Reflective Statement

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Gerhard Richter, Josef Albers, Lajos Kassák, László Moholy-Nagy

An exciting journey through various abstract landscapes

According to Arntson (2013), «…a designer needs a command of both graphic design principles and concepts and related digital techniques» (p16).

As I wanted to gain as much knowledge and ideas as possible to improve my graphic design skills for my Practice 1 (both principles and concepts and digital techniques), I aimed towards creating blog entries that were complementary to my previous Annotated Bibliography and Critical Analysis. Part of my blog research strategy was also to have a flexible and open approach and to get the flavour of the latest trends in graphic design. Through my research on the reactions and thoughts given to newly released graphic design it also became clearer to me that even if you are asked to create something entirely new, you must never neglect the connections to the past.

Interestingly, through my research I found plenty of new design that could be routed to art work made by designers or artists in the past. So did I adopt this idea to the process of creating my first trial for Fat 1, where I found inspiration in various constructivist abstract design created by the use of a limited range of shapes, colours and forms (see figs 1A-C below):

Fig 1A INSPIRATION Constructivist composition (1923) by László Moholy-Nagy

Fig 1B INSPIRATION Constructivist composition (1923) by Lajos Kassák

Fig 1C PRACTICE WORK The Advent Candles (2014) part of Practice 1 by Lykkefugl

To pay attention to research and findings at the same time as I was in the process of creating, was sometimes a challenge to coordinate. Especially because my Practice 1 outcomes changed so radically over a short period of time, I also struggled to narrow my research topic. I strongly believe, however, that the blog helped me to broaden my horizon and that it encouraged me to find «my destination(s)» in these abstract graphic art landscapes. For example, I found the reading about Josef Albers colour theory of particular great value for my future work, as well as it was very inspiring to read about Picasso’s quasi-abstract work -some which also appeared as book cover design (in combination with photography).

My «destination» and way forward:

To sum up, the whole blog experience has been a skillful journey where I simultaneously tried out a variety of expressions in different abstract styles. I had no idea, that I should end up including photography as part of the process of creating my future graphic art work. Now, greatly inspired by the artist Gerhard Richter’s work (see fig 2), I urge to create more work in a similar style, by scanning my abstract paintings and photos -and eventually work with the different layers digitally. I believe these images could possibly make great album/book covers and be used in a broad graphic design field. By using digital tools such as Gimp and/or Vizzie it is easy to regulate the degree of abstractness as well as I have the opportunity to create various expressions just by the manipulation of colours. Next, I will look into the huge field of typography, and lastly try to create or find the fonts that most perfectly suit these kind of images.

Fig 2 Candle lll (1989) by Gerhard Richter

Word Count: 500

References:

Arntson, A. (2012). Graphic design basics. 6th ed. Boston: Carl Baxter.

Internet sources:

Gerhard-Richter.com (2014) [Homepage] At: https://www.gerhard-richter.com/en/biography/the-1980s-rising-to-international-acclaim-7 (Accessed on 22.12.2014).

Image sources:

Figure 1A: Moholy-Nagy, L. (1923) Constructivist composition [Oil on canvas] At: http://www.artexpertswebsite.com/pages/artists/moholynogy.php (Accessed on 30.12.2014).

Figure 1B: Kassák, L. (1923) Constructivist composition [Silkprint] At: http://pinterauctions.com/constructivist-composition (Accessed on 30.12.2014).

Figure 1C: Lykkefugl (2014) The advent candles (part of FAT 1) [Digital Gimp image].

Figure 2: Richter, G. Candle lll (1989) [Oil on canvas, Catalogue Raisonné: 687-1] At: https://www.gerhard-richter.com/en/art/paintings/photo-paintings/candles-6/abstract-painting-7767/?&p=1&sp=32 (Accessed on 22.12.2014).

My journey continues – FAT 2 – Focus on TYPOGRAPHY

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Constructivism, El Lissitzky, Kurt Schwitters, Typography

Having worked on my keyword ABSTRACT for several months, I almost purely focused on abstract images, and not the typography that often belonged to these images. So for my next epoch of this MA and for my FAT 2 work I am now ready to look into the huge and exciting field of TYPOGRAPHY and TYPE DESIGN. In my research so far, I have found that typography that appear in an abstract image very often are created by the one and same designer. One artist and graphic designer that I already have written about here in my R&E blog, Kurt Scwitters, has perhaps become more rewarded for his work on typography than for his paintings and abstract collage work (Steiniz, 1975). Recently I therefore revisited «Kafè Kurt» at my local library which serves as a nice little Schwitter museum here, and I did some more research on his work on typography (see figs 1A and 1B below).

