Tuesday, April 19, 2011

Postmodernism

Postmodernism:

  • pomo is cliche of post-modernism
  • function and materials are modernist structures
  • a lot of modernist structures didn't work
  • postmodernism can be theoretical approach, embrace different things
  • wrestling with dualities, mixing of cultures, high and low
  • postmodernism seen in art, design, literature, architecture
  • emphasis on feel rather than rationale
  • emphasis on surface, texture and materials
  • self-consciousness or self-referencing
  • mixes high and low, historical references, vernacular
  • Banksy is example, street artist, making lots of money off work
  • emphasis on form over function
  • direct confrontation to sterile office modernist aesthetic
  • playing with design, putting text block at angle, expanding parameters
  • in the 60s people reacting to modernism, others pushing boundaries
  • language of poster, untraditional use of space and rags
  • playing with logo, putting it on its side, bending it, maintains structure
  • Wolfgang Weingart 1969 working with lead type, experimenting
  • Weingart uses open systems, playful elements
  • teacher at Basel School of Design, gets bored with international style
  • starts experimenting and breaking from confines
  • key proponent because he is a teacher at important school
  • had very important students who became influential designers
  • Weingart was teacher of Lee Willett (sp)
  • experimenting with sans serif, letter spacing, stair-stepping rules
  • uses diagonal type, reversing type out of bars, variations within word
  • still underpinning of structure, but less conformity
  • his student Dan Freedman uses variety of letterforms, float in space
  • studied at Basel 60s and 70s and then taught at Yale
  • tradition of Basel students teaching at prestigious US schools
  • taking simple bit of text and saying what if, pushing variation
  • mentality of having basis in theory and logic and pushing it farther
  • 1980 ad for china club, elements of Lissitsky, contemporary
  • Cal Institute of Arts lots of floating objects, texture orgy
  • Memphis Design Group, based out of Milan
  • want to erase International design, pull all textures and colors together
  • pull from ancient, popular, function is secondary to style
  • 70s artwork reflected arena rock music epicness of time
  • the 80s is completely reactionary, saturation, objectification
  • other reaction is punk, Sex Pistols and Buzzcocks
  • Beatles transition reminiscent of aesthetics changing at time
  • cliches of these musicians from their eras, iconic looks
  • The Situationists modern group of Dadaists
  • Situationists reacting to modernism, things have no meaning
  • create situations, art that doesn't make sense, art poking fun
  • absurdism in art, causing a reaction amongst people
  • Sex Pistols form in 1976, first album in 1977
  • Buzzcocks were poor kids from Manchester, just wanted to make band
  • Charles Anderson appropriating cultural language and repackaging it
  • up until this point in mid-80s, packaging didn't look like this
  • Anderson uses illustration reminiscent of classical, changes language
  • appropriating vernacular, not clean or modern, but rustic
  • realized that historical vernacular affects customer more
  • Peter Seville involved with music posters and graphics
  • creates an aesthetic through industrial inspired graphics in The Factory
  • creates famous Joy Division wave/mountain pattern
  • Vaughn Olliver is another English designer, 4AD Records
  • designers still using traditional means, shift happens with Mac in 80s
  • Mac changes technology and therefore the way people design
  • first uses were more about type setting than designing
  • Layering, pixels, very digital looking due to computer
  • Emigre was underground design magazine at time of formation
  • Katherine McCoy was Cranbrook student, theoretical look at design
  • student Jeff Keating? looking at French literature, deconstructive theory
  • Ed Fella does everything by hand, creating expressive typography
  • look for copies of Raygun or Beach Culture and buy them
  • Dave Carson does same lecture every time, hide if he ever comes here
  • post-modernists create work that shocks, readability not important
  • active engagement becomes better form of communication
  • the fact that it has become a more effective form in a way makes it modernist
  • writing the type, doing it yourself, mixing high and low
  • Sagmeister very charismatic, sincere German artist, hero worship
  • lots of clean, competent work, with good clients

