Modernity Essay

Graphic Design - Year 1

Critical and Contextual Studies

Claudia Griffin

Focusing on specific examples, describe the way that Modernist art and design was a response to the forces of modernity?

Modernity is a historical period of time, recognized as being from 1750-1950, in which came many changes to the Western world that were believed to be improving life for everyone, due to the processes of industrialisation, urbanisation, mass production, and the emergence of new technologies and materials.  Modern was seen as a positive term, promoting progress, and proving that the new is better than the old. As modern technology appeared, easily accessible transport came to existence and urban living grew in popularity. These are examples of the forces of modernity, which are expressed in Modernist art and design – Modernism.

Instead of living in rural areas, people shifted towards the towns, meaning that many more people lived in one area. There were bountiful developments, which people put their faith in, believing that they would advance the world, but downsides came with this mass urbanisation. With so many people, from all backgrounds and wealth living in such a close, condensed social space, society became secular and fragmented. Despite more people living closer together, many began to feel distant and alienated, with people eventually starting to worry that modern life was sending them mad.

The railway, which became a method of transport for passengers in the 1820’s, is a very important force of modernity, as it made different areas that were previously unavailable easily accessible to all, so that people could now learn about and see more of the world. The importance of this new technology called for the sense of world time to become regulated to Greenwich Mean Time in 1847. By 1855, the majority of the clocks in Great Britain were standardized, which demonstrates how modernity controlled life. Technological advances impressed people, such as the invention of the telephone (1876), automobiles (1889) and the airplane (1903). Leisure activities like shopping became available, totally changing how people could spend their free time. People turned to science and psychology instead of only accepting religion. As a result of these forces of modernity that were inescapable for those living in the urban towns, life dramatically altered. The opportunity to access more information, learning about the different people and cultures of the world, somehow left everybody separated. And with all the new technology, processes and material available, art and design changed in reply.

This essay will look at art and design created in the Bauhaus’ modernist project. The Bauhaus (building house) school was an influential art school which was the main place of modern design and architecture, achieving something different to the other art schools of the time with its constructive thinking and revolutionary ideas. The school, which believed that the crafts were equal with the arts and so the separation between the two should be destroyed, had a Utopian aim of creating pure, good quality, functional designs that could improve everyday life for everybody. Students were taught in workshops by master craftsmen, learning about materials and textures rather than just art history. It operated from 1919 – 1933, born out of catastrophe after the 1^st World War, but was eventually forced to close as the Nazi's as they thought it was too progressive.

The forces of modernity did not always lead to positive, empowering outcomes, but sometimes to despair. Society became faster, with people struggling to keep up, and falling into depression.  People were lost in this mass of new technology. In acknowledgement, Modernist artists tried to provide a solution with their designs, so that people could stay positive and things could progress in a way that wasn’t dizzying, and didn’t distract them from their life. As Barnard says,

‘There is a sense in which modernism represents a dissatisfaction with the modern world and sees a variety of ways in which it may be made better.’ (Barnard 2005:113)

Universal, the geometric typeface designed by Herbert Bayer in between 1925-28, was designed to be an easy to read and understand font that could be used worldwide eternally. It contains only lowercase letters, as Bayer thought uppercase letters were irrelevant.

‘Bayer eliminated capital letters, contending that because the uppercase/lowercase distinction does not occur in speech, it is artificial and unnecessary.’ (Roosevelt 1999:192)

The type is sans serif, free from any form of decoration. It was believed that excessively decorating was a sign of backward development, that ornament was crime. Therefore, only what is needed should be used. A value of modernism in graphic design is ‘the reduction of elements to a minimum.’ (Aynsley 2005)

Bayer’s desire was for Universal to become a standardised, clear and neutral typeface, with the aim of aiding communication.

Universal contains aspects of what modernism is generally believed to be in graphic design. Despite attempts of defining what modernist art is, there are no agreed characteristics which apply to all pieces, only ‘family resemblances’.  No piece could contain all the elements associated with modernist design, or it would become hypocritical.

In contrast to this font is the German font Fraktur, which is not neutral or free from decoration. Fraktur is not international, being well known for regularly being used in only German design.  This is not what the Bauhaus modernist artists wanted; their approach to design showed their wishes for inequality to vanish, making the world a better place for all.

