New Visual Language: Post-Modernism Research Document

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New ViSual Language Fo r m Fo l l o ws Fu n ct i o n

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modernism research & development


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What is PostModernis


ANALYSE SOME POST MODERN COVERS

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Postmodernism is a late-20th-century movement in the arts, architecture, and criticism that was a departure from modernism. Postmodernism

includes skeptical interpretations of culture, literature, art, philosophy, history, economics, architecture, fiction, and literary criticism. It is often associated with deconstruction and post-structuralism because its usage as a term gained significant popularity at the same time as twentieth-century post-structural thought.

The term postmodernism has been applied to a host of movements, many in art, music, and literature, that reacted against tendencies in modernism, and are typically marked by revival of historical elements and techniques.


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ON UCTION

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ains of modern art, minimalism

bism, have had an influence on

nstructivism. Analytical cubism

ure effect on deconstructivism,

orms and content are dissected

wed from different perspectives

ultaneously. A synchronicity of

ned space is evident in many of

rks of Frank Gehry and Bernard

Punk visual art is artwork associated with the punk subculture. It often graces punk rock album covers, flyers for punk concerts, punk zines and punk websites. It is also sometimes showcased in art galleries and

umi. Synthetic cubism, with its

exhibition spaces. The main aesthetic of punk visual art seems to be

on of found art, is not as great

to either shock, create a sense of empathy or revulsion, make a grand

fluence on deconstructivism as al cubism, but is still found in

lier and more vernacular works k Gehry. Deconstructivism also th minimalism a disconnection from cultural references.

point with an acidic or sarcastic wit. One characteristic associated with punk art is the usage of letters cut out from newspapers and magazines, a device previously associated with kidnap and ransom notes. A prominent example of that style is the cover of the Sex Pistols’ Never Mind the Bollocks album designed by Jamie Reid. Images and figures are also sometimes cut and pasted from magazines and newspapers to create a collage.


Con tem por ary

Contemporary Art, the art of the late 20th century and early 21st century, both an outgrowth and a rejection of modern art. As the force and vigor of abstract expressionism diminished, new artistic movements and styles arose during the 1960s and 70s to challenge and displace modernism in painting, sculpture, and other media. Improvisational and Dada-like styles employed in the early 1960s and thereafter by Robert Rauschenberg and Jasper Johns had widespread influence, as did the styles of many other artists.


POP ART

Pop art is an art movement that emerged in the mid-1950s in Britain and in the late 1950s in the United States. Pop art presented a challenge to traditions of fine art by including imagery from popular culture such as advertising, news, etc. In pop art, material is sometimes visually removed from its known context, isolated, and/or combined with unrelated material. The concept of pop art refers not as much to the art itself as to the attitudes that led to it. Pop art employs aspects of mass culture, such as advertising, comic books and mundane cultural objects. It is widely interpreted as a reaction to the then-dominant ideas of abstract expressionism, as well as an expansion upon them. And due to its utilization of found objects and images it is similar to Dada. Pop art is aimed to employ images of popular as opposed to elitist culture in art, emphasizing the banal or kitschy elements of any given culture, most often through the use of irony. It is also associated with the artists’ use of mechanical means of reproduction or rendering techniques.


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The Memphis Group Italian group Sottsass

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Ettore furniture,

fabrics, ceramics, glass and metal objects from 1981 to 1987. The Memphis group’s work often incorporated plastic laminate and was characterized by ephemeral design featuring colourful decoration and asymmetrical shapes, sometimes arbitrarily alluding to exotic or earlier styles. On 11 December 1980, Ettore Sottsass organized a meeting with designers

and

formed

a

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collaborative

named

Memphis.

The

name was taken after the Bob Dylan song “Stuck Inside of Mobile with the Memphis Blues Again” which had been played repeatedly throughout the evening’s meeting. They drew inspiration from such movements as Art Deco and Pop Art including styles such as the 1950s Kitsch and futuristic themes.


jamie reid Jamie Reid (born 1947) is an English artist and anarchist with connections to the Situationists. His work, featuring letters cut from newspaper headlines in the style of a ransom note, came close to defining the image of punk rock, particularly in the UK. His best known works include the Sex Pistols album Never Mind the Bollocks, Here's the Sex Pistols and the singles "Anarchy in the UK", "God Save The Queen" (based on a Cecil Beaton photograph of Queen Elizabeth II, with an added safety pin through her nose and swastikas in her eyes, described by Sean O'Hagan of The Observer as "the single most iconic image of the punk era"), "Pretty Vacant" and "Holidays in the Sun".


carson

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C

urrently calling New York his base of operations, Carson was born in Corpus Christi, Texas and spent much of his early life in southern California where he was a high school teacher before becoming a

designer. Ingrained within the surfing sub-culture of southern California, Carson started experimenting with graphic design during the mid 1980s. Not only a designer, in 1989 he has qualified as the 9th best surfer in the world. His interest in the world of surfing gave him the opportunities to experiment with design, working on several different publications related to the profession.Transworld Skateboarding, Beach Culture, How Magazine and RayGun were among the primary publications on which he worked. However, it was RayGun where he gained perhaps the most recognition and was able to share his design style, characterized by “dirty� type which adheres to none of the standard practices of typography and is often illegible, with the widest audience. After the success of RayGun, and press from the New York Times and Newsweek, he formed his own studio. David Carson Design was founded in 1995 and is still home to Carson and his work .


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Neville Brody Neville Brody is one of the most celebrated graphic designers of his generation – a leading typographer and internationally recognised art director and brand strategist. The founder of design agency Research Studios, Brody established his reputation working with record labels, magazines and a range of international clients from Apple to Dom Pérignon. His hugely influential work has been the subject of numerous exhibitions and publications, most notably the two-volume monograph The Graphic Language of Neville Brody, which was accompanied by an exhibition at the Victoria and Albert Museum.

lle Brody studied at Hornsey College of Art and London College of Printing, first establishis name in record cover design. He worked with Rocking Russian, Stiff Records, Fetish Rerds and Cabaret Voltaire, defining the visual language of independent punk music and culBrody expanded into the world of magazines as art director of The Face and subsequently ena. Since its founding in 1994, Research Studios has expanded internationally, working in s, Berlin, Tokyo, Barcelona and New York. The studio’s branding, packaging, redesign and ual identity work has focused on a variety of clients, from Sony PlayStation to Bentley, and Kenzo to Nike. Brody was a founding partner of digital type library FontShop, for which he has designed many typefaces including Industria and Blur – the latter of which was recently admitted to the Museum of Modern Art’s architecture and design collection. He has also developed experimental languages for FUSE, a communication and typography publication that inspired a conference and quarterly forum, as well as an exhibition at Ginza Graphic Gallery in Japan and FUSE 1-20 (edited by Neville Brody and Jon Wozencroft, 2012). Neville Brody was received numerous awards and honours, including the D&AD President’s Award (2011) and a Prince Philip Designers Prize (2010). Brody became dean of the School of Communication and head of the Visual Communication programme at the Royal College of Art in January 2011.



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