Condé Nast in the context of "Analog Science Fiction and Fact"

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👉 Condé Nast in the context of Analog Science Fiction and Fact

Analog Science Fiction and Fact is an American science fiction magazine published under various titles since 1930. Originally titled Astounding Stories of Super-Science, the first issue was dated January 1930, published by William Clayton, and edited by Harry Bates. Clayton went bankrupt in 1933 and the magazine was sold to Street & Smith. The new editor was F. Orlin Tremaine, who soon made Astounding the leading magazine in the nascent pulp science fiction field, publishing well-regarded stories such as Jack Williamson's Legion of Space and John W. Campbell's "Twilight". At the end of 1937, Campbell took over editorial duties under Tremaine's supervision, and the following year Tremaine was let go, giving Campbell more independence. Over the next few years Campbell published many stories that became classics in the field, including Isaac Asimov's Foundation series, A. E. van Vogt's Slan, and several novels and stories by Robert A. Heinlein. The period beginning with Campbell's editorship is often referred to as the Golden Age of Science Fiction.

By 1950, new competition had appeared from Galaxy Science Fiction and The Magazine of Fantasy & Science Fiction. Campbell's interest in some pseudo-science topics, such as Dianetics (an early non-religious version of Scientology), alienated some of his regular writers, and Astounding was no longer regarded as the leader of the field, though it did continue to publish popular and influential stories: Hal Clement's novel Mission of Gravity appeared in 1953, and Tom Godwin's "The Cold Equations" appeared the following year. In 1960, Campbell changed the title of the magazine to Analog Science Fact & Fiction; he had long wanted to get rid of the word "Astounding" in the title, which he felt was too sensational. At about the same time Street & Smith sold the magazine to Condé Nast, and the name changed again to its current form by 1965. Campbell remained as editor until his death in 1971.

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Condé Nast in the context of Vanity Fair (magazine)

Vanity Fair is an American monthly magazine of popular culture, fashion, and current affairs published by Condé Nast in the United States.

The first version of Vanity Fair was published from 1913 to 1936, then it was merged into Vogue. Conde Nast revived the title in 1983. Vanity Fair currently publishes four international editions of the magazine. The four international editions of the magazine are the United Kingdom (since 1991), Italy (since 2003), Spain (since 2008), France (since 2013).

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Condé Nast in the context of Condé Nast Traveler

Condé Nast Traveler is a luxury and lifestyle travel magazine published by Condé Nast. The magazine has won 25 National Magazine Awards.

The Condé Nast unit of Advance Publications purchased Signature, a magazine for Diners Club members, for $25 million in 1986. The company used it as the basis for Condé Nast Traveler, led by Sir Harold Evans (1928–2020) in 1987, with a focus on literary journalism and hard news reporting. As editor in chief, Evans coined the motto "Truth in Travel", which declared that travel industry freebies would not be accepted.

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Condé Nast in the context of Andy Warhol Foundation for the Visual Arts, Inc. v. Goldsmith

Andy Warhol Foundation for the Visual Arts, Inc. v. Goldsmith, 598 U.S. 508 (2023), is a U.S. Supreme Court case dealing with transformative use, a component of fair use, under U.S. copyright law. At issue was the Prince Series created by Andy Warhol based on a photograph of the musician Prince by Lynn Goldsmith. It held Warhol's changes were insufficiently transformative to fall within fair use for commercial purposes, resolving an issue arising from a split between the Second and Ninth circuits among others.

Goldsmith had taken her photograph in 1981 on assignment for Newsweek and retained copyright on it afterwards; it was not published. Three years later, Vanity Fair licensed the image for Andy Warhol to use as a reference for a silkscreen illustration of Prince to be published, by agreement with Goldsmith, only once, with her credited. But Warhol used the image as the basis for his Prince Series without asking or notifying Goldsmith; she only learned of the images' existence when Vanity Fair's publisher, Condé Nast, used one as the cover image, with no attribution, for a special tribute magazine to Prince after his death in 2016, which was licensed by the Andy Warhol Foundation (AWF). Litigation ensued in federal court between Goldsmith and the Warhol Foundation, which has administered the artist's works since his death, over whether Warhol's reuse of the image had infringed her copyright. The Southern District of New York sided with the foundation in 2019, but was reversed by the Second Circuit two years later.

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