I've never really thought of myself in terms of modernist or postmodernist, but I guess if I had to choose then I'd say I'm a postmodernist. Even though technology is in many ways unavoidable in today's society, I would never really say I'm a proponent of technological growth. I think I'm too much of a romantic for that. I think there's so much to be valued in handcraft and using what's available, that I can't imagine a world run by technology. I think in many ways it takes away from the original idea or thought process behind the designer, unless your intention was perfection I guess. It's almost scary to me that there are these underlying rules or restrictions in the modern design aesthetic that I feel at times I am being forced to follow. Experimentation is so important to me and in many ways I feel I fail at even that..which is ridiculous to say because it's an experiment..there is no right or wrong. But I often feel like I can't make things that are unclean and random, and it frustrates me all the time. Vectors are frighteningly abundant and I just want someone to write in dirt and get away with it..even better if that person is me. One thing I will say about the negatives of postmodernism is that I think it can often cross the line into gaudy and overly cliche. I remember when I first saw Las Vegas..now I knew it was supposed to be disgustingly cheesy and bright, but I still held on to this idea that there would be this air of old glamour or that it would provide me with this sort of wave of nostalgia..but instead I just found it to be horribly fake and touristy..just so run down that it was no longer funny, but sad. So while I love the eccentricity and freedom of postmodernism and concept of dualities, I feel that form cannot always replace function.

Tuesday, April 12, 2011

Swiss Design & the International Typographic Style

Swiss Design & the International Typographic Style:

  • it is more than just grids
  • visual unity achieved by asymmetrical organization
  • use of objective photography
  • sans-serif type, flush left, rag right
  • uses mathematical grids
  • making things that are socially useful
  • relates to Constructivism, things are useful
  • synonymous with International Typographic Style
  • more important than appearance is attitude
  • roots in De Stijl, Bauhaus and new typography
  • Max Bill and Theo Balmer are designers
  • after WWI, Swiss start taking in ideas of Modernism
  • Theo Balmer student is Dessau in 1920s
  • structure overt, structure making art
  • grid informs and becomes art
  • open and asymmetrical compositions
  • fitting units on page mathematically, modular grid
  • Max Bill involved in planning ulm
  • ulm is important school for including semiotics
  • syntactics - order
  • semantics - meaning or referred to
  • pragmatics - how it is used
  • Ferdinand de Saussyre - Dyadic Model - signifier is the form which the sign takes, the signified is the concept it represents
  • Charles Sanders Pierce - Triadic Model - sign vehicle is the form of the sign, sense is the sense made of the sign, referent is what the sign stands for
  • Frutiger completes Univers alphabet in three years, 1950s
  • uses numbering system for different faces
  • Frutiger still alive today, 82
  • Univers is logical system of articulation, has same x-height
  • Armin Hoffman born in 1920, still alive
  • Hoffman evolves philosophy of point, line and plane
  • develops system of contrasting elements
  • "if you design the negative space, the rest will work"
  • Josef Muller Brockmann creates semiotic relationships
  • don't have to read poster to know what is going on
  • three posters using basically the same grid, asymmetrical square
  • European Modernism is theoretical, has belief and design system
  • American Modernism in NY is pragmatic
  • Paul Rand, Saul Bass, Ivan Chermayeff are major designers
  • start to see development of NY school in 40s
  • a lot of European immigrants, filtering in ideas
  • Paul Rand christmas present wrapped in barbed wire
  • language of both war and Christmas
  • handcrafted works, quick and immediate collage

It's interesting that so many different theories on art aesthetics were coming out at the same time..and many of them seemed in complete opposition of one another..such as the idea of how or if the type should communicate a message. I think it's pretty remarkable that designers could use one simple grid over the span of their career to create a multitude of compositions. While in some ways I could see this getting tiring or boring, it challenges the designer to fully exercise all their design options from one starting point. And like you said, if a grid is limiting or constraining in any way then it's probably not a good grid. I really love the work of Saul Bass and the title sequences he did for the Hitchcock films. There's something so cool about his aesthetic and I can't really explain what it is. I think it's just this abstract simplicity that kind of takes elementary structures to a darker place..or something like that..but it's just really cool how a torn edge or straight edge convey entirely different meanings.

