There's plenty to discuss: 1. Polish posters 1950-1970s, pick your favorite: Cieślewicz, Bodnar, Lenica, Flisak, Zamecznik, Gorka, Wałkuski, Tomaszewski, Świerzy. 2. The so-called self-conscious poster, 3. The amazing George Lois, or 4. Piet Zwart's typo-tect poster.
If you are interested in exploring a future Polish-poster collection, click here,
15 comments:
I really enjoyed the Polish posters that you had shown us available for purchase and the history of them. The use of reds and yellows and blacks screams so much emotion. I really liked the one that has a spine and chest with 2 eyes in it. I find that design so ahead of its time for some reason. Seeing them made me want to collect some as you were saying. Would be a cool thing to show to people.
It is cool to think that these artists were the inspiration for many films and new artists nowadays. Like the one guy who inspired the movie alien, I hear about so much. "How crazy alien was when it came out, how much it changed the industry", it has an impact that lasts forever. The scary and gothic feel that comes out from both that artist and the Polish posters draws the eye because of its abnormity and is opposite from traditional status quo
Julian Pałka’s poster for the French movie Les enfants du paradis part II The affair of the pajaco draws inspiration from Pablo Picasso’s well-known artworks, particularly from the Blue Period. Pałka’s use of blue can be referenced to Picasso’s La Célestine (1904) in which both artists use similar shades of the color. Pałka’s uses cubism to illustrate the body. Similar to La Célestine, Picasso’s measured emotional intensity and balanced proportions reminiscent of El Greco's expressive portraits can also be seen in Les enfants du paradis part II The affair of the pajaco.
Wes Wilson’s work really caught my attention due to its level of abstraction and the way it almost looks psychedelic. Considering Wilson’s high level of talent with graphic design, it's surprising to learn that he originally went to school for religion and philosophy. His style really suits the time period in which he was most known, the 1960's, with regard to peace and love post-World War II. To add to this, he was also located in San Francisco, which was the hub for the hippie movement. The piece that we discussed in class embodies the hippie movement, which he jump started, through color, form, and typography. Many of his pieces contain a singular main subject that then has these diverging lines that all diverge and lead the viewer around the piece. Wilson used these shapes to form his curvilinear, blocky text with these curvilinear lines that extrude from the main subject.
The self-conscious posters between the 1960s to 1970s remind me of a lot of social media posts that I see on a daily basis. For example, "Would you be more careful if it was you that got pregnant?" by Bill Atherton and Alan Brooking. Just like the present, they wanted to catch the attention of the viewer with a shocking image and also political/cultural messaging. These posters came out after World War II, when unity and conformity became a necessary standard, and broke free from those standards. They embraced progress, cultural changes, and freedom. The poster by Atherton and Brooking was just like political-themed messaging today. It looked very familiar to me at first and then I found that these posters were repurposed after Roe v. Wade was overturned. It is so interesting to me that this type of messaging is just as relevant decades later and, perhaps, also shows that maybe we have not progressed as a society that far from what the 1960s and 70s looked like.
Today I wanted to dive deeper into the 1970’s Marlboro advertisements. This was the era of utilizing the idea of Western masculinity to promote their cigarettes - and it worked! Marlboro’s advertising principle was selling masculinity through their products. Only real men smoke Marlboro. The first introduction of the Marlboro Man was in 1954 by an advertising executive named Leo Burnett. The images initially featured rugged men in various roles but eventually primarily featured the rugged cowboy riding horses and herding cattle in wild picturesque terrains. The allure of the cowboy lied in his association of freedom with the Wild West. The Marlboro cowboy embodied the American Dream, a figure that could overcome and conquer any obstacles in his path, something American men and men worldwide identified with. The image of the Cowboy resonated with consumers who longed for a sense of adventure and independence. Smoking Marlboro products was no longer a habit but a lifestyle, embodying freedom, adventure, and masculinity.