Fig 1A Kafè Kurt next to my local library

Fig 1B Typography made by Kurt Schwitters

During my research for abstract images, I also found this advert poster made by El Lissitzky, which I think makes a great example of how typography can work in combination with simple constructivist abstract elements (see fig 2).

Fig 2 Propaganda poster for the Soviet state (1928) by El Lissitzky

References: 

Steiniz, K (1975). Kurt Schwitters: A Portrait from Life. Comparative Literature Studies 12 (3) p.199-217

Image sources:

Figure 1A:  Visit at Kafe Kurt (2014) [photo] Lykkefugl private photo archive.

Figure 1B: Visit at Kafe Kurt – Typography n.d [photo] Lykkefugl private photo archive 2014.

Figure 2: Lissitzky, E. (1928) Basic Calculus + Four (arithmetic) actions [Poster] At: http://www.wikiart.org/nl/tag/el-lissitzky-four-arithmetic-actions#supersized-search-254511 (Acesssed on 30.12.2014).

PHOTOGRAPHY combined with ABSTRACT ART

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Abstract forms, Alexander Rodenchenko, Constructivism, El Lissitzky, Photography, Photomontage

The experimentation of merging and/or combining layers of photo and abstract art was in fact something that many designers and artists tried out long time before any advanced computer technology existed. In the early 1920’s, when the field of photography had been enough established, one could see the first outcomes of advertising combining photo with abstract forms and shapes. One of the main contributors was Alexander Rodenchenko, a constructivst, who made promotions for the new Soviet society. The advert below (created by Rodenchenko) is created by a combination of geometrical shapes filled with flat colours, where the asymmetric balance formed by the different shapes brilliantly expands the photo’s message (Armstrong, 2009) (see Fig 1).

Fig. 1 Advert for the Leningrad section of the state publishing house (1924) by Rodenchenko

Other graphic designers, such as Russian born constructivist El Lissitzky and the Hungarian born Làszlo Moholy-Nagy, did also create art work which merged photos with elements of abstract geometric shapes. Below is an examples of a self-portrait made by Lissitzky in 1920 (see fig 2) and a photomontage called «The Law of Series» by Làszlo Moholy-Nagy in 1925 (see fig 3) (www.moma.org, 2014).

Fig. 2 Self portrait (1920) by El Lissitzky

Fig. 3 Photomontage in combination with geometric shapes and abstract forms (1925) by László Moholy-Nagy

References:

Armstrong, H. (2009). Graphic design theory. New York: Princeton Architectural Press.

Internet sources:

Museum of Modern Art (2014) [Museum website] At: http://www.moma.org/collection/theme.php?theme_id=10158 (Accessed on 19.12.2014).

Image sources:

Figure 1: Rodenchenko, A (1924) [Advert] Armstrong, H. (2009) Graphic design theory. New York: Princeton Architectural Press. (p. 52).

Figure 2: Lissitzky, E. Self-portrait (1920) [Photomontage] At: http://static.newworldencyclopedia.org/0/0f/The_Constructor_self_portrait_by_El_Lissitzky_1925.jpg (Accessed on 19.12.2014).

Figure 3: Moholy-Nagy, L. The Law of Series (1925) [Photomontage] At: http://www.moma.org/collection/browse_results.php?object_id=54364

The power of COLOURS

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Colour Study, Graphic Design, Josef Albers, Power of Colours, Victor Vasarely

Some months back I visited Berlin, a vivid city where tasteful art appeared around every corner. For instance, at Berlin Hauptbahnhof I discovered this colourful advert (see fig 1A) where each type of chocolate was identified with its own colour, which eventually became organised in a way that each colour matched the colour below and above in the vertical row (Fig 1B). Personally I found this advert very powerful and tasty. 