Tuesday, April 5, 2011

Bauhaus in America

Bauhaus in America:
  • Jan Tschichold hand-lettered advertisement
  • Tschichold is son of artist, studied calligraphy at young age
  • Walker Evans photograph of design during time, Victorian-esque
  • at the beginning, Bauhaus influence is very small, changes with WWI
  • Tschichold sees Bauhaus exhibition in 1923
  • 1924, year later, his work exudes essence of Bauhaus
  • then writes pamphlet explaining to printers how to do it
  • in 1925 he writes a book about typography, asymmetry in type
  • at time, most German typography still printed in Textura
  • he uses bars and blocks reminiscent of De Stijl
  • publishes The New Typography, Die Neue Typographie
  • only 25 years old when he publishes this, still famous and relevant
  • he wanted to wipe slate clean, assert asymmetrical typography
  • wanted to deliver message in most efficient manner, modernism
  • 1927 invitation card, limited palette, grid, negative space, sans serif
  • 1937 poster with circle and line, simple type and color
  • underlying grid, mathematical in structure
  • define problem, solution is there, what is geometry of area
  • Nazis come to power in 1933, Tschichold and his wife arrested
  • Nazis thought they were creating un-German typography
  • found Soviet posters in his house, more incriminating
  • held for 6 weeks, released and he flees with family to Switzerland
  • returns to classical typography which is all centered, serif type
  • The Form of the Book written later, published in 1991
  • gives ideas of Bauhaus practical expression, helps propagate
  • Herbert Matter did hundreds of sketches for New Haven Railroad
  • Matter uses extreme perspective and scale shifts
  • concise and efficient typography, clear and direct
  • All Roads Lead to Switzerland poster promoting Swiss tourism
  • Paula Scher virtually recreates the Herbert Matter poster, rip-off
  • Matter uses basic vocabulary of flag, imagery to create travel brochures
  • Matter brings style to America, installation of Eames chairs
  • ad for Knoll Chairs, radically different then what had been going on
  • Addison Dwiggins has modern design, limited palette, sans serif
  • Lester Beall really brings modernist ideas to population
  • Beall uses lots of arrows, bars, sans-serif, old wood type for contrast
  • Beall known for work with Rural Electrification Administration
  • Running Water poster from 1937, promoting electrification
  • simplified negative form, could be understood without reading
  • uses imagery and graphics as message, type not even necessary
  • 1937 REA posters use limited palette of primary colors
  • posters also use photo montage, heavy in graphic elements
  • WPA Federal Art Project, supporting and promoting arts
  • Robert Muchley poster Port of Philadelphia
  • concern for negative space, silkscreen popular
  • Sheer poster in 1936, wheat creates artist palette
  • Jerome Roth WPA poster 1938, silkscreen, limited palette
  • corporations start playing important role in design, spread gospel
  • certain wealthy and intellectual people exposed to European influence
  • develop cardboard boxes, Container Corporation of America
  • would hire Europeans to create art and advertisements
  • montage, non-classic type, negative space valuable
  • poster with model sitting in chair, in one she is wrapped in paper
  • Portfolio Magazine design by Alexey Brodovitch
  • Ladislav Sutnar works with abstraction, open composition
  • Sutnar uses geometric shapes, generous negative space
  • Sutnar catalog design spread from 1950, open and simple
  • International Style reaches everything, type, graphics, architecture
  • started as great idea, looking for universal truths, pure, clean, efficient
  • International Style and Swiss design gets bastardized by corporations
I find Tschichold's work to be very inspiring, and I really appreciated his hand-lettered typography in some of the works. Overall, I love this new approach to type, especially when it comes to asymmetry and negative space..I just feel it's so necessary in design..it's kind of weird that it took so long to be truly implemented and seen as commonplace. I thought a lot of Beall's work reminded me of Abram Games' posters. He did a lot of posters for the government, used a similar palette, worked a lot with forms becoming image and also used that sort of old wood-cut type..though I feel Games' were a bit more sophisticated. I'm really excited to talk about Alexey Brodovitch..I'm a big fan of his work for Harper's..everything of his has this surreal quality about it that I love.