Not everybody saw modernist work as progressive; anti-modernists disagreed with the new creations. Just as city space is becoming dehumanised by urbanisation, by having just one universal typeface, there is no space for individuality. Modernity does promote equality, but it denies difference. Even the Modernist typographer Jan Tschichold described modernism as ‘impersonal creativity.’ (Fiell 2005:20)

The building of the second Bauhaus school is a perfect example of modernist architecture.  Moving for political reasons, the Bauhaus school was located in three different locations during its time. Designed by Walter Gropius, the found of the Bauhaus, the second school was built in 1925 in just over a year, in Dessau, Germany. Behind the modern buildings of the time was the idea that they would be practical to use and could be made quickly, cheap and easily. They should fit in with the modern world and the modernist beliefs. Modern designs should be against elitism, and of a neutral language, which does not discriminate against anyone. The school is an example of what modern life demanded, with everything from the workshops to the flats underneath one roof. It was a response to the new, faster pace of life.

The Bauhaus school had a big window made of re-enforced glass, a new material, so that each room had plenty of light allowing the artists to work in the best conditions. It may not seem like the most exciting piece of architecture, but is a prime example of form following function, meaning that the function is not disguised by the aesthetic.  This is the belief of Lois Sullivan who formulated the ‘law that form ever follows function.’ (Barnard 2005:114)

The building was made from concrete and steel, which at the time were new materials. The furniture was created in the workshops, many of the creations being a response to the new technology of the time, particularly transport.

There is a grid like structure in the design and placement of the windows on the structure. The spacing of the windows shows the modernist style of alignment, following a strict grid. It is a well-thought out piece of architectural design that aims to help the world’s progress.

Another value of modernism is that the designs would have a truth to materials, with the object being stripped down to its original form, making these pure materials speak for themselves, not needing to be changed into something they are not.  Josef Albers, a teacher at the Bauhaus, says that the artists must ‘exploit, not disguise the strengths inherent of the materials.’ (Withford 1994)

While the Universal font did not take off as a standardized worldwide font, the bold, simple but effective font Futura was designed for the logo of this building. Type faces were rethought with traditional fonts being discarded.

Similar to the idea behind the font Universal, because of the clear, simplicity of the design, the building was ideally supposed to be clear and ever-lasting. There is no sight of useless decoration, instead only what is needed is used; the result being that the beauty is in the simplicity.

                ‘Adolf Loos … argues that the ornamentation or decoration of objects is to be avoided, because it causes them to quickly go in and out of style.’ (Barnard: 2005:114)

A modernist belief was that it was only possible to create a new piece of design by inventing a new technique. The new font, new typeface and new style of architecture shows this modernist desire for the new, advancing and improving, not looking back at the old.

Modernist art and design was responding to both the positive and negative forces of modernity, continuing to use the new materials and new technologies that had become available to create a new style of non elitist art. The modernist artists had the good intention of continuing to helping to improve the world, and providing answers to problems created through the negative forces such as mass urbanisation and a faster pace of life. This belief is an ‘almost contradictory, but always accompanying, belief in progress.’ (Barnard 2005: 113)

The modernist’s response to the force of mass production may not seem like an adequate response, but a contradictory one, as it could be argued that the sense of the unique individual self was lost due to the forces of modernity.

Word Count:  1,583

Bibliography

Barnard, M. (2005), Graphic Design as Communication, 1^st edn, Oxon: Routledge

Spencer, N (2001), Guggenheim Museum Collection A-Z, 2^nd edn, New York: Guggenheim Museum Publications

Lupton, E and Miller, A (1999), Design Writing Research, 2^nd edn, London: Phaidon Press Limited

Ambrose, G and Harris, P (2009), The Fundamentals of Graphic Design, 1^st edn, Switzerland: AVA Publishing SA

Fiell, C and Fiell, P (2005), Graphic Design Now, 2^nd edn, Cologne: Taschen

De Jong, C (2006), Sans Serif: The Ultimate Sourcebook of Classic and Contemporary Sans Serif Typography, London: Thames & Hudson

The Face of the Twentieth Century Bauhaus, (1994) [DVD] Written and narrated by Withford, F. UK: BBC/RM ARTS

