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MODERNISM 1
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MODERNISM Designed by Jamie Cooper-Anderson Corcoran College of Art + Design 2012
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Contents PAGE 7 1970s New Wave of Design PAGE 8 Postmodernism styles PAGE 10 Social Changes + Critical Claims PAGE 12 Works Cited
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1970’S NE
W WAVE O
F DESIGN
POSTMODERNISM tidal waved the design world with its emergence in the 1970’s. Its funky, fresh aesthetic and rebel take on design was a reaction to the modernism era and sought to redefine the standard, universal language and style modernism had previously set (Drucker, McVarish 301). Post modernism opened the gates for the otherness in society (Drucker, McVarish 301), and self expression took to new heights. The demand for the postmodern expression extended into the business fields as designers began to brand and advertise (Drucker, McVarish 302). With the sudden changes post modernism unleashed, it also unleashed criticism. However, postmodern designers allowed, magnified and embraced the unfamiliarity of expression in design. The postmodernism aesthetic was so contrasting to modernism because of its lively, pop appeal. It was, “... an anti-aesthetic impulse emerged in opposition to the canon of Modernist good design” (Keedy). Hand painted signage and kitsch iconography were a go-to, and designs broke the rules on grids and layout (Drucker, McVarish 308). It reopened the interpretation of design as designers played with history in their designs. They brought back the vernacular, retro styles to embellish their present day designs (Drucker, McVarish 301). The use of history also aided in the freedom of designing because it was considered a style. By exploring history, It gave a new sense of desire towards the historic understanding of design. Some of the issues covered in postmodernism ranged from political, public awareness and feminism (Drucker, McVarish 301). Disregarding authenticity, the who designed what, was an element of open expression for the public awareness issues and expression of personal beliefs. It sought to vocalize that design had more to offer than just aesthetic and originality.
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Memphis ex poster from
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1984.
POSTMODERNISM STYLES
THE STYLES that grew from postmodernism
were highly influenced from a 1981 exhibition of Memphis (Drucker, McVarish 303), a Milan based collection of young designers that was full of funky, vibrant designs in furniture, products and graphics that had received a lot of media attention (Memphis Design). The exhibition reflected onto
as a jumble of styles directed by self indulgence
all areas of design and can be recognized as the
(Keedy). The young designers were able to push
breeder of the developed vocabulary and language
it to becoming a realization of the unique position
that is shared in the different areas of design
in culture they were in at that time (Keedy).
today (Memphis Design). The unity in design that
The generation of designers that emerged with
was created also strengthened the response of
postmodernism were students of modernism
moving away from the modernism style and using
and International style teachers and designers
more of the historic, cultural and social impacts
(Drucker, McVarish 303). The sense of parody was
as previously mentioned. Postmodernism did not
humorous and youthful with it coinciding to the
make a full entrance into graphic design until the
fresh and funky aesthetics. Their ability to throw
mid 1980s (Keedy). Existing designers viewed it
out the techniques and rules they had learned was also an element of the parody, as they changed from a rigid adherence to the International style of order and organization to free expression through complete illegibility (Drucker, McVarish 303). Essentially, they completely turned the modern and international style upside down.
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The graphic styles retro, techno and punk of postmodernism were conspicuous and were expressed in many areas of design (Drucker, McVarish 305). These graphic styles were guided by the old styles. Referencing historic styles was no longer seen as a nostalgic aspect, but seen as
Its cyber-like qualities created a blurred barrier
an invention. History was valued by postmodernist
between human, organic qualities and robotic
for its styles that were able to be appropriated
machines (Drucker, McVarish 306). That is where
(Drucker, McVarish 306). “If you could redraw,
the term post-human emerged, meaning humans
imitate, or simulate a past style, then you could
now live amongst machines and technology that
use it” (Drucker, McVarish 306). The collection
are taking on a species of their own (Drucker,
of these thoughts resulted in what is now Retro.