Fig 1A From Berlin Hauptbahnhof

Fig 1B from Ritter-sport.de

Whether one decide to go for an abstract design art work or not, I believe that to have knowledge about how colours decide the character of the art work would be useful to any graphic designer regardless if he/he makes drawings with a black pencil or creates computer generated graphics – the latter with endless possibilities in terms of colour choices. According to Birren (1976), the study of colours  «…has been one of the most intriguing interests of painters since the beginnings of art» (p.105). Birren traces the focus on colour study back to the 14th century painters’ interest in the impact of colour. He further claims the book called «The Principles of the Harmony and Contrast of Colors» (1839) written by M. E Chevreul, who was the director of a large Parisian based tapestry, Gobelin, to be the most important of all books written about colours. The book covers alternate and simultaneous contrast, after images and optical mixtures of colour. What Chevreul wrote about colour harmony still work as the ‘rule’ in today’s colour and art education (Birren, 1976).

Interestingly, Birren, claims that Cubism and the Abstract expressionism have little interest «…in color and favored browns» (p.106). For instance he claims artists such as Kandinsky, Klee, Itten and Moholy-Nagy (all belonging to Bauhaus) to be less attracted to colour science. On the other hand he advocates the work of Hungarian abstract painter Victor Vasarely who became most famous for his abstract work using a minimal number of forms and/or colours (Birren, 1976) (Fig 2).

Fig 2 Orion MC 1964 by Victor Vasarely

When creating my own art works for my Practice 1, I found it particularly helpful to read what Josef Albers wrote about colours. Albers shows examples of how perception of the same colour may vary, simply because the background colour is varying (Albers, 2013) (see fig 3).

Fig 3 Colour perception (illustration by Josef Albers).

Furthermore, the way colours are arranged can also change the way a picture is perceived. Through fig 4 below Albers demonstrates how different nuances of the same colour, when placed in a specific order, creates a balanced picture (Albers 2013).

Fig 4 Shows how colour-order creates a balance picture (illustration by Josef Albers).

References:

Albers, J. (2013). Interaction of color: 50th Anniversary Ed. New Haven and London: Yale Univ. Press

Birren, F. (1976). Color Perception in Art: Beyond the Eye into the Brain. Leonardo, 9(2), p.105.

Image sources:

Figure 1A: Photo from Berlin Hauptbahnhof [Advert] ©2014 Lykkefugl private photo archive

Figure 1B: Ritter-Sport (2014) [Advert] At: http://www.ritter-sport.de/de/index.html (Accessed on 18.12.2014).

Figure 2: Victor Vasarely: Orion MC (1964) [Oil on Canvas] At: http://www.soho-art.com/oil-painting/oil-painting/1281307656/Victor-Vasarely/Orion-MC-1964.html (Accessed on 18.12.2014).

Figure 3: Albers, J. (2013). Interaction of color: 50th Anniversary Ed. New Haven and London: Yale Univ. Press (front cover). 

Figure 4: Albers, J. (2013). Interaction of color: 50th Anniversary Ed. New Haven and London: Yale Univ. Press (p 77). 

Looking for ABSTRACT GRAPHIC DESIGN (2)

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Abstract forms, Abstract Paintings, Bauhaus, Wassily Kandinsky

Fig 1 Google opening page on 16 December 2014.

Still having my eyes open for ABSTRACT DESIGN used in graphic art, I just discovered something interesting on Google this morning. To feature their opening page Google, had nicely rearranged «Composition 8» (see fig 2) an abstract painting by Wassily Kandinsky (1866-1944) to replace their logo (see fig 1). All this to celebrate Kandinsky’s (1866-1944) 148th birthday.

According to Artnson (2012), Kandinsky was one of the pioneers in terms of creating abstract art. He even claims himself as the first abstract painter in the world using colours, figures and geometrical shapes – organised with the only help of a spiritual mind. More recent research, however, shows that it was one artist that had created abstract spiritual paintings before him. Her name was Hilma af Klint (1862-1844), a Swedish painter who graduated from the Royal Swedish Academy of Fine arts in 1887 (Rachlin, 2013). Nevertheless, Kandinsky did a great job in terms of getting his abstract art work known to the world. In the early 20s he was one of the most established abstract artists. One can read about him in an issue of the American Art News from 1922 that he became a popular teacher among young Russian art students. The American Art News further writes:

Kandinsky himself, though representative of the extremists, is well aware of the necessity of mastering before everything the naturalistic forms before one is able to form abstract ideas. (American Art News, June 2014).

