Book Reviews 293 becomes abundantly clear: the reader holds in her hands, for current inspiration and future reference, a very rich document. Do not be deceived by its scrappy demeanour. Art, Politics and the Pamphleteer will serve scholars and practitioners of aesthetic engagement in social movements for decades to come. In this service, the collection’s wealth of sources, depth of critical appreciation and clarity of ex- pression will enhance any move that builds on it. doi:10.1093/jdh/epab021 Advance Access publication 28 September 2021 Emily McVarish Professor, Graphic Design California College of the Arts San Francisco, CA, USA E-mail: emcvarish@cca.edu Notes 1 http://bricolagekitchen.com/rara/. 2 G. Orwell, ‘Introduction’, in British Pamphleteers, eds. G. Orwell and R. Reynolds, vol. 1 (London: Allan Wingate, 1948), 7–8. Scandinavian Design and the United States, 1890–1980 Bobbye Tigerman & Monica Obniski (eds.), Prestel, 2020. 336 pp., 220 col. illus., cloth, $65.00. ISBN: 9783791359168. For many Americans, Scandinavian design is as ubiqui- tous as the Colonial Revival style that once held sway in this country. The story of its remarkable penetration into American life, as recounted in this volume, can be attributed to a concerted effort on both sides of the Atlantic by governmental, commercial, academic and art- istic protagonists. So successful were these efforts that by the mid-twentieth century one author declared it had ‘become so much a fact of American life as to be nearly synonymous’. 1 A welcome new exhibition catalogue brings diverse view- points to bear upon America’s embrace of Scandinavian design, which began with the luxury silver imports of Georg Jensen, reached its zenith in Marimekko designs of the 1960s and concluded in the 1970s with Walter Papanek’s call for social change through design. Affection for the Scandinavian world continues to this day in such cozy concepts as the Danish hygge, but the catalogue wisely ends its survey by the late 1980s when globalization dimmed its infuence. Exhibition curators Bobbye Tigerman and Monica Obniski assembled a scholarly group of contributors, many of them natives of Nordic lands and specialists in their felds. Their readable essays follow a rough chronology that also allows for thematic groupings around the top- ics of migration, heritage, marketing, exhibitions, edu- cation, travel and design for social change. Each section begins with an introductory text by Tigerman or Obniski, followed by essays on particular artists, expositions and topic such as design for children, allowing the reader to pick and choose at will. A bibliography is lacking, but the well-footnoted essays allow the close reader to glean pri- mary sources as well as many recent publications. The authors begin by reminding the reader that the book addresses Scandinavian design as a public-facing cultural construct rather than the full range of individual and national expression found within the region that com- prises not only Norway, Sweden and Denmark, but also Finland and Iceland. They also clarify their use of the term ‘Scandinavia’ according to English usage, which refers to all fve countries. The catalogue introduces events and protagonists on both sides of the Atlantic, many of them less well known to Downloaded from https://academic.oup.com/jdh/article/34/3/293/6203432 by guest on 16 December 2021