speaking of posters

Here’s a little article about a poster competition sponsored by MoMA that was part of the effort to eradicate polio in the 1940s. It’s from The Daily Heller (Steven Heller’s blog) and featured in Imprint, Print Magazine’s collection of  writing on design gathered from the web. It made me think of the Poster Offensive and the impulse of the design/art community to use its best tools and talents to help where needed.

http://imprint.printmag.com/daily-heller/his-nemesis-was-polio/

Nance

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2 responses to “speaking of posters

  1. This also reminds me that there is a workshop on how to receive funding on socially geared projects which AIGA and CVA are hosting this Friday. Here’s the info from there site and the signup page.

    Funding Social Change Workshop
    Date: Friday, October 22nd
    Place: College of Visual Arts
    344 Summit Avenue, Saint Paul, MN
    Time: 9:30 a.m. – 4:30 p.m.
    (lunch on own)
    Cost:$50 for AIGA or CVA – $60 for non-members

    Worldstudio, AIGA Minnesota, and the College of Visual Arts are excited to announce a unique beginner-level, one-day workshop that addresses the funding aspect of design for the public good.

    Worldstudio’s Funding Social Change: Beginner’s Workshop, which has already taken place in Atlanta, Boston,Chicago, New York and San Francisco, guides attendees through the basic process of bringing their concepts to fruition with an entrepreneurial spirit.

    http://www.cva.edu/community/social_change/

  2. I guess I disagree with some of Voila’s thoughts on visuals. That representational renderings of the visible world don’t have the same depth as more abstracted forms. Yes, its true that technology has allowed for more “cheap” rendering of imagery which can in-turn lead to conceptually shallow work. But I have concerns about work on the other end of the conceptual spectrum as well. Work, especially using reappropriated imagery, that only speaks to a small group of insiders who can pride themselves at understanding the deeper meaning, or pun, behind the assemblage. Those insiders who can look down their noses at the uncultured hoard that is only attracted to a broadly determined definition of beauty. I don’t feel that focusing on either extreme makes work as successful as it could be.

    Work that communicates at a number of levels seems to me to be more powerful. Art that makes the viewer think first needs the viewer to spend some time with it. If it is interesting, useful, or beautiful it does not depend on the curator or historian to speak on its behalf, but those same people can augment the understanding of work that a broader audience finds valuable.

    I do realize that my design background does bias me toward more “useful” work. And the more representational, David’s “Liberty Leading the People” is not as powerful nor honest as Picaso’s “Guernicia”. But not all work needs to be about war either. Perhaps if people and governments focused more on justice, human rights, and balancing resources, the causes of war would be diminished and we would not need to spend the time to convince the public that it is a horrible thing. That type of work would be more powerful in the end.

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