During his life as an artist Kandinsky’s did a great job to legitimate abstract art as an own discipline. Together with another artist, Paul Klee, he also taught and developed courses in colour theory and forms at the Bauhaus (Bretschneider, 2012).  I think he definitely deserves to be celebrated. Happy Birthday to Kandinsky!

Fig 2 Composition 8 (1923) by Wassily Kandinsky.

References:

American Art News, (1922). RUSSIA FAVORS NEW, BUT GUARDS OLD ART.

Arntson, A. (2012). Graphic design basics. 6th ed. Boston: Carl Baxter.

Bretschneider, M. (2012). The Bauhaus: Understanding its History and Relevance to Art Education Today.. East Tennessee State University.

Online sources:

Rachlin, N. (April 29, 2013) New York Times  [Online newspaper article] At: http://www.nytimes.com/2013/04/30/arts/artsspecial/Giving-a-Swedish-Pioneer-of-Abstract-Art-Her-Due.html?_r=0&adxnnl=1&pagewanted=all&adxnnlx=1418740222-D9Xk/J/DIOdqM/uuZNVsxw (Accessed on 16.12.2014).

Image sources:

Figure 1: Google opening page (December 16, 2014) [Print screen]

Figure 2: Kandinsky, W. (1923) Composition 8  [Oil on canvas] At: http://www.guggenheim.org/new-york/education/school-educator-programs/teacher-resources/arts-curriculum-online?view=item&catid=716&id=150 (Accessed on 16.12.2014)

ABSTRACT ART created by the use of NEW TECHNOLOGY (2)

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Abstract art, Andy Warhol, Computer Art, Graphic Art, Graphic Design

According to Murray (2010), new technologies have arisen from a wider need for improvement in social, economic and global context. Murray states that «every modern and contemporary artistic movement has in some way responded to its influence» (p.18). Further Murray writes that implementing new technology has always had a history of conflicting views among artists, critics, philosophers and literary figures. This was also the case at the Bauhaus, a German design school and group of artist and designers that until late 20’s had ignored what happened outside their own building (Bretschneider, 2012). “Art had been fused with craft, but not with industry” (quotation by Droste cited in Bretschneider, 2012). As a survival strategy, Bauhaus became renewed with members such as Moholy-Nagy and Josef Albers who both were pro the adoption of new techniques and new media . As a result of this attitude change, what Bauhaus designed in their latest epoch were of much more practical character aimed for industry and mass production (instead of singular produced handcrafted pieces of art). Accordingly, the design, became more «characterized by simplicity, refinement of line and shape, geometric abstraction, primary colours and the use of new materials and technologies” (Quotation by Dempsey p. 133 cited  in Bretschneider, 2012 p. 7).

Goodman (1990),says that up to 1990, despite its ‘endless’ possibilities, there was still a vast scepticism towards blending the new technology and art. People may ask the question: «Computer art: is it art?» (p.252).

On the other hand, some artists that were pro the use of technology in art even contributed to its further development. Among these were John Whitney, who programmed an application called «Digital Harmony» to be run on an IBM PC AT . John Whitney is known for his many abstract art videos (see previous blog entry ABSTRACT ART created by the use of NEW TECHNOLOGY (1) (Goodman, 1990).

Other artists were just adventures and did not only touch those applications that was meant to be used in art. An example of such art work was the self-portrait made by Andy Warhol, with the help of a AMIGA 1000, a popular «Commodore International» machine (Fig 1). From 1985 until his death in 1987 Warhol experimented with creating art by the use of print screens in combination with photos and merging layers of various textures (Carter 2014). About working with this media Warhol says: «The thing I like most about doing this kind of work on the Amiga is that it looks like my work in other media.» (quotation cited in Goodman p.248).

Fig 1 Andy2 (1985), Self-portrait created by new technology by Andy Warhol

References: 

Bretschneider, M. (2012). The Bauhaus: Understanding its History and Relevance to Art Education Today.. East Tennessee State University.