Tuesday, March 29, 2011

Bauhaus

My Bauhaus

  • school of design
  • in Germany, I think
  • practical and useful design
  • accessible design
  • started by a few men and women
  • they were all designers/professors?
  • geometric designs
  • rectilinear and curvilinear
  • shut down during WWII, I believe
  • functionality important
  • students taught several areas of design
  • arts and crafts aesthetic?
  • extremely important to design history

Real Bauhaus

  • Bauhaus looking for utopian
  • how to model perfect life
  • how can we make things better
  • 1919-1925 Weimar
  • 1923 first public exhibition
  • 1924 letter of resignation
  • 1925-1932 Dessau
  • 1928 Gropius replaced by Meyer
  • 1930 Meyer replaced by van der Rohe
  • 1932-1933 Berlin
  • only open for 14 years
  • roots of design education
  • 1,250 students to pass through
  • Broken Wings final days in Berlin
  • art schools cornerstone of revitalization
  • Weimar after WWI economy shot
  • Walter Gropius there until 1928
  • Gropius director of the Bauhaus
  • Gropius uses cathedral as model
  • 3 spires represent painting, sculpture, architecture
  • thought all should be equally valued
  • high sense of community spirit, believed in it
  • Gropius had council of masters:
  • Gerhard Marks- sculpture, pottery shop
  • Lyonel Feringer- painting
  • Johannes Itten- preliminary courses
  • Itten's goal was to release students creative abilities
  • focused on understanding of physical nature of materials
  • study based on contrast
  • analysis of old masters
  • art made of found objects, all they had
  • tools were limited to what they could find and manipulate
  • in a way scientific, about analysis
  • Itten leaves in 1923, same year as first exhibition
  • started with focus on craft and old methods
  • starts moving towards design thinking and machine
  • great philosophical exchange
  • elements of Cubism, De Stijl
  • art and technology a new unity
  • first exhibition in 1923 pivotal moment
  • Itten replaced by Nagy, a Hungarian Constructivist
  • interested in experimenting with resins, photo montage
  • becomes Gropius' right-hand man
  • piece by Nagy for tires, letterforms art and communication
  • calls this typophoto- letterforms, design, graphics
  • sees photography as replacing painting
  • tries to develop new visual language for new age
  • how do we incorporate appropriate technology
  • how to adapt these technologies for our age
  • making meaningful art with meaningful communication
  • total integration of type and image
  • looking for new language through experimentation
  • invents photoplastik
  • collage, assemblage, montage
  • tension with city forces them to leave
  • move to Dessau, and industrial city
  • works well with Bauhaus creating objects for industry
  • building's windows are curtains of glass
  • modern building design, unlike previous one
  • Sciemmer painting of Bauhaus students ascending stairs 1932
  • Roy Lichtenstein version in 1989
  • started creating for industry
  • cover for Bauhaus Magazine, text and image one
  • cover includes all elements of the Bauhaus
  • made series of books about artists philosophies
  • Baer develops universal alphabet
  • did away with capitals in his type
  • did away with serifs, experimented with flush left and rag
  • contrast and hierarchy, bars, squares, open compositions
  • strong horizons and verticals
  • invitation for Kadinsky's bday has open composition, implied grid
  • final building rather depressing compared to Dessau
  • closed in 1933, recognized they could no longer run

If it weren't for all the political turmoil involved with the Bauhaus, I would have done anything to attend. I love the idea of experimenting with found objects, textures and contrasting elements. It's also interesting that they did practically everything, from furniture design to theater to collage. While I appreciate everything I have done thus far, I sort of wish there was more of a push to design outside the rules and push our ideas beyond the tools we are accustomed to. One of my favorite projects was the Alice book I did for Image and Color because I was experimenting the entire time..using all these different elements from calligraphy to dirt and flowers. I love that architecture played such a strong role..it reminds me of my Dad, who is always trying to talk to me about the Bauhaus. It's funny cause I never thought about how much building I did with toys as a kid. From linknlogs to marble towers to train sets, I feel I was always thinking systematically without even knowing it. This was probably just my Dad trying to brainwash me..but it worked and I'm glad. Maybe it's cause we're German..I can remember a lot of older relatives doing woodwork and handcrafts.