Idea Finder (2005), Invention of the Automobile, [online] Available at: <http://www.ideafinder.com/history/inventions/automobile.htm> [Accessed 22 January 2011]

Idea Finder (2006), Invention of the Telephone, [online] Available at: <http://www.ideafinder.com/history/inventions/telephone.htm> [Accessed 22 January 2011]

Idea Finder (2006), Invention of the Airplane, [online] Available at: <http://www.ideafinder.com/history/inventions/airplane.htm> [Accessed 22 January 2011]

Web Exhibits (2008), Daylight Saving Time, [online] Available at: <http://www.webexhibits.org/daylightsaving/d.html>[Accessed 22 January 2011]

Anysley, J (2005), Pioneers of Modern Graphic Design: A Complete History, [online] Available at: <http://www.davidmayer.co.uk/Bass/pioneer.html> [Accessed 24 January 2011]

Deconstruction

The implications of deconstruction for thinking about text

Lecture Notes

• Deconstrucion is complicating what seems to be obvious. It is a style of writing that you can never understand. It is an invented philosophy, which became like a 'style', that overlaps with traits of postmodernism graphics. The work of this style shouldn't be grouped together as an ism - as it is wrongly known as 'deconstructionism'. 
• The Cranbook Academy of Art was a deconstructivist school which played with the rules of Graphic Design.
• 'Deconstruction is an approach to texts which analyses their systems of representation - the systems which frame their communication' (Jacques Derrida I) Text refers to anything that gives meaning.
• By questioning and interrogating you can unpick hidden structures that lie beneath the surface.
• There was a traditional idea that speech was the primary method of communication as it is original, natural, internal, authentic and powerful. Writing was seen a secondary copy of speech, and therefore, deemed inferior. This is because is requires equipment, and the subject is absent. However, writing can last forever, whereas speech can't. Derrida deconstructs this idea that speech is better than writing.
• When reading a text, you are reading the authors opinions, but with decisions from the designers getting in the way. There is more than one voice in a book, and the decisions behind why a certain font, why a certain kerning or leading has been used is communicated.
• The way a designer sets out a page can stop you from reading everything, as they almost read it for you, indenting new paragraphs, separating different points, making it easy to skim through.
• Designers add a voice which can become more important than what is written / readers voice. This is the death of the idea of the author being the only one who gives meaning.
• Katherine McCoys book page (Cranbook Acadamey) is an example of deconstruction text. Opposites, such as art and science, are placed in between lines of text, so the reader has to read two things simultaneously. There is a split down the middle of the page, yet the text reads like a standard page, not in columns. You have to read it in a different way than to what the brain has been taught. This awakes the reader and makes them really pay attention.
• The Cranbook Academy Journal makes you aware of the structure it deconstructs, as it takes standard accepted forms of journals and slowly changes them.
• Deconstruction posters can attack conventions, by not following the rules of graphic design, but by giving the reader the power, by having no headings, no grid, removing structures and therefore allowing the reader to choose their own meaning to this style of poster.
• Barry Deck's 'Template Gothic' is a font that deconstructs itself, as some letters are slanted and uneven. As the geometry is destroyed, when using this font for writing paragraphs, the text looks wobbly.
• The unusual layout of David Carson's 'Ray Gun' deconstructs what is is to be a magazine. The pages of this magazine seem to be against communication, with anti-meaning.
• In a critique of David Carson's work, the designer has used techniques of Carson's, which really makes you think why has he made this decision to do this and what does it mean?
• Deconstruction architecture challenges what a modern building should be because we assume certain forms. (Peter Eisenman - Tokyo office block)
• Bernard Tschumi's Le Parc de la Villette Paris is not like a standard park with a path that leads you a certain way around, but is confusing, like a maze, making the visitor have to think for themselves. This shows how deconstruction architecture can be anti-authority.
• Daniel Libeskind's Jewish Museum in Berlin has no straight walls, and is a building that dismantles itself.
• Typographers can change the message as much meaning is created by us as with the text.
• Books used to be handwritten so every copy was slightly different. Typography standardised books so there is only one meaning.
• The kerning and leading affects the meaning of how a sentence is read. The font choice changes what is being communicated.
• Beatrice Warde 'The Crystal Goblet' thinks that type should be invisible as the authors words are the most important.
• Example: The Sex Pistols album artwork is against order, as it goes against what the rules of good typography are. It is modern, but anti-aesthetic. It seeks to critique the modern world in a political way.