Carter, A. (2014). New Warhol works revealed via forensic retro-computing. TRIB. [online] Available at: http://triblive.com/news/adminpage/6001662-74/warhol-computer-images#axzz2zttXoKAw [Accessed 24 Apr. 2014]

Goodman, C. (1990). The Digital Revolution: Art in the Computer Age. Art Journal, 49(3), p.248.

Murray, S. (2007). New Media Anxiety: Art History and the Problem of Modern Technology. Ph. D. Cornell University.

Image sources:

Figure 1: Andy Warhol (1985) Andy2 [Computer Art] At: http://triblive.com/news/adminpage/6001662-74/warhol-computer-images#axzz2zttXoKAw (Accessed on 15.12 2014).

ABSTRACT ART created by the use of NEW TECHNOLOGY (1)

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A. Michael Noll, Abstract art, Art Video, Computer Art, John Whitney, Nam June Paik

«The cathode-ray tube will replace the canvas». (quoted by Nam June Paik in Goodman (1990) p. 252).

Computer art was a term introduced in 1960 by the computer scientist William Fetter who worked for the Boeing Company. As Goodman (1990) p. 252, puts it, the term [Computer art] covers a wide range of outcomes, everything from:

Spinning logos that identify the television networks, to flight-simulation techniques that train pilots to fly plans while remaining on the ground, to cross-section of the human skull and brain generated by computer-aided tomography (The CAT scan), to an electronically generated painting of two female nudes by Philip Pearlstein

Further Goodman claims that early computer art were merely limited to black linear mathematical representations digitally drawn on white backgrounds. As an early example of such art she refers to the art work «Gaussian Quadratic» created by Michael Noll in 1963.

In my last blog entry I wrote about Picasso and his abstract art. According to Goodman, Noll was in fact very fascinated by the work of Picasso in his creation of  the «Gaussian Quadratic» in 1963, Noll says he was directly inspired by Picasso’s «Ma Jolie» (see fig 1). Two years later he created  his Computer Composition with Lines with strong associations to Piet Mondrian’s famous oil painting Composition no 10 Pier and Ocean (1915) (see figs 2A and 2B).

Fig 1 Gaussian Quadratic (1963) by A. Michael Noll

Fig 2A Computer Composition of Lines (1965) by M. A Noll

Fig 2B Composition No 10 Pier and Ocean (1915) by Piet Mondrian

A R T   V I D E O S

Goodman also introduces Nam June Paik as the «father of Videoart» (p.252). See video 1 below:

Video 1

Another Computer filmmaker who had created art videos with abstract forms since the mid 60s was John Whitney. Fascinated by all the opportunities that existed in the new computer technology, Whitney meant that «…computers are revealing an exciting and fertile new world of visual expression» (p. 252). below is an example of Whitney’s art videos (see fig 2).

Video 2

References:

Goodman, C. (1990). The Digital Revolution: Art in the Computer Age. Art Journal, 49(3), p.248.

Image sources:

Figure 1: Noll, M. A (1963) Gaussian Quadratic [Computer Artwork] At: http://dada.compart-bremen.de/item/artwork/4 (Accessed on 14.12.2014).

Figure 2A: Noll, M. A (1965) Computer Composition with Lines [Computer Artwork] At: http://dam.org/artists/phase-one/a-michael-noll (Accessed on 14.12.2014).

Figure 2B: Mondrian, P (1915) Fig 2B Composition No 10 Pier and Ocean (1915) [Oil on canvas] At: http://www.piet-mondrian.org/pier-and-ocean.jsp#prettyPhoto (Accessed on 14.12.2014).

Video sources:

Video 1: Paik, N.J (1965). Videofilm Concert [Art Music Video] At: https://www.youtube.com/watch?v=VEAUjFLSqXY (Accessed on 14.12.2014).

Video 2: Whitney, J (1975). Arabesque [Art Music Video] At: https://www.youtube.com/watch?v=w7h0ppnUQhE

PABLO PICASSO – his ABSTRACT ART and GRAPHIC DESIGN WORK

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Abstract forms, Book Cover, Graphic Design, Illustrations, Picasso, Semi abstract

PICASSO AND HIS ABSTRACT ART:

«There is no abstract art. You must always start with something. Afterward you can remove all traces of reality.» (Picasso, cited in theartstory.org, 2014).