Tuesday, March 15, 2011

Avant Garde in Russia

Avant Garde in Russia:
  • questioning spacial relationships, visual architecture
  • reoccurring use of black bars
  • Lazistky(sp?) Constructivist
  • his early work is supremacist, practical application
  • 1929 poster using photo montage
  • photography seen as modern way of creating art
  • photo montages become popularly used
  • ides of montage in cinema, The Battleship Potemkin by Eisenstein
  • experimenting with layering images, cutting images, juxtaposing sequences
  • reveals power structure, social relationships
  • Alexander Rodchenko most associated with Constructivism
  • Rodchenko is doing graphic design, creating for the people, moral good
  • 1910-1914 Rodchenko attends art school
  • process is significance of the work
  • starts working for magazine, uses collage, metaphor
  • by 1932 Stalin is in power, oppose artists
  • good art measured in functionality, therefore has moral value
  • De Stijl is movement that develops in Netherlands, utopian approach to aesthetics
  • De Stijl based on functionalism, should be useful
  • characteristics include rectilinear planes, void of surface textures or decorations except for pure, primary hues and black and white, no illustration, mathematical structure
  • looking for universal harmony to use in art
  • Piet Mondrian is well-known in De Stijl
  • Theo Van Doesburg is founder and leader, De Stijl dies with him in 1932
  • ideas of De Stijl are applied to architecture, sculpture, painting, graphic design
  • experimenting with structures, intellectual pursuit, text elements become structure
  • in 1921 introduce format change exploring asymmetrical composition
  • pivotal to modernist design and composition
  • Van Doesburg worked with Dadaists

I think it's interesting that the artists seemed to take such a seemingly simplistic approach to design in the face of revolution. I don't know..I guess I've just been so exposed to American patriotism that I imagine art in response to governmental oppression to be loud and dramatic. But I guess these works have their own quiet drama going on if that makes any sense..as if their restraint was a message in itself. While I don't respond that emotionally to the works, who knows what my response might have been had I lived there at the time. I definitely appreciate the structural approach to design and exploration of spacial relationships..the resulting work is always clean, simple and balanced.

Thursday, March 10, 2011

A Romance with the Revolution

Film: A Romance with the Revolution

  • Russian Avant Garde
  • such art was forbidden in totalitarian Soviet state
  • modern artist Nikolai Punin
  • Punin arrested 3 times, sent to concentration camp 1950
  • first major undertaking was to commission exhibition of contemporary art 1919
  • almost 2000 works from various artists
  • during Revolution, young artists decorated streets with painted murals
  • Punin had strong negative reaction to public sculptures of political figures
  • felt that the human body should no longer serve as artistic form in sculpture
  • artist Tatlin hoped future would be filled with beautiful, useful things
  • in 1921 revolutionary artists founded their own museum
  • Punin helped to procure funds to purchase paintings for museum
  • bought works of Tatlin, Malevich, Kandinsky, etc
  • 60 out of 70 taken with Punin were shot, he was released
  • "My romance with the revolution was over" Punin
  • established Research Institute of Artistic Culture, museum as base
  • Punin helped Tatlin to construct iron spiral at his workshop
  • Tatlin and Malevich were bitter rivals
  • 1920s was a time when revolutionary illusions collapsed
  • works eventually taken from the Institute for the Russian Art Museum
  • had an extremely hard time gaining acceptance
  • people now wanted tinted and lacquered photographs
  • after 1935, works of Avant Garde were no longer exhibited
  • they were replaced by socialist realism
  • in 1940s, wave of repression began, Punin blamed for Western influence
  • Malevich died in 1935, supremacist symbols on his coffin
  • Tatlin cried at Malevich's death, lived quiet life
  • Punin died in his barracks, buried without a coffin

