Russia and Constructivism

Vladimir Lenin was the first head of Soviet Russia after the October revolution. Lenin believed Russian culture was at the heart of a strong nation. From 1919 to 1929 artists in Russia received relative freedom to experiment with art in order to conceive a distinct Soviet style. Lenin wanted art to be ‘accessible’ to the proletariat.
Productivism and Constructivism were new forms and ideas in visual art in post revolution Russia. Constructivism questioned the role of art in society. Working along side the principles of communism, the constructivists aimed to work as a collective. They believed in equality of the sexes making it one of the first times female artists were valued as highly as men. They took a scientific and very rational approach to art, wanting to contribute to every day life through design, architecture etc. (similar Bauhaus principles – see post).
Alexander Rodchenko and Liubov Popova were two of the founders of the constructivism movement. They worked across a number of fields including graphic design, advertising and theatre. Rodchenko was a very experimental artist. Much of his work is abstract, he experimented widely with texture, surface and colour. His experimentation with colour lead to a series of works which eliminated colour and focused solely on the textures and surface used.

Alexander RodchenkoBlack on Black from the series 'Black on Black' 1918

References
Russian formalism By Victor Erlich
http://www.bbc.co.uk/history/historic_figures/lenin_vladimir.shtml
http://en.wikipedia.org/wiki/Proletkult
http://www.tate.org.uk/modern/exhibitions/rodchenkopopova/

The Bauhaus (in brief!)

The founder of the Bauhaus (1919-1933) was an architect named Walter Gropius. At the time Germany was experiencing cultural and political upheaval; despite the Bauhaus revolutionary approach to teaching art Gropius maintained that the Bauhaus was unpolitical.
The ideals of form following function were part of the distinctive Bauhaus style. Modernism was a huge influence on the approach of designs. Gropius wanted to reunite craft with art thus creating highly functional beautiful consumer goods that could be easily mass produced. The unique Bauhaus style was also influenced by De Stijl. Johannes Itten taught at the Bauhaus; he developed the course which students would begin at their start of their studies its emphasis being on unusual uses of common materials. Itten eventually left the Bauhaus due to disputes with Gropius over teaching methods (use of meditation and eastern mysticism). Itten's departure marked a turning point in the whole ethos in teaching at the Bauhaus, Gropius wanted to further the ideas he favoured of Russian Constructivism. Itten was succeeded by Moholy-Nagy. For the showcase of the schools new ideas a house was designed, built and furnished as a model modern home. A new location for the school was founded in Dessau, 1925. The Bauhaus was fulfilling the ideals Gropius had intended and the school enjoyed a few years of success. But, with Nazism in the ascent, political pressure mounted, and in 1928 Gropius left. His successors, Hannes Meyer and Mies, spent their leaderships hindered and caught up in political friction.

References
http://en.wikipedia.org/wiki/Bauhaus
http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=40
http://www.designicons.co.uk/
Bauhaus Dessau: Walter Gropius - Dennis Sharp

Ed Fella

Ed Fella has worked across a number of fields within the art world. He begun his career working in the commercial world of advertising but now works in education. His work in graphic design and typography is unique and very distinctive; he is an established and impressive post modern artist. Fella’s work has embraced the postmodern concepts of deconstruction, he mixes high and low culture trends throughout his work.A lot of his works are cluttered pieces of typographic design that mix hand written fonts of different sizes and layouts, colours and shapes together, I think they are like perfected doodles.

Ed Fella’s personal approach to typography is bold and daring, his work has featured in Raygun magazine and it definitely falls into the same genre of artists that worked on their covers; very experimental and unconventional. Half of issue 17 of Émigré magazine is devoted to Ed Fella. His font designs are still featured by them. He blurs the divide between graphic design and art; this is certainly evident in his collages that are beautifully composed pieces of typography and art.

References

http://www.emigre.com/Bios.php?d=15

http://www.edfella.com/

Ed Fella: Letters on America - Lewis Blackwell

Semiotics

Semiotics is the study of signs; their meaning, significance and purpose. In day to day life we are bombarded with images (or signs) that may order, direct or explain without the use of much text or none at all. In a society where advertising is constantly surrounding us we have learnt to connect certain feelings, emotions, and desires with the use of specific visuals (often subconsciously). Advertisers can use this to create catchier shorter methods of passing information to the consumer. It also allows for them to catch their target market quickly and efficiently.
Not all semiotics are linked so directly to advertising. Colour is a good example of the use of semiology. For example blue representing cold and red as hot is found on almost all taps internationally. Road signs are also designed to communicate without the need for text or lengthy explanation. Drivers quickly become accustomed to road signage.
Of course it could be that a semiotic technique used in one country could change or loose meaning (importance) in another for example the use of a particular colour as bad or dangerous. However through our ever more connected world most common signs (green man crossings, buttons on electrical equipment) can be used across the world, allowing for better trade and improved communication between cultures.