Fig 1 «The Camel» by Picasso

The Spanish-born Pablo Picasso (1881-1973) was one of the pioneers in merging figurism into traditional expressionist paintings (theartstory.org, 2014).

Fig 2 Pencil drawing by Picasso from a 1911 issue of Camera Work

The above picture (Fig. 2) is found on the web site belonging to the Harry Ransom Centre (the University of Texas at Austin) and is an early abstract drawing made by Picasso that became published in the 1911 issue of «Camera Work» which was an illustrated Quarterly Magazine devoted to Photography.  It was published at the time abstract images still were new and shocking, and this early abstract drawing by Picasso became heavily criticised. In a text from 1912  collected by JSTOR (from 19th and early 20th century American art journals found in the libraries of prominent New York City museums) one can read, on p. 752, as a response to this particular publication, that;

During my research, I discovered Picasso’s publication in Camera work, in fact looks very similar to his work below (see fig 3) from 1911-12 which he titled Ma Jolie. On the website pablopicasso.org they root the origin to this painting to Picasso’s frequent visits at the Parisian Music hall – as «My Jolie» (My pretty girl) was the refrain of a popular song played at this particular place. In this painting Picasso cleverly employes the multiple modes of representation, such as when he «combined language (in the black lettering), symbolic meaning (in the treble clef), and near abstraction (in the depiction of his subject)» (quoted from http://www.pablopicasso.org/).

Fig 3 «Ma Jolie» (1911-12) by Picasso

PICASSO AND HIS GRAPHIC DESIGN WORK:

Picasso is most known as a painter, however, as a member of the 1920s Avant-Garde Paris, Picasso had a period (1927-1931) where he worked as an illustrator. His employer was the great French publisher of fine prints and books; Ambroise Vollard (Lieberman, 1952). These illustrations were rather non-litereal, however, some of the illustrations he made were of a more semi abstract nature and one could «read» the painting more easily compare to his earlier abstract drawings (e.g the one published in «Camera Work» in 1911 (see fig 2).
For instance the etchings Picasso did create for the book «La Tauromaquia o arte de torear (Touramachy or the Art of Bullfighting) by José Delgado, were of a more semi or quasi-abstract character (see Fig 4) (The artstory.org, 2014). The reason for that the twenty-six etchings he created for this particular book have become little known, is because this book was never released.  This particular theme (the conflict between bull, horse and matador), however, obsessed Picasso for many years thereafter (Lieberman, 1952). For its first time in March this year, one was able to see all the original twenty-six etchings brought together at the Mana contemporary Museum in Jersey City (NY).  The exhibition was called “Pablo Picasso: La Tauromaquia”.

Fig 4 Unreleased book illustration (1926-1930), by Picasso (about the conflict between bull, horse and matador).

In in 1957, Picasso made the book cover for his friend and photographer, Lucien Clergue, when he [Clerque] published his first book, Corps Memorable . The book included a series of nudes illustrating the poems of Paul Eluard (Cooper, 2014). If one sees the illustration separately from the image (Fig 5), it does not make too much sense, however, when presented together with the photography, the painting itself become more literal.

Fig 5 Book Cover Illustration (1957) by Clerque and Picasso.

References:

Art and Progress. (1912).  JSTOR, Arts & Sciences VIII Collection. Vol. 3, No. 12. New York.

Lieberman, W. (1952). Picasso: His Graphic Art. The Bulletin of the Museum of Modern Art, 19(2), p.3.

Online sources:

Cooper, K (2014, Published on November 28th) The Guardian [Online Newspaper article] At: http://www.theguardian.com/artanddesign/2014/nov/28/lucien-clergue (Acessed on 10.12.2014).

Galerie Michael (2014) [Gallery homepage] At: http://galeriemichael.com/bullfighting-picasso-etchings-for-la-tauromaquia/http://www.theartstory.org/artist-picasso-pablo.htm (Accessed on 10.12.2014).

Mana Contemporary (2014) [Exhibition info website] At: http://www.manacontemporary.com/exhibitions-2014-pablo-picasso

Pablopicasso.org (2009-2014) [Biography website] At: http://www.pablopicasso.org/

The artstory.org (2014) [Art info website] At: http://www.theartstory.org/artist-picasso-pablo.htm (Accessed on 10.12.2014).