Task

Summarise the main points of the text about typography and the role of typography in communication, then analyse one piece of deconstructionist graphic design.

 Text from Lupton, E (2008) 'Thinking with Type'

• Typography helps readers to avoid reading by allowing them to skim through and skip parts of the text to find just what they are looking for. Paragraphs, marked by indents, make it clear that a new idea has begun.
• Before print, books were handwritten, and there were errors in each copy, but now there is only one form of the text. However, if a book was to be translated or revised etc, it would change. Online texts are easily downloadable, allowing the reader to change them.
• As the alphabet represents sounds, spacing and punctuation is vital for the text to be read as speech.
• Books have navigational features, such as page numbers and headings, so a reader knows their location. This is useful so the reader can leave the text and return to it. This is seen as an "attack on linearity", which may be celebrated, however, electronic screens are usually linear. 
• The reader can create meaning as much as the writer. (Barthes theory of death of the author). This is because the content of the text changes when the physical representation of the text is altered, giving the power to the designer.
• Readers on the web are impatient. This arises from culture, as people have different expectations of the text they will find on a website compared to in print. Therefore people pay more attention to print, even though it is as easy to read.

David Carson (Year of article unknown), Ray Gun - Double page spread

http://theslick.jugem.jp/?eid=69

This double page spread from David Carson's magazine about style and music, Ray Gun, is an example of famous deconstructionist graphic design. There are so many layers to this spread, containing many different fonts, colours and images that everything looks like a jumble, a random experiment which looks like a mistake, but at the same time, works, and therefore Carson's graphic design 'style' is still celebrated today. The text in the columns is so tiny, and there is so much going out, that the articles are almost impossible to read. The viewer could either choose to ignore this work, or decide to scrutinise it; either way this style of graphic design definitely provokes a reaction, with viewers either loving or hating Carson's work. As the style of graphic design is innovative and experimental, readers may be more likely to pick up this magazine, as it is interesting and evokes curiosity, than they would pick up an article which is just plain black text on white paper. The columns do not seem to fit into a neat grid as the columns on other magazines do. Carson seems to do the opposite to what the rules of graphic design are, yet he gets away with it, is even celebrated for this. By making decisions such as to have red text on a black background, allowing the colours to bleed into one another, or to have a mix of different type faces which do not seems to match, or the text that wanders off the page, Carson is going against the modern order of design. Although the text is almost illegible, the page does communicate to the reader, however, it is more about design, rather than the actual subject of the article. It suggests that the designers are more important than the authors, as they give a new meaning to the text. Carson even said that he believed 'if the type is invisible, so is your article'. This idea relates to Barthes theory of the 'Death of the author'. 

Extra Reading

Joe Clark (1995) 'Illegible David Carson cannot 'not' communicate'
http://joeclark.org/design/davidcarson.html

Lupton, E and Miller, A (1999) Design Writing Research 'Deconstruction and Graphic Design', 2nd Edition, New York: Phaidon

Post-modernist Graphic Design

What is Post-Modernist Graphic Design?

To begin with, here are some qualities of post-modernist graphic design:

Central features summarised by Thomas & Walsh
*Globalisation
*A post-industrial world of consumption and communication
*The challenging of cultural values and difference - (old social/cultural identities have lost their values, semiotics are not applied, things just exist without judgement)
Other features
*The meaning of a piece has to be made by the reader, and each reader will find a different meaning, as designs are visually ambiguous (deconstruction of meaning)
*Ignoring the rules of graphic design, there are no rules
*Past styles/images/type from art and design history are 'borrowed' and used again at graphic designs convenience, as everything has been done before (exhaustion of styles)
*The end of original art - things are reproducible, mass production has replaced hand made
*A jokey, fun, light-hearted attitude has replaced the seriousness
*Eclectic mix of styles
*Complexity and chaos in designs

There appear to be some qualities of post-modernism that are shared with the qualities of modernism, however, on the other hand, post-modernism is the complete opposite of some of the associations given to modernism. Post-modernism provides negative/sarcastic responses to the characteristics of modernism which are seen as being bad.

