083:and Julia Meer, ed. (2012).
923:Paula Scher Recent Paintings
622:/ Pentagram: Paula/USA, 2003
560:/ Pentagram: Paula/USA, 1996
412:, The Public's producer and
114:, which she joined in 1991.
4201:21st-century American women
4186:American women illustrators
3417:Contemporary Authors Online
3274:"Type is (More Than) Image"
2899:"Paula Scher - Exhibitions"
2162:. June 2010. Archived from
2061:. June 2008. Archived from
1856:Hall of Femmes: Paula Scher
1308:"Op-Art; DIAGRAM OF A BLOG"
1219:Hall of Femmes: Paula Scher
994:In January 1970, Scher met
958:Paula Scher: Public Theater
669:/Pentagram: Paula/USA, 2008
658:/Pentagram: Paula/USA, 2007
647:/Pentagram: Paula/USA, 2006
640:/Pentagram: Paula/USA, 2005
629:/Pentagram: Paula/USA, 2004
615:/Pentagram: Paula/USA, 2001
604:/Pentagram: Paula/USA, 2000
593:/Pentagram: Paula/USA, 1999
582:/Pentagram: Paula/USA, 1998
571:/Pentagram: Paula/USA, 1997
549:/Pentagram: Paula/USA, 1995
428:The Public Theater posters:
341:Abstract: The Art of Design
316:Hall of Femmes: Paula Scher
4227:
4161:American graphic designers
4121:Paula Scher: Type is Image
3943:Paula Scher: Type is Image
2132:(1996). "Street Theater".
1198:Paula Scher: Type is Image
487:The Merry Wives of Windsor
283:cover was with her friend
154:In 1972, she was hired by
3982:. London: Unit Editions.
2673:"Paula Scher: 'the Maps'"
1241:. London: Unit Editions.
1091:Maryland Institute of Art
1085:Honorary doctorates from
1080:Cooper Hewitt Smithsonian
899:Limited Edition Print Map
779:Microsoft: Windows 8 logo
656:A Midsummer Night's Dream
422:Hoefler & Frere-Jones
128:Elkins Park, Pennsylvania
30:
4196:American women academics
962:Manchester School of Art
846:The United States (1999)
767:Scher used the typeface
679:The Museum of Modern Art
674:The Museum of Modern Art
4085:Women in Graphic Design
4012:"Speaker - Paula Scher"
3211:Bryce Wolkowitz Gallery
3118:Bryce Wolkowitz Gallery
3016:Bryce Wolkowitz Gallery
2263:"Artists - Paula Scher"
2217:Wheeler, Alina (2009).
1408:Oxford University Press
638:Two Gentlemen of Verona
587:The Taming of the Shrew
495:Shakespeare in the Park
491:Two Gentlemen of Verona
4119:Hillmancurtis feature
3557:"TDC Medal Recipients"
3311:Pinakothek der Moderne
3114:"U.S.A. - Paula Scher"
2927:. 2007. Archived from
1087:Corcoran School of Art
983:Pinakothek der Moderne
709:The Metropolitan Opera
627:Much Ado About Nothing
578:and Thornton Wilder's
518:The Merchant of Venice
376:
210:Russian constructivism
200:Russian constructivism
176:), Leonard Bernstein (
56:Washington, D.C., U.S.
4191:American illustrators
3891:Scher, Paula (2020).
3854:Scher, Paula (2011).
3711:Scher, Paula (2015).
3647:Scher, Paula (1973).
3569:on September 3, 2012.
3509:School of Visual Arts
3492:on November 11, 2017.
3090:. February 19, 2016.
2931:on February 10, 2010.
2717:"Paula Scher - India"
2307:on November 12, 2011.
2227:John Wiley & Sons
1897:Designers & Books
1698:10.1353/mis.2006.0088
1607:John Wiley & Sons
1537:Scher, Paula (2002).
1196:Scher, Paula (2023).
1182:Scher, Paula (2020).
1168:Scher, Paula (2011).
1154:Scher, Paula (2002).
1138:Reprinted in 2015 by
1133:Junior Literary Guild
1115:Scher, Paula (1973).