The artstory.org (2014) [Art info website] At: http://www.theartstory.org/movement-neo-expressionism.htm (Accessed on 10.12.2014).

Images:

Figure 1: Picasso, P. The Camel [Ink drawing] At: http://www.art.com/products/p10340369-sa-i812384/pablo-picasso-the-camel.htm (Accessed on 10.12.2014).

Figure 2: Picasso, P. Image published in the photo magasine Camera Work (1913) [Pencil drawing] At: http://www.hrc.utexas.edu/educator/modules/teachingthetwenties/zoom.php?urn=urn:utlol:american.txu-hrc-1207d&theme=modern&section=new&subsect=4&sov=1 (Accessed on 10.12.2014).

Figure 3: Picasso, P. Ma Jolie (1911-1912) [Oil on canvas] At: http://www.pablopicasso.org/ma-jolie.jsp#prettyPhoto%5Bimage1%5D/0/ (Acessed on 10.12.2014).

Figure 4: Picasso, P. Unreleased illustration for the book La Taurommaquiaw [aquatint painting] http://galeriemichael.com/bullfighting-picasso-etchings-for-la-tauromaquia/  (Accessed on 10.12.2014).

Figure 5: Clergue, L. and Picasso, P. (1957) [Book cover illustration] At:http://www.canalacademie.com/ida2451-Ma-saga-de-corps-memorable-Eluard-Valentine-Hugo-Picasso-Cocteau-Pierre-Seghers.html (Accessed on 10.12.2014).

Bob Dylan’s New Album – Covers Blue Notes, Abstract art and Blue Colours

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Album Cover, Graphic Art, Graphic Design, Music, Reid Miles

No doubt, I am a fan of Dylan’s simple arrangement of music, as well as I admire his unpolished attitude and ability to present music in its most natural form (without autotune and other superficial elements). I was glad to see the front cover of his coming album «Shadows In The Night» – mirrored this simplicity and even contained some abstract shapes (see fig 1). As the content of the album consists of mostly unreleased Frank Sintatra songs, the jazz origin is emphasised by the use of BLUE colour created as distinct vertical bars which almost serve as a framing of the black white Dylan photo.

Fig 1 Bob Dylan new album cover (2014/2015)

Also the yet released single of the album «Full Moon and Empty Arms» (see video 1 below) is semi abstract and has the same simplicity and blue emphasise:

So I have tried to find who is designer behind this graphics – without yet succeeding (per 09.12.2014). However, according to the Rolling Stone Magazine, there are many similarities with this previous cover design made by Reid Miles (1927-1993) (see fig 2).

Fig 2 Album over design (1962) by Reid Miles

Fig 3 Screen shot of comments posted on Facebook regarding Bob Dylan’s new album design.

Even though the design which features Dylan’s latest album cover is based on a traditional jazz record label style (the Blue Note Records), not all fans of Dylan are finding this album cover appropriate. The reason behind this reactions is possibly because Dylan have no previous history in doing jazz, this was a design his fans were unfamiliar with. Below is a screen shot of the album cover discussion found on Facebook (see fig 3).

This is what the persons behind the red lines (Red one and Red two) say:

Red (1): «Poor Bob. Great songwriter but my lord have your album covers been ugly recently».
Red (2): «That so true! Lol».

References:

Rolling Stone Magasine (2014) available online at: http://www.rollingstone.com/music/news/bob-dylan-releases-frank-sinatra-cover-plans-new-album-20140513

Image sources:

Figure 1: Bob Dylan: Shadows in the night (2014/2015) [Album cover] At: http://www.theguardian.com/music/2014/dec/09/bob-dylan-new-album-shadows-in-the-night-frank-sinatra (Accessed on 09.12.2014).

Figure 2: Miles, R. Freddy Hubbard: Hub Tones (1962) [Album cover] At: https://www.jpc.de/jpcng/jazz/detail/-/art/Freddie-Hubbard-1938-2008-Hub-Tones/hnum/8378529

Figure 3: Facebook (December, 2014) Discussion album cover design  [Screen shot from web] At: https://www.facebook.com/bobdylan/photos/a.10150291568225696.551039.11955325695/10154869387235696/?type=1&theater (Accessed on 09.12.2014).