It is difficult to conclude exactly what post-modernist graphic design is, as everything is so vague, but here are five examples:

Memphis Group (1981) - New International Style

http://www1.yoox.com/item.asp/YOOX/ELECTA/dept/accessorieswomen/tskay/3FD17CD7/rr/1/cod10/56000736FV/sts/sr_accessorieswomen80

The Memphis Group are an influential group of post-modernist designers, known for their brightly shocking furniture designs in a variety of interesting shapes. This book cover announces the new post-modern style. Their work is light-hearted, and their fun approach can be seen on this cover, that features a miss-match of many different shapes, such as with their furniture. There appears to be a structure with this design, but then there are certain aspects that break the rules, such as the red text placed off-centre, and the pattern on the left which is not aligned as the other shapes/patterns are. While the colour is simple, with the use of shapes there is a lot going on in this design, and, like with the Memphis group's furniture designs, it challenges the boring designs that are out there.

John Weber (1984) - Flyer

http://gds.parkland.edu/gds/!lectures/history/1975/postmodern.html

This flyer by John Weber relates to the post-modernist theory that everything has been done before, by using the shapes and colours which were used in the designs of the constructivist movement. However, the font used is quite different to the style of typography using in constructivist graphic design, showing a mix of styles. The design ignores the rules of grid and layout, with things placed diagonally, making the text harder to read, as everything is a bit chaotic. The use of only two colours against a lot of negative space should make this image look neat and simple, but instead, there is a complexity to the design. It is quite hard to understand what this flyer is actually about, leaving the viewer to find their own meaning.

Seymour Chwast (published 2004) - A Quarter Century of Innovative Design and Illustration

http://www.designishistory.com/1960/seymour-chwast

Again, this book cover shows how post-modernist graphic designers can bring up old styles and re-use them for light-hearted, interesting, but not original, designs. This illustration has been created in the style of pop art designs, which were considered at the time to be jokey, and there is definitely humour intended in this image of a hen wearing a tux. The fonts used are also based on past styles of typography, a style different to what was used in pop art designs, showing an eclectic mix, which ignores the rules of things having to work together for a particular meaning.

Wolfgang Weingart (1980-91) - Didacta Eurodidac

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A6289&page_number=8&template_id=1&sort_order=1

This is quite a busy, complex piece, but it doesn't look too over crowded due to the limited colour scheme, and the use of only one font. The heavy use of lines does seem to give this piece a grid, but at the same time, the rules have been broken, with little negative space and the overlaying of a miss-match of different sized images, this piece ends up quite chaotic.  

April Greiman (1986) - Does it make sense?

http://www.idsgn.org/posts/design-discussions-april-greiman-on-technology/

This is another busy piece, containing many different layers of a mix of different styles of images and type, which seem to be quite randomly placed, making a chaotic piece, that does not appear to follow a grid. It breaks the rules of graphic design, meaning that what is being communicated isn't completely clear, so the viewer has to make their own mind up. The type is quite small in contrast to the images, and some text is even reversed, making it even harder to read. Also, some images are upside down. The randomness of an image of an upside down dinosaur placed on top of the body of a naked woman gives this design humour, and while it is confusing and ambiguous, it does seem fun and light-hearted.

Extra Reading

Janviere, J (2009) A Brief History of 20th Century Graphic Design,
http://www.slideshare.net/JenniferJanviere/a-brief-history-of-20th-century-graphic-design

Parkland College Graphic Design (2010) Post Modernism,
http://gds.parkland.edu/gds/!lectures/history/1975/postmodern.html

Barnard, M. (2005), Graphic Design as Communication, 1^st edn, Oxon: Routledge


Appignanesi, R and Garratt, C. (1999), Introducing Postmodernism, 2nd edn, Australia: Allen & Unwin Pty. Ltd