References
http://www.aber.ac.uk/media/Documents/S4B/sem02.html
Mythologies - Roland Barthes
http://www.isisemiotics.fi/

Gilbert and George

Gilbert and George are unique contemporary artists with a distinctive style.
I have always liked the atheistic appearance of their work. The vivid bold colours used in their large scale pictures are particularly striking. Producing pictures that are made up of large black lined frames or cells placed together (there is a stained glass effect) they bear a resemblance to church windows. Gilbert and George have always said they do not believe in religion, but religious ideas and taboos are a common part of their work. They tackle social subject matters, through their belief that art should be for everyone. This has sometimes been interpreted in a very negative way, for example the work ‘Paki’ has been said to glamourise skinhead culture.

Their work is clearly very personal. They do not appear to hold back their thoughts and feelings in terms of expression, the work can be very explicit which of course will create controversy. They have used urine, semen and excrement for pieces of work. My opinions on this are similar to those on Toscani and the issues of using shock to create attention and whether it is necessary. Personally I think their work is amusing rude and clever.

References

Evening Standard - Monday 11th May 09

http://www.guardian.co.uk/artanddesign/2006/jan/15/art.gilbertandgeorge

http://www.tate.org.uk/

http://www.moma.org/

Ray Gun (magazine)

Raygun was an alternative rock roll magazine that was first published in 1992. The magazine was markedly set apart from others of the time and still today (despite experimental design seen more often) the designs are unique, have remained popular and are being discovered by a new generation.
Whilst researching Raygun I was drawn to the recognisable and distinct cover design. They can, at first glance, appear jumbled cluttered and often illegible however there is amazing talent in the way the have been composed, the typography is particularly beautiful with the use of experimental abstract fonts and wording.
David Carson was art director of Ray Gun, his non traditional approach to graphic design was a perfect match for Raygun style. Many of the covers have surreal feel to them with an article starting on the cover or interviews that were purposely covered by a photograph.
Raygun did not only have cutting edge design but also featured many bands and music artists that had not yet been recognised by other big magazines such as Rolling Stones.

References
http://en.wikipedia.org/wiki/Ray_Gun_(magazine)
Ray Gun, Out of control - Marvin Scott Jarrett and Dean Kuipers
http://www.chris-ashworth.com/ray-gun-publish/ray-gun-magazine-covers/

Modernism Postmodernism

Modernism was a movement that began at the turn of the last century. It rejected past ideals of the enlightenment, bourgeois and elitist culture that dominated society. The movement sought to emphasis the importance of progression. They aspired to create a better idealistic society. The Bauhaus, for example, believed in the harmony of form and function of objects – changing ideas through art and design. During the many western wars (ideals of society: capitalism vs. communism) of the early 20th century, the modernist movement was a positive influence in the ideas of a better future for people.
Postmodernism emerged after the wars that took place during the early 20th century. It was a rejection (and reaction) to many of the principles of modernism. It embraced many elements of art and design that modernism had abandoned such as decoration and complexity of design and reintroduced classical style features.
Despite postmodernism rejection of modernist ideals they can be seen as two movements that had to naturally follow after each other, as capitalism dominates the western world modernism could not survive as an unchanging movement. Its aims in creating an ideal, possibly perfect, society does not work with the consumerism and markets of a capitalist society.


References
Postmodernism, or, The Cultural Logic of Late Capitalism - Fredric Jameson
Political Ideologies: An Introduction - Andrew Heywood
www.associatedcontent.com/article/45536/madonna_postmodernism_and_capitalism.html
www.tate.org.uk/collections/glossary/definition.jsp?entryId=40

Alan Gerard Fletcher 1931 - 2006

Fletcher was a significant figure of British graphic design. He was a founder member of the design group Pentagram in 1972.
His most recognizable works are probably his logos, many of which are still used. I was surprised at how many of his logos I recognized when I researched his work. His logo for the V&A museum was designed in 1989, the ability to design a logo which can remain unchanged for 20 years is impressive. The design fits its purpose and function perfectly. The font used for the V&A is Bodoni, I particularly like the way he has crafted it into one symbol by using the stems from the ‘&’ to complete the construction of the A, creating a whole unit. I think this, it what makes it work well as a logo.

Other famous Fletcher logo designs include one for Reuters – made up of 84 dots and one for The Institute of Directors (still in use). I think the IOD logo is very neat, tidy and precise.
Looking through his work I think he is a definition of what a graphic designer should be. He has a distinct visual style making his work identifiable; they are witty, charming and perfectly put together images. His image of the number 27 bus with people on the top deck appearing to be seated on an advertisement is a perfect example of this.