There is so much to unpack in the Dada poster by Raul Hausmann (1919). There is a collage which means a lot of photos and magazine cut outs all around a central figure made with the same medium but a sword is placed in his hand. The figure's head is also another person's head with the eyes replaced and edited. There is a lot of commotion in the art piece and an entire conversation is being held with us in another language but for some reason we understand every word. Dadaism and nihilism share a deep connection in their rejection of conventional norms and the inherent meaning of existence. Both movements challenge established structures and values, paving the way for radical artistic expression and philosophical exploration. As I delved into their relationship, I journey by questioning societal norms and seeking personal and intellectual freedom. I see it as life is full of random surprises that we cannot predict; some meaningless or other valuable. In a similar way this art piece was created with random snippets from all corners of the written and artistic world.
Thank you professor Triff for everything this semester!
After looking at Piet Zwart's typo-tect posters I could not help but see a resemblance with some of the work by the Dada and Futurist artists such as Marinetti's sound poems. I also see clear references being pulled from De-Stijl the Dutch movement and constructivism from Russia. Most of the works seem to follow similar patterns of having, within the bounds of the poster the primary colors red, blue, yellow, with mostly white and hints of black. After looking more into his life and work he was influenced by all of these movements working as a designer, typographer, photographer, and industrial designer in the Netherlands throughout the 1920s and 30s. His catalog for NKF company brings all these influences into a precise design language with clean sans-serif typography and photo montage. This work was a total of 80 pages considered to be the height of his career in 1927-28. Overall his work offers a simplicity that offers direct beauty to the viewer while also carrying the message the company needed to be seen out to the public.
This week I was interested in learning more about the work of Jan Lenica, especially his contributions to animated films. I find the development of animated film particularly interesting because it’s an art form that's not recognized as much as others, such as painting or sculpting.
Jan Lenica was considered to be one of the greatest artists of the Polish poster school. He worked in cartoon drawing, illustration, graphic design, poster design, and animated films. His work is internationally acclaimed and he has earned awards in several film festivals and competitions. His work had a distinct style and his work often featured free flowing wavy lines and forms inspired by the Art Nouveau.
Before Lenica had a major impact on animated films. Before, animated films were not regarded as an art form, as many animated films were intended for children. However, his films with Borowczyk “Once Upon a Time”, and “House” triggered a revolution which turned animation into a serious art form that was capable of communicating complex messages.
For my comment, I wanted to talk about Jerzy Flisak and his use of explosive, geometric, and rudimentary shapes in order to create artworks that pops off the page and taps in to a child-like wonder. His use of bold colors, color blocking and linear shapes introduces a new form of exploration in advertisement in which the works being presented have both humor and fun within them, making them more intriguing and inviting to the general public. His use of thick, simple, somewhat sloppy brushstrokes and asymmetric lines creates a dialogue, and challenges the viewer to think outside of the box when perceiving his works. His integration of typography also allowed him to push the envelope and intertwine text with texture and art. By making his art non-aesthetic, he actually cultivated a new aesthetic of his own, and his style is so distinct and unique that his artwork as a whole tells a story and showcases his growth and development as an artist.
- Zieli Ennisacevedo
From last class I particularly liked the work from Wiesław Wałkuski. It is so raw and truthful with the way he really brings emotions to the forefront. Wiesław Wałkuski, a renowned Polish artist, has left an indelible mark on the world of art with his surreal and symbolic paintings. His works, characterized by intricate details and dreamlike imagery, have captivated audiences worldwide.
Wałkuski's art transcends time, inspiring artists then and now. During his time, his unique blend of classical painting techniques and modern concepts challenged traditional artistic norms, pushing boundaries and opening new avenues for artistic expression. Today, his influence continues to be felt, as contemporary artists draw inspiration from his depth and complexity.
Wałkuski's legacy lies not only in his paintings but also in the way he revolutionized the art world, demonstrating that art is not bound by conventions but rather a limitless form of expression. As a student of art, studying Wałkuski's works offers a glimpse into the transformative power of art and the enduring impact it can have on society.