Defining the Avant-Garde

Seminar Notes

• Avant-garde art is deeply aligned to the modernist way of practice as it aims to be progressive. It is used as a quality to describe work as well as being a group you can be a member of. The term is now popular, but used so much in the wrong context it has become meaningless. Google web searches prove this. Avant-garde art seeks to shock, challenge and re assess conventions. It is the development of the individual expressive self.
• Duchamp's urinal mocks the elitism in art. It is shocking, new and innovative. It is anti-conventional and so challenges what art is in an aggressive way. It is non conformist as he re-defines what art is rather than sticking to the rules.
• The Fauves 'wild beasts' were given their title by art critiques who were disgusted by their work as it contains new techniques, bright colours and bold brush strokes. It is unrealistic in this aspect but the subject matter is real. Classical art often contain fantasy scenes which aren't real. There are examples of classical art created in the modern period which were seen as realistic due to the traditional methods behind them.
• There is a hierarchy of the disciplines of art in society. Fine art is more valued, as it is believed to be creative, intellectual and socially important.
• In the LCA prospectus it can be seen that each course considers it has aspects of avant-garde in it. How relevant is avant-garde to graphic design? Answering a specific question set on a brief may not be being original.
• In art education students are taught to copy other artists styles, giving the modern illusion of individuality. In historical art education, the students were taught to copy 'master' artists work/styles before being able to create their own.
• Fine art is as commercial as graphic design, as the reason behind the artist creating the piece is so someone will buy it/ they have been commissioned. There is nothing 'genius' about this.
• There is an attitude with contemporary art that if you don't understand it is your fault for not being clever enough. The painting 'Death of Chatterton' tells a story of a poet who kills himself as he can't sell his poetry because the world doesn't understand him. This is the myth of the romantic tortured genius. It is as if society is responsible for his death. To be avant-garde you should be better than/ahead of society, so it could be a good thing that the world didn't understand Chatterton.
• The 'Stonebreakers' painting is avant-garde in a different way - it looks traditional yet its subject matter is political, seeking to make social change. Instead of being a painting of royalty or religion, it features the working class.
• Clive Bell came up with a self-protecting critical idea that successful art would contain 'signifcant form' - which is the relations and combinations of lines and colours, which when organised give the power to move someone aesthetically. If you do not see the significant form in paintings that Bell does, he protects his idea by accusing of not being educated enough.
• 'Art for art's sake' refers to art that has no political meaning, it just abstract or aesthetic. Pollocks 'Lavender mist' experimental painting is a symbol of elitism in western culture. To be truly experimental, you run the risk of no one understanding your work, which is elitist. So how true can avant-garde be?
• Stalin disagreed with this 'snobby' art. He only like a particular style (he banned constructivism) which was used to get a message across, but which could be seen as propaganda. Which is better?
• Avant-garde was originally a french military term. It culturally means that artists are cutting edge, leading the way in either aesthetic or political ways.
• Kitsch is the idea that something is in bad taste, tacky, but has love ability in a patronising way. This value of judgement is based on a system of taste which is an elitist thing to do. 'Kitsch' things aspire to be art, but fail, as they can't be taken seriously. It depends on cultural standards. To say it is kitsch to have a famous print in a frame or on a plate as one can't afford the real thing is like saying there is a place for art - either the gallery or for collectors - and this is elitist. Examples of kitsch: turning a piece of art into something it is not supposed to be; distorting an existing piece of art to fit in a certain space; 'fine art' paintings of tigers, also sentimental commemoration items such as for the royal wedding.
• Jeff Koons created a life size model of Michael Jackson and a monkey; there is an illusion this piece is art because it is in a recognised gallery and made by a famous artist. People are told it is important, but if it were found in an ordinary shop it would be regarded as junk.
• Pop art is an art form which is not original, but is against elitism.
• Communication is not as important in avant-garde art, it is more important for the piece to be experimental than to be understood.
• By saying that something is an example of bad typography you run the risk of sounding elitist.
• The Tate do not want traditional art that the public like, but do want avant-garde pieces, like Carl Andre's 'Equivalent VIII', which was literally a pile of bricks. People visiting have to be told why it is important as it is not understandable.
• Only a select few people decide who the winner of the Turner Prize is, these people have the authority to decide which artist the public like.
• Two men were arrested for jumping on Tracey Emin's bed, seemingly trying to out avant-garde her.
• Damien Hurst had the idea behind his shark but didn't actual do anything to make it/pay for it, so why is he the creative genius? Values of taste are political. Re-productions of Hurst's work aren't even made by him, but still sell, as they are a status symbol for the rich.
• Hurst's skull 'For the Love of God' was also made by someone else. The value behind it is monetary not artistic.
• The reasons for an auction of post-impressionist art pieces going for prices around $80 million dollars were corrupt - part of a Japanese money laundering scam in the late 1980's.
• Adverts by ad busters are more likely to cause social change and be avant-garde than Tracey Emin's 'art'.