Video sources:

Video 1: Dylan, B. Full Moon and Empty Arms [Music Video] Available online at: https://www.youtube.com/watch?v=GZ2PHtS2bKg (Accessed on 09.12.2014).

The chart of abstract styles by Alfred H Barr, Jr

Stikkord

Abstract forms, Abstract origin, Alfred H Barr, Geometrical abstract art, non-geometrical abstract art

Fig 1 Chart by Alfred H Barr.jr (1936) illustrates how an abstract art style is influenced by other styles.

The above chart by Alfred H Barr, Jr from 1936 (found in Mitchell 1989, p.365) provides an overview of the different art styles, the connections between them and in which their outcomes become whether non-geometrical or geometrical.

From Barr’s chart one can see that the different styles of abstract art have grown wide since the beginning back in the 1890s. Many of these artists had in common to view the world in an objective and non-egosentric way, which was very much the opposite to how previous art had been expressed. Previously, an artist often created paintings that were copies of nature or a chosen object, interpreted and put together by the only help of each artist’s subjective mind to create his or hers unique expression (Armstrong, 2009). Then combined with this shift in thinking the creation of abstract outcomes became boosted by the possibilities that followed the Machine Age. As it became possible to reproduce both simple forms and typing fonts, part of the artist’s job then turned into be organising these standardised pre-set fonts and forms which were available to construct with the help of the machine. For my annotated bibliography (R&E)I included an interesting text called “Art and Machinery” from 1916 which originally was a letter written to the American artist, writer, publisher, gallery owner and editor of the Soil, Mr. R. J Coady. The sender was named G. Vos, an observer of the aesthetic beauty of the use of the machine in creating art. According to Vos (1916), the use of the Machine would play a great role in changing the outcome of future art.

Many of the artists belonging to these various styles, also produced abstract graphic art
to go along with advertising, packaging design, book and magasine covers. Naturally, they became inspired by what other designers did. For example the way El Lissitzky a Russian Jewish artist who did belong to CONSTRUCTIVISM, influenced BAUHAUS Style packaging design (Arntson, 2012).
Another example how Constructivism did influence the Bauhaus can be seen in this poster created by Bauhaus artist Herbert Bayer in 1923 (see fig 2).

Fig 2 Postcard no. 11 for the Bauhaus exhibition in Weimar, Summer, 1923 by Herbart Bayer.

Another example is artist (musician and painter) Paul Klee, who started as an ABSTRACT EXPRESSIONIST and became later member of the BAUHAUS (Rewald, 2014). His most famous pictures are clearly influenced by CUBISM and Figurism (see fig 2) (Spector n.d).

Fig 3 Red Ballon (1922) by Paul Klee. COPYRIGHT 2014 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

References:

Armstrong, H. (2009). Graphic design theory. New York: Princeton Architectural Press.

Arntson, A. (2012). Graphic design basics. 6th ed. Boston: Carl Baxter.

Mitchell, W. (1989). «Ut Pictura Theoria»: Abstract Painting and the Repression of Language. CRIT INQUIRY, 15(2), p.348.

Vos, G (1916). Art and Machinery. The Soil, 1.1, p 16.

Rewald, S. Paul Klee (1879–1940). In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2004 (Available online at http://www.metmuseum.org/toah/hd/klee/hd_klee.htm) (Accessed on 08.12.2014).

Spector, N Guggenheim -collection online (2000-2014) Available online at http://www.guggenheim.org/new-york/collections/collection-online/artwork/2143 (Accessed on 08.12.2014).

Image sources:

Figure 1 Chart by Alfred H Barr, Jr (1936) [Chart] reprinted in Mitchell, W. (1989). «Ut Pictura Theoria»: Abstract Painting and the Repression of Language. CRIT INQUIRY, 15(2), p.365

Figure 2 Postcard no. 11 (1911) [Colour lithograph on cardboard]. Bauhaus-Archiv Berlin. Photograph: Markus Hawlik. At: http://www.studiointernational.com/index.php/bauhaus-art-as-life (Accessed on 08.12. 2014).

Figure 3  Red Ballon (1922) [oil painting] At: http://www.guggenheim.org/new-york/collections/collection-online/artwork/2143 (Accessed on 08.12.2014).