McVarish 306). The aesthetics of techno style in
Retro was superficial in terms of historical
design are very much elaborate and manipulated
reference (Drucker, McVarish 306). It consisted
(Drucker, McVarish 307). Punk style emerged with
more of using the surface elements to recreate
an attitude. “Punk style took Pop nonconformism
the aesthetic of a specific time period, like color,
and pushed it to extremes” (Drucker, McVarish
saturation, imagery and typography (Drucker,
307). Its design aesthetic revisited the bizarre
McVarish 306). Techno style had a robotic,
Dada aesthetic and had a purposefully grungy,
metallic, New Age feel that created a hard-
do it yourself with no sense of design (Drucker,
edged, electronic style (Drucker, McVarish 306).
McVarish 307). Everything was a very dark,
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gothic feel (Drucker, McVarish 307). Punk formed a subculture that carried the design aesthetic with a dropout and drugged attitude and visually portrayed it with piercings, dyed and shaved hair and grungy clothing (Drucker, McVarish 307). The attitude also drove a destructive impulse in design that furthered the retaliation against clean, structured nature of the International style with deliberate crumpled, cut and chewed up deconstruction (Drucker, McVarish 308).
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S IM LA CR ITI CA LC + S GE AN CH CI AL SO
SOCIAL CHANGES developed alongside of postmodernism. “Graphic design provided a platform for nuanced definition of groups and subgroups within broader movements...� (Drucker, McVarish 308). Groups and subgroups of ethnicity, sexual orientation and otherness were expressing themselves and demanding attention (Drucker, McVarish 301). Music, fashion and cooking where transforming with postmodernism as well, working with the idea that anything goes (Drucker, McVarish 301). On a more political stance, with the end of the Vietnam War the economy suffered many changes in labor, capital and resources (Drucker, McVarish 309). Designers took the postmodern style and responded to these changes by creating designs that protested the changes of political
conservatism and keeping the order to maintain an economy (Drucker, McVarish 310). Simulation, the act or process of pretending (Simulation), of imagery played a major role in this area, as they used it to portray their thoughts and disguise the reality of the situations. Also impacted were the business companies. They turned to designers for aid in expanding their businesses as the focus shifted from the actual production towards spending more on branding their companies and promoting their businesses (Drucker, McVarish 302). Graphic design flourished in this endeavor. Designers focused on the responsibility of design and invested time in creating associations with businesses by visuals and references that were noticeable to society, for example, establishing endorsement deals with up and coming celebrities which became popular in the late 1980s (Drucker, McVarish 302).
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Post modernism opened many unopened doors and allowed the rules to be broken. That amount of change is guaranteed to receive criticism. In one angle, it can be viewed as more than a just a change of style, but a change in social behaviors as well. The breakthrough of postmodernist designers developed the stance of breaking the rules, as they were developing and establishing their own styles. Designers were able to truly express who they were in their art in ways many have not before. Cohesively, authenticity and originality diminished in importance, giving that freedom of expression a true advantage (Drucker, McVarish 301). The idea that art could be made for pure belief and the artist’s signature left out or commissioned for a project was something that was confusing and strange. The criticism was questioning the role of history and what the power of creating art really was. Compared to the International style and modernism, postmodernism design was diverse and playful. The aesthetic was created to be fresh and funky. The flourishing styles of retro, techno and punk took to the design world with confidence. The way postmodernism appropriated history was looked at as an invention, and “the death of the author� was peculiar (Drucker, McVarish 313). It opened opportunities for designers to express themselves through their designs and for their political and social projects. The design profession was extended into the corporate field and the responsibilities as a designer solidified with the new language postmodernism created. In the postmodern era designers were not just mediators of information, but individuals who think creatively and visually about our culture (Keedy). The postmodernism era was a push on the limits and expression of design.
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Works Cited
Drucker, Johanna, and Emily
McVarish. Graphic Design History: A Critical Guide. Upper Saddle River, NJ: Pearson Prentice Hall, 2009. Print.
Keedy. “Emigre Essays.” Emigre
Essays. N.p., n.d. Web. 22 Oct. 2012.
“Memphis Design Museum Collection
: - Design/Designer Information.” Memphis / Design Museum Collection : - Design/Designer Information. Design Museum, n.d. Web. 15 Oct. 2012.
“Simulation.” Dictionary.com.
Dictionary.com, n.d. Web. 16 Oct. 2012.
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