Discussion

  

(Discuss the concept of avant-garde in relation to 2 works of Graphic Design. Could look at constructivism, ad busters, post-modernism - all have different attitudes in society)

Image One:
Adbusters (1996) Absolut Impotence
http://67.192.229.58/content/absolut-impotence
Image Two:
Rodchenko, A (1925) Lengiz books on all subjects
http://www.adbusters.org/content/alexander-rodchenko



Adbusters spoof campaigns could be seen as being avant-garde, as they are aiming to be progressive, and change the way people think by making them look at an advert in a different way. This image, which is part of a series, mocks the style of the official absolut vodka adverts, but with a clever twist. This could mean that the adverts aren't actually original, but the message behind them is, as other adverts are simply selling their products, or a way of life that supposedly comes with a product. This set of adverts reveal the negatives that come with drinking vodka, to deter people away from buying it. This is re-assessing conventions, by challenging the adverts that already exist through telling the other side to the story.

Constructivism was such an original, shocking, new movement that Stalin banned it, only allowing the style of art he wanted to be used. He thought this style was dangerous and against communism. Constructivism shocked due to how different it was to the traditional fine art pieces that came before it, instead it was radical and experimental. The wedge shape used in this photo montage by Rodchenko, as well as many other pieces of constructivist graphic design is a symbol of smashing the old regime, as the Russian people took over the government. Not only do these pieces impress on an aesthetic level, they also contain a political message.

I do think that these two graphic design pieces are avant-garde, but for totally different reasons than why fine art would be classed as avant-garde. Graphic design can cause social change for the better, whereas fine art pieces seem to hold different qualities, as they aren't understandable, suggesting the artists believe they are ahead of society. Yet this seems like a snobby, elitist quality, which is not progressive in the ways graphic design is. Graphic design is a means of communication and therefore it is important the pieces are understandable.

Bauhaus Research

Modernity Essay Research

These are the two images that I will discuss in my essay.

First image:

Bayer, H (1925), 'Universal' Typeface

http://www.type.nu/bayer/univer.html

Second image:

Gropius, W (1925), Bauhaus School - Dessau

http://en.wikipedia.org/wiki/Bauhaus

These are notes I have made from watching a Bauhaus educational DVD

Withford, F (1994), The Face of the Twentieth Century Bauhuas, DVD: BBC / RM ARTS

• The Bauhaus achieved something different to other art schools at the time, as it had a way of dealing with life on an aesthetic level
• Walter Grobius' dream became a reality with the creation of the Bauhaus school
• It was born out of catastrophe, as the old world was collapsing after the 1st world war
• Bauhaus means building house
• Constructive thinking and revolutionary ideas were thought up at the Bauhaus
• Teachers at the school wanted to return to crafts, and so there were workshops where the students actually made things, taught by master craftsman. This was a major innovation at the time.
• There was a Bohemian atmosphere
• Teachers wanted to "destroy separations" between the arts
• Students learnt about materials and textures rather than just art history
• The Bauhaus invented the modern art student, unique work was created rather than just copies of traditional styles
• Products, everything from kitchenware to toys, were made with function and the mass market in mind
• The emphasis was on colour and geometry - the triangle, circle and square
• Teach Joesph Albers says the artists must "exploit, not disguise the strengths inherent of the materials"
• Students were taught to think intelligently and clearly rather than like mad artists
• The 2nd Bauhaus home was in Dessau, and was designed by Gropius himself. Advanced construction techniques were used, and new materials, steel, concrete and re-enforced glass were used.
• Everything was under one roof, the canteen, the workshops, the flats and the offices
• It was built in just over one year
• The school is a perfect example of constructivism and what modern life demanded
• The furniture in the building was all created in the workshops, and many of the creations were inspired by the new technology of the time, in particular the transport
• The typography was bright, bold and simple. Typefaces were rethought and traditional solutions were ignored. 
• The Bauhaus was often hated because it was "different", "radical" and "scary"
• The school moved to different locations for political reasons. The 3rd Bauhaus was closed in 1933 by the Nazi's.