1076:National Design Award
1052:School of Visual Arts
797:Metro design language
464:The Diva is Dismissed
367:
254:School of Visual Arts
246:School of Visual Arts
132:Bachelor of Fine Arts
122:Scher studied at the
3802:on November 27, 2011
3755:(October 20, 2011).
2909:on February 9, 2010.
2752:on February 9, 2010.
2727:on February 9, 2010.
2670:(December 9, 2005).
2571:10.1162/LEON_a_00264
2268:Museum of Modern Art
2166:on November 24, 2011
2088:. 2009. p. 12.
1105:Partial bibliography
1095:Moore College of Art
951:U.S.A. - Paula Scher
909:Selected exhibitions
745:New York City Ballet
739:New York City Ballet
547:Troilus and Cressida
4211:Women cartographers
3976:Shaughnessy, Adrian
3562:Type Directors Club
3012:"Maps: Paula Scher"
2827:The Big Dot Company
2198:on October 28, 2011
1899:. March 15, 2023 .
1685:The Missouri Review
1489:Rockport Publishers
1235:Shaughnessy, Adrian
1061:Type Directors Club
1025:American Book Award
1016:American Book Award
1000:Tyler School of Art
609:Measure for Measure
322:Film and television
124:Tyler School of Art
74:Tyler School of Art
4206:Pentagram partners
3980:Paula Scher: Works
3621:The New York Times
3593:on January 4, 2012
2870:. August 6, 2008.
2796:The New York Times
2679:The New York Times
2327:The New York Times
2086:Art Directors Club
2065:on March 29, 2010.
1279:The New York Times
1239:Paula Scher: Works
1237:(editors) (2017).
715:Metropolitan Opera
393:that featured the
381:The Public Theater
377:
353:The Public Theater
216:Koppel & Scher
178:Poulenc Stravinsky
3715:. Illustrated by
3655:. Illustrated by
3379:. June 13, 2010.
3272:(June 22, 2023).
3181:Design Manchester
2833:on April 27, 2017
2583:Project MUSE
2377:on June 12, 2010.
1710:Project MUSE
1595:Purvis, Alston W.
1498:978-1-59253-447-0
1403:Oxford Art Online
1178:978-1-61689-033-9
1010:Awards and honors
979:Die Neue Sammlung
944:Maps: Paula Scher
769:New Rail Alphabet
753:George Balanchine
580:Skin of Our Teeth
514:The Winter's Tale
403:Victorian theater
365:
105:
104:
4218:
4181:Design educators
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3698:Internet Archive
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3589:. Archived from
3577:
3571:
3570:
3565:. Archived from
3553:
3547:
3546:
3545:(37): 113. 2002.
3535:"Scher Talent".
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2950:Stendhal Gallery
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2903:Stendhal Gallery
2895:
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2746:Stendhal Gallery
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2721:Stendhal Gallery
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2330:. pp. C.1.
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1004:Push Pin Studios
773:Margaret Calvert
749:Lincoln Kirstein
732:Madama Butterfly
652:Romeo and Juliet
418:Akzidenz Grotesk
366:
160:Atlantic Records
89:Graphic designer
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4074:Further reading
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2229:. p. 249.
