The Evolution of Propaganda Design: US Retro Posters The emergence of a new kind of aesthetic in Russian and Soviet art after the revolution of 1917 largely resulted from the state having experienced a revolution, the arts became revolutionary too and changed dramatically. In the United States, no such revolution occurred, which is quite evident in US World War I propaganda, which usually employs a visual language similar to earlier works. By the time of the Great Depression of the 1930s things really started to change, and American posters took on a new direction. Swoon: The City Created, Built, Broken and Rebuilt This is the fourth in our series of interviews with artists represented by Christina Ray — a gallery and creative catalyst dedicated to contemporary artwork that explores the relationship between people and places. We have previously heard from Roberto Mollá, who explores the cityscape through architectural representation, woodblock prints, anime and modernist graphic design, Emily Henretta, who draws on chaos and order, construction and destruction, renovation and decay to contemplate the idea of cities, and Heather L. Johnson, who takes inspiration from complex infrastructure systems and their impact on the physical space and experience of urban environments. Swoon, a Brooklyn-based artist, has worked in a variety of media to engage constructed environments.
The Chairman Smiles - Introduction The former Soviet Union, Cuba, and China: three countries where posters played an important political role and received a large amount of artistic attention. This is a selection of 145 political posters, famous masterpieces as well as equally beautiful but unknown examples drawn from the collection of the International Institute of Social History in Amsterdam. 'The Chairman Smiles' gives an image of stormy political developments. The Soviet posters chronicle the Revolution of 1917, the following civil war and the attempts to build a new society, the Five Year Plans of the 1930s and Joseph Stalin's dictatorship.
Walker Art Center One of Joseph Beuys' fundamental messages, delivered again and again in lectures, interviews, and artworks, was that human beings can and must learn to be creative in many different ways. His famous slogan "Everyone is an artist" was not meant to suggest that all people should or could be creators of traditional artworks. Rather, he meant that we should not see creativity as the special realm of artists, but that everyone should apply creative thinking in their own area of specialization--whether it be law, agriculture, physics, education, homemaking, or the fine arts. Beuys imagined that an expanded application of human creativity--and the broader definition of "art" that would follow--would result in something he called "social sculpture."
DPRKcool - North Korean (DPRK) Propaganda Posters, Artwork & Memorabilia Hand-Painted from North Korea Buy from our collection of genuine one-of-a-kind North Korean hand-painted propaganda posters, paintings and other artwork. This unique and rare DPRK artwork and political memorabilia make for great gifts--for you or for the person who has everything. Margaret Kilgallen Margaret Kilgallen was born in 1967 in Washington, DC, and received her BA in printmaking from Colorado College in 1989. Early experiences as a librarian and bookbinder contributed to her encyclopedic knowledge of signs, drawn from American folk tradition, printmaking, and letterpress. Kilgallen had a love of “things that show the evidence of the human hand.” Painting directly on the wall, Kilgallen created room-size murals that recall a time when personal craft and handmade signs were the dominant aesthetic.... continue reading
Offensive & Politically Incorrect Advertising & Propaganda Racism This marmelade ad from 1910 shows amongst others, a golliwog. I've never seen one in my lifetime, but, to my surprise, they are apparently still for sale in some countries. While they are quite grotesque stereotypes of africans, I suppose their cutesy, innocent qualities makes up for it in the eyes of some.
Barry McGee A lauded and much-respected cult figure in a bi-coastal subculture that comprises skaters, graffiti artists, and West Coast surfers, Barry McGee was born in 1966 in California, where he continues to live and work. In 1991, he received a BFA in painting and printmaking from the San Francisco Art Institute. His drawings, paintings, and mixed-media installations take their inspiration from contemporary urban culture, incorporating elements such as empty liquor bottles and spray-paint cans, tagged signs, wrenches, and scrap wood or metal.... continue reading
01/04/08 - 01/05/08 In 1970 Angela Davis, Communist Party member, radical and sympathiser of the black power movement that included the Black Panthers, was captured by police. Accused of being an accomplice to an attempted Black Panther escape attempt she was held until 1972 when she was tried and acquitted. There were a number of Cuban posters celebrating the Black Panthers, and supporting the American civil rights movement. This 1972 poster by Alfredo Rostgaard celebrating Davis' release is typical of Cuban artists' reliance on visual techniques, lacking explanatory text. For such a major event (Davis arrived in Cuba to a rapturous welcome soon after her release) the lack of bright colour in this poster is a surprise. When I visited Rostgaard in Cuba a few years ago he showed me a lot of his recent work that featured sprayed ink but this is the only poster I have seen that uses the technique.
Robert Rauschenberg. Bed. 1955 Bed is one of Rauschenberg’s first “,” the artist’s term for his of attaching , such as tires or old furniture, to a traditional canvas support. In this work, he took a well-worn pillow, sheet, and quilt, scribbled on them with pencil, and splashed them with in a similar to that of “drip” painter Jackson Pollock. Legend has it that these are Rauschenberg’s own pillow and blanket, which he used when he could not afford to buy a new canvas. Hung on the wall like a traditional painting, his bed, still made, becomes a sort of intimate consistent with Rauschenberg’s assertion that “painting relates to both art and life…[and] I try to act in that gap between the two.” The method with which an artist, writer, performer, athlete, or other producer employs technical skills or materials to achieve a finished product or endeavor.
The Mid-Century Ad Art of the Mighty American Military Industrial Complex Some of the most interesting, creative (and amusing) ad concepts of the 40's and 50's are the ones that were devised by and for American industry in the period after World War II. President Dwight D. Eisenhower didn't use the term "Military Industrial Complex" until 1961, but the notion of industry playing a dual role of defense contractor and supplier of domestic goods is telegraphed in many of the ads that appeared in Fortune magazine a decade earlier. Also intriguing are the multitude of ads that signaled the dawn of the technological age - and the fervor with which industry embraced its role in steering America to its manifest destiny of world leadership through scientific advancement... ... atomically fused to the tenets of capitalism.
Robert Rauschenberg. Booster from the series Booster and 7 Studies. 1967 Publication Excerpt: Deborah Wye, Artists and Prints: Masterworks from The Museum of Modern Art, New York: The Museum of Modern Art, 2004, p. 150 An artist of insatiable curiosity and restless creativity, Robert Rauschenberg came to attention at a fertile juncture in American art, as Abstract Expressionism wound down and Pop art appeared. His aesthetic strategy, embracing screenprint on canvas, assemblage, set design, and performance, is based on collage and juxtaposes objects and images from the everyday world to elicit their effects on each other and to stimulate an almost poetic response in the viewer.
Jasper Johns. Target with Four Faces. 1955 <h3>Gallery Text:</h3> In the mid-1950s Johns incorporated symbols such as numbers, flags, maps, and targets into his paintings. Here, he transforms the familiar image of a target into a tangible object by building up the surface with wax encaustic. As a result, the concentric circles have become less precise and more tactile. Above the target Johns has added four cropped and eyeless
Mike Kelley: "Day Is Done" ART21: Explain the concept behind your project, Day is Done. KELLEY: I’m making all these videos based on very common American performance types. You know, school plays, children’s performances, Halloween, dress-up day at work—things like that. But then I’m reconfiguring them through the tropes of history, like the avant-garde. In this one, this soundtrack lets you see the performance tropes more clearly because it de-contextualizes them, to a certain degree.