References
The Art of Looking Sideways - Alan Fletcher
http://www.designmuseum.org/exhibitions/previous-exhibitions/alanfletcher
Beware Wet Paint: Designs by Alan Fletcher
http://www.pentagram.com/en/

Takashi Murakami

I first heard of Takashi Murakami from his album art work. He has designed some of Kanye West’s CD covers.
His contemporary style is a combination of anime, manga techniques and traditional Japanese styles. He is a very commercial artist and I think he has found a modern way of making a name for himself in mass media culture, by not only producing paintings but also dolls, t-shirts and Louis Vuitton handbags. In doing so he reaches a wider market.
I think he shares similarities to Andy Warhol in the way that he takes popular (low) culture (drawing from manga etc) and could then be seen to redesign and repackage it as high culture. He is, like Warhol, a very clever self-promotional artist.
His own style which he has developed is called ‘Superflat’, his images are made up of flat bold colours and the graphics and characters are a mixture of manga and anime styles.
His album art work is, in my opinion, brilliant. It is interesting and exciting because Murakami took the character, a bear, which has appeared on previous albums and made it his own (superflat) whilst maintaining it as Kanye’s trademark. I think is represents a strong bond between music and art.

The Graduation represents a timeline of albums, starting with The College Dropout, for the Graduation a fresh new style is created for the artist – A Graduation. It is also a fantastic way for an artists’ work to be seen all over the world – mass culture.

References

www.takashimurakami.net/index.php?/site/C1/
wikipedia.org/wiki/Superflat

www.kanyeuniversecity.com/
www.warhol.org/

Superflat - Takashi Murakami
My Reality: Contemporary Art and the Culture of Japanese Animation - Takashi Murakami and Jeff Fleming

Feminist Art Movement

The feminist art movement began in the late 1960s; feminist’s aims have been to create equality (both in private and public life) between sexes. The art movement brought women’s accomplishments, in art, into popular culture and aimed to create work that relates directly to women’s lives, experiences and what it means to be a woman. I’m particularly interested in the work of Miriam Schapiro who as a pioneer feminist artist, she made work in the 1970s called ‘Femmages’, these were collages made from techniques she said were women’s activities sewing, cooking, piercing, appliquéing etc.

I think it’s a great example of women artists directly linking their work to female history and experience, things that are not traditionally or rarely practiced by men. The movement changed ideas of the types of art done by women and furthered the cause of the feminist movement by breaking down stereotypes. Judy Chicago has been making work since the 60s and is a feminist artist. One of her most famous pieces of work is the Dinner Party, which evaluates how women have been excluded through history.

Feminist artists made way for new types of expression in art and this filtered through and has affected the work of male artists. I think the link between art, politics and society is vital for progression not only in art but indirectly it initiates and forms new ideas within society. By creating new art forms to connect with people, and communicate ideas. The art movement was part of the overall feminist activism, the link between them makes many of the paintings produced in this time heartfelt and emotionally inspired. Perhaps of a stronger content and relevancy than something that has only been produced to be atheistically pleasing.

References

www.judychicago.com/

http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=103

Wack! Art and the Feminist Revolution by C Butler

Feminism-art-theory By Hilary Robinson

Tamara de Lempicka (1898 - 1980), Art Deco Painter

I really admire the work of Tamara de Lempicka. I’m huge admirer of the art deco period and her style encompasses many elements of the era. Her works have such a distinct and bold form and use of colour. De Lempicka’s paintings have links to modernists and avant-garde artists of the time and her techniques were branded as "soft cubism", by leaving the actual form of the object together and as one but also utilising well known elements of cubism she had created her own style. Drawing from cubism De Lempicka’s portraits have effortless style are clean and precise, yet are sensual and elegant. Many of the ladies in her works appear to simulate the effects of desire and seduction, they are stylish attractive women often placed in unusual angular poses. She painted several self portraits, my favourite being Auto-Portrait (Tamara in the Green Bugatti).

I think it is an iconic image of a modern woman who is independent, yet her expression appears icy and holds an inaccessible or unapproachable beauty; the gloves and helmet she wears give the impression of someone liberated and in control.
I think her work is timeless and will be admired and appreciated for a long time.

References

Lempicka (Taschen Basic Art Series)
Gilles Neret

Art Deco - The Worlds Greatest Art
Various Authors

Toscani and the Benetton Ads

There is no denying the adverts created by Toscani for Benetton are beautifully composed and moving photographs. However the subject matters used and their purpose to be used as an advertising tool for Benetton arises moral and ethical questions surrounding the use of certain images and what they are being related to.
Controversial and shocking images, I believe, can be utilised – possibly - too easily in order to bring mass attention to a brand or service. It could be argued that an artist who has been given the amazing opportunity to reach millions of people through the media should adopt a social responsibility in the work they will be putting out into the world. Personally I think Toscani’s photos were remarkable shots of human suffering, interaction and reaction that needed or deserved to be broadcast to thousands in the format of huge billboards. My main issue or concern with the photos was their function – to sell clothes for Benetton, shopping for luxury. Using serious and even sombre images of world issues was Toscani desensitising pictures of prejudice and death etc.