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3713:The Brownstone
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3669:
3661:Pantheon Books
3651:The Brownstone
3639:
3604:
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2755:
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1379:
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1333:New York Times
1324:
1312:New York Times
1301:
1298:
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1283:
1268:
1265:
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1121:Pantheon Books
1117:The Brownstone
1111:
1108:
1106:
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1101:
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1056:Make It Bigger
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354:
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297:Make it Bigger
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1928:Melted.design
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990:Personal life
989:
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759:Period Equity
758:
756:
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738:
736:
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733:
728:
724:
720:
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602:Julius Caesar
599:
598:Winter's Tale
595:
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588:
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399:Rob Ray Kelly
396:
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391:
384:
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305:1-56898-332-8
302:
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290:
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286:
285:Steven Heller
282:
278:
277:
268:
263:
261:
259:
255:
251:
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239:
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224:
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195:
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187:
183:
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174:Ginseng Woman
171:
170:
165:
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149:
147:
145:
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135:
133:
130:and earned a
129:
125:
117:
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79:
75:
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52:(age 75)
42:
38:
34:
29:
22:
19:
4084:
4081:Gerda Breuer
4059:. Retrieved
4048:
4038:
4026:. Retrieved
4015:
4006:
3979:
3969:
3942:
3936:
3928:Google Books
3926:– via
3920:. Retrieved
3897:. New York:
3893:
3886:
3858:. New York:
3855:
3849:
3837:. Retrieved
3826:
3816:
3804:. Retrieved
3800:the original
3792:
3783:
3771:. Retrieved
3762:The Atlantic
3760:
3747:
3719:. New York:
3717:Stanley Mack
3712:
3706:
3696:– via
3690:. Retrieved
3659:. New York:
3657:Stanley Mack
3650:
3642:
3630:. Retrieved
3619:
3607:
3595:. Retrieved
3591:the original
3584:
3575:
3567:the original
3560:
3551:
3542:
3536:
3530:
3518:. Retrieved
3507:
3498:
3490:the original
3483:
3474:
3462:. Retrieved
3453:The One Club
3451:
3438:
3426:. Retrieved
3415:
3385:. Retrieved
3374:
3365:
3353:. Retrieved
3342:
3332:
3320:. Retrieved
3309:
3300:
3288:. Retrieved
3277:
3264:
3252:. Retrieved
3241:
3231:
3219:. Retrieved
3210:
3201:
3189:. Retrieved
3180:
3171:
3159:. Retrieved
3148:
3138:
3126:. Retrieved
3117:
3108:
3096:. Retrieved
3085:
3077:
3065:. Retrieved
3046:
3036:
3024:. Retrieved
3015:
3006:
2994:. Retrieved
2983:
2973:
2961:. Retrieved
2949:
2937:
2929:the original
2924:
2915:
2907:the original
2902:
2876:. Retrieved
2865:
2856:
2847:
2835:. Retrieved
2831:the original
2826:
2817:
2805:. Retrieved
2794:
2770:
2764:
2758:
2750:the original
2745:
2725:the original
2720:
2696:. Retrieved
2677:
2668:Johnson, Ken
2647:. Retrieved
2636:
2627:
2615:. Retrieved
2604:
2595:
2562:
2556:
2550:
2538:. Retrieved
2530:Betanews.com
2529:
2519:
2507:. Retrieved
2496:
2456:. Retrieved
2448:Fast Company
2441:
2408:. Retrieved
2397:
2375:the original
2368:
2344:. Retrieved
2325:
2313:
2305:the original
2298:
2289:
2277:. Retrieved
2266:
2257:
2247:– via
2220:
2212:
2200:. Retrieved
2196:the original
2189:
2180:
2168:. Retrieved
2164:the original
2157:
2148:
2139:
2133:
2124:
2114:– via
2080:
2063:the original
2056:
2032:. Retrieved
2023:
2013:
2001:. Retrieved
1993:Typographica
1992:
1982:
1970:. Retrieved
1961:
1952:
1942:– via
1936:. Retrieved
1927:
1917:
1905:. Retrieved
1896:
1855:
1834:. Retrieved
1825:
1798:. Retrieved
1787:
1758:
1752:
1734:
1728:
1722:
1689:
1683:
1677:
1667:February 19,
1665:. Retrieved
1654:
1627:– via
1600:
1585:
1575:– via
1545:. New York:
1540:
1517:– via
1482:
1455:. Retrieved
1444:
1401:
1364:. Retrieved
1353:
1332:
1311:
1291:
1287:
1278:
1267:Book reviews
1238:
1218:
1197:
1183:
1169:
1155:
1119:. New York:
1116:
1055:
1028:
1019:
993:
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854:Japan (2004)
853:
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451:
445:
439:
433:
427:
426:
414:Oskar Eustis
407:
388:
385:
378:
339:
338:docu-series
325:
315:
310:The Swedish
309:
296:
294:
280:
279:. Her first
274:
272:
258:Cooper Union
243:
230:
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