While I thought the film was a little slow at times, I definitely learned a lot about Punin and the Avant Garde artists during the revolution in Russia. The works of the artists were beautiful, and I wish the film had actually shown more of the works. At times I felt the visuals were a little random and distracting, when they could have been highlighting more of the artists' works. It was a pretty sad story overall, and it's hard to believe that the incredibly intricate and imaginative works went so unappreciated. I felt the artists and especially Punin were misunderstood and treated as scapegoats by the government. It's just depressing to me that they had to die in concentration camps and be buried in nameless graves. I am very inspired by the works of these artists and I appreciated the romantic outlook and quotes from Punin throughout the film.

Tuesday, February 22, 2011

Vienna Secession

Vienna Secession:
  • Josef Hoffmann part of Vienna Secession, create workshop, Wiener Werkstatte
  • Vienna Secessions Group want to make things that are useful, functional
  • Strengths lie in proportion and materials, relating to Arts & Crafts Movement
  • Wiener Werkstatte create chairs, strong vertical and horizontal lines
  • Marks created are both geometric and lyrical, methodical like stained glass
  • Hoffmann's designs use thin lines, black and white, creates a language
  • Flat panels, figure-ground play, abstraction, negative space becomes form
  • Peter Behrens page layouts believed to be first use of running sans serif text
  • Behrens credited for creating first comprehensive identity program
  • Behrens pioneers idea of non load-bearing walls, support is on the interior
  • Behrens does dedication page, similar to other layout, rectilinear, planes
  • Another pages design using sans serif, letterform relating to aesthetic of piece
  • More pages from Behrens, running aesthetic, text in simplified blackletter
  • In 1903 becomes director of Dusseldorf School of Arts & Crafts
  • Guy joins faculty, interested in grids based on geometry, teaches Behrens
  • Pavilion architectural exhibition 1906 geometric structure, circles, squares
  • Poster uses same system, circles and squares even used as decorative motif
  • AEG power company wants artistic director logo made of hexagons
  • Uses metaphor of honeycomb representing structure and division of labor
  • Develops logo, typeface and consistent layout system for corporate identity
  • 1914 Deutsche Werkbund poster uses similar proportion system
  • Poster shows man on horse bearing torch, metaphor for designers bringing light
  • Even applied this to design of tea kettles, sell in range of colors and textures
  • Designs turbine hall, form reflects function, creates glass curtains for light
  • 1914 WWI begins, AIGA founded, 1917 Russian Revolution
  • 1918 Czar assassinated, WWI ends, 1919 Bauhaus opens
  • Lucian Bernhard enters competition, painting of matchsticks and name Priester
  • Judges throw it away because of its simplicity, one judge didn't like the ones chosen
  • Reaches down and pulls this piece out of the trash and says its the winner
  • Plakastil is born from this poster, means "poster style" in German
  • People emulate this with flat backgrounds, object and name of company posters
  • U-Boat poster with U becoming form of person and also periscope, decoding
  • Klinger poster with arrows in serpent, 8th bond drive, bond is the arrow
  • Many posters used as propaganda for axis powers, falcon grasping RAF symbol
  • Graphic, abstract and sophisticated, call for understanding of context, history
  • Posters for allies are illustrative, layers of information, very relatable
  • Imagery used to provoke, touchy-feely, loads of content, saccharin

I loved watching all the old film from the early 1900s in the movie we saw..there's something so mesmerizing about the graininess, randomness and how time appears to slow down and speed up..it's like something from a dream..or maybe I'm just overly nostalgic.. I thought the Berhrens posters were really amazing in their simplicity and geometric themes and I can see why geometry and design go hand-in-hand. I wish I liked the American propaganda posters as much as I did the ones coming out of Austria at the time..the American ones are just so cheesy that they come off as juvenile.