-Zac Cronin
I really loved the work of George Lois, as he had a grand impact in the art of design in the industry of pop culture. Lois's Esquire covers were what he was especially known for, as they usually had very big people on them such as John F. Kennedy. There is one cover that remains my favorite that shows a blonde woman with shaving cream and a razor on her face; It is called the Masculinization of The American Woman. This cover represents an era where women were branching out of traditional gender roles and having the opportunity to do things that men were typically "supposed" to do during that time. That cover means a lot to society as it represents feminism and the strength of women being allowed to do the things that men also did. The depiction of a woman shaving her face is a metaphor for women being masculine and doing things in the role of a man. George Lois is a reputable artist that will forever live on through his art. I feel that many covers now a days are aiming to resemble that of Lois's; he was an inspiration.
I was intrigued and inspired by many artists' posters last class, but what caught my attention the most was Polish graphic artist and photographer Roman Cieślewicz with his ability to express ideas that cannot be expressed verbally. He transforms the posters into a metaphysical medium for these ideas that we cannot articulate on a verbal scale. There are many moments one may struggle to put the words with an emotion they are feeling, and in Cieślewicz interpretations he is able to emit multiple emotions with one raw image that may also not have a definition. He does this with multiple stylistic choices by creating montages, experimenting with texture, playing with scale, and much more. He works with poster art, book typography, collage, and photomontage. Cieślewicz has won an impressive amount of awards for the beauty of his creations, and he also has a large portfolio along with his resume. He has worked independently, but also as an art director/creator/editor for multiple companies like Vogue, Elle, and advertising agency “Mafia”.
I really enjoyed learning about Polish posters and their function as counterculture. I found it interesting that these posters and the artists who created them operated outside of oppressive and rigid forms of government censorship. I imagine Poland as being gray and cold. I thought it was interesting that these posters were a source of hope and light.
I also thought Świerzy's poster of Jimmy Hendrix was excellent. The graphic captures his identity and soul. The way Świerzy balances the muted and vibrant colors captures the energy of Hendrix. I also like that the clouds are emerging from the bottom corner, as if they are about to completely envelop the musician.
Finally, I thought Tomaszewski's poster for Hamlet was very well done. I like the combination of colors and the way space is manipulated by the chair. I love the faint skull motif and the composition of shapes and colors. The image reminded me of Josef Albers and his abstract expressionist paintings.
-Benjamain Rosen-Cappellazzo
George Lois, the Superman of Madison Avenue, was extremely successful in the advertising world. I am a public relations major interested in all types of strategic communication, specifically advertising. George Lois is an advertising genius. He is the Da Vinci of advertising and had an incredible influence on pop culture. He changed advertising forever through his creative approach. He created amazing manipulations of photos in an age before Photoshop. His work is so interesting, but it can also be easily deciphered. For a number of years, he did graphic design for Esquire magazine. With his designs, he could do things like convince women that a lipstick can make them beautiful. I find his Esquire cover for the story about the masculinization of women extremely interesting. The cover is of a beautiful woman shaving her face. His most famous campaign is arguably the “I Want My MTV” campaign. The campaign featured iconic stars at the time like Mic Jagger and Cyndi Lauper. The stars said to call people's cable offices if they want MTV on cable. It was ragingly successful.
I am writing about the Esquire Cover. It was interesting to see how he represented Nixon, the president at that time. Lois is suggesting that Nixon needs to have some work done if he wants to be re-elected for the presidency again. The war of Vietnam was going on an Americans were getting tired of it. I read that the Nixon team reacted very badly to this cover, but mostly because he was wearing lipstick and they said it was an attack on Nixon's masculinity. It is funny to see that it was the only thing they cared about. This cover was created in 1968 and was revolutionary at that time. He did some other great covers like the one of Muhammad Ali when he refused to fight in the Vietnam war. He was posing like a martyr and this cover caused a controversy as well.
Eva Ibert.
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