The exhibition at the Smart Museum of Art features nearly 90 posters, photographs and original designs by Soviet propaganda artist Viktor Koretsky from 1930-1980. Curated by art historian Matthew Jackson, the exhibition seeks to introduce Koretsky's work to new audiences and examine what his propaganda posters reveal about visual communication and life under Communism in the 20th century. Many of Koretsky's posters depict struggles for independence and civil rights around the world in the post-WWII decades, including the anti-apartheid movement in South Africa. The exhibition analyzes how Koretsky used graphic images to communicate Communist ideology and global solidarity against oppression.
This document provides information about events and an exhibition at the Mary and Leigh Block Museum of Art at Northwestern University titled "The Left Front: Radical Art in the 'Red Decade,' 1929-1940". It includes details about lectures, film screenings, performances, and the opening related to radical art of the early 20th century. Generous support for the exhibition is provided by several foundations.
Modernism was a loose collection of artistic movements and styles in the early 20th century that rejected historical styles and applied ornament. It embraced abstraction and believed that design and technology could transform society. Some key aspects of Modernism included Suprematism's use of basic geometric shapes, Constructivism's view of art as an instrument for social purposes, and the Bauhaus school's goal of combining all the arts in an ideal unity.
Modernism emerged in the late 19th century as a rejection of traditional forms of art, literature, and social organization that were viewed as outdated in the new industrialized world. It grew out of earlier movements like Romanticism, Realism, and Aestheticism that emphasized individualism and subjective experience over established rules and conventions. Modernist artists and thinkers believed the modern industrial environment should inspire new forms of creative expression. While Modernism was originally a European phenomenon, it gained widespread prominence and was heavily promoted internationally by the United States in the mid-20th century.
Modernity arose in the 19th century in response to industrialization, urbanization, and new attitudes among artists; it was characterized by new styles of painting, universal access to art, and changing social classes. As cities and consumerism grew, new artistic movements developed that rejected realism and embraced new subject matters and styles, making art more accessible through museums, lithography, and photography. Postmodernism emerged in the late 20th century as a rejection of modernism's focus on rationality and function in favor of pluralism and mixing of styles and cultures in response to a capitalist and mass consumer society.
The document discusses the rise of modernism in art, music, and architecture between 1890-1920 in Europe and America in response to industrialization. Modernist artists rebelled against tradition and embraced new social and political ideas. Developments included impressionism, photography, which became recognized as an art form, and early motion pictures. Ragtime music also emerged and influenced the development of jazz. Overall, the period saw rapid technological, entertainment, and artistic changes that created a new modern era.
Iconology is the study and interpretation of symbols and images within their cultural and historical contexts. It aims to understand the deeper meanings represented in works of art beyond their literal subject matter. Key figures who developed the field include Aby Warburg, who emphasized the transmission of classical imagery over time, and Erwin Panofsky, who established a three-level method of iconographic analysis moving from basic description to cultural and historical interpretation. The systematic study of iconography flourished in 16th century Italy and was advanced in the early 20th century by Panofsky and others who brought more rigorous methodologies to the classification and interpretation of visual symbols and themes.
The document traces the origins and evolution of the concept of modernity from the 6th century through the 20th century. It discusses how modernity was initially viewed negatively in contrast to antiquity, but began being celebrated with thinkers like Descartes who broke from ancient traditions. Key developments like the Enlightenment, Industrial Revolution, and scientific/technological advances led to new art movements like Romanticism, Symbolism, and the avant-garde that experimented with form and sought to liberate humanity. Dada, Surrealism, Precisionism, and early abstract films broke from conventions to celebrate or question modern experience.
Cubism was a 20th century avant-garde movement pioneered by Picasso and Braque that revolutionized European painting and sculpture. Futurism was an Italian movement that glorified modernity, technology, and war. Expressionism aimed to depict subjective emotions rather than objective reality, emerging in Germany in 1910. Abstract art uses form, color and line independently of visual references to create non-representational compositions along a continuum from figurative to total abstraction. Pop art challenged fine art traditions by incorporating mass-produced visual objects of popular culture in the 1950s-60s.
This document provides information about events and an exhibition at the Mary and Leigh Block Museum of Art at Northwestern University titled "The Left Front: Radical Art in the 'Red Decade,' 1929-1940". It includes details about lectures, film screenings, performances, and the opening related to radical art of the early 20th century. Generous support for the exhibition is provided by several foundations.
Modernism was a loose collection of artistic movements and styles in the early 20th century that rejected historical styles and applied ornament. It embraced abstraction and believed that design and technology could transform society. Some key aspects of Modernism included Suprematism's use of basic geometric shapes, Constructivism's view of art as an instrument for social purposes, and the Bauhaus school's goal of combining all the arts in an ideal unity.
Modernism emerged in the late 19th century as a rejection of traditional forms of art, literature, and social organization that were viewed as outdated in the new industrialized world. It grew out of earlier movements like Romanticism, Realism, and Aestheticism that emphasized individualism and subjective experience over established rules and conventions. Modernist artists and thinkers believed the modern industrial environment should inspire new forms of creative expression. While Modernism was originally a European phenomenon, it gained widespread prominence and was heavily promoted internationally by the United States in the mid-20th century.
Modernity arose in the 19th century in response to industrialization, urbanization, and new attitudes among artists; it was characterized by new styles of painting, universal access to art, and changing social classes. As cities and consumerism grew, new artistic movements developed that rejected realism and embraced new subject matters and styles, making art more accessible through museums, lithography, and photography. Postmodernism emerged in the late 20th century as a rejection of modernism's focus on rationality and function in favor of pluralism and mixing of styles and cultures in response to a capitalist and mass consumer society.
The document discusses the rise of modernism in art, music, and architecture between 1890-1920 in Europe and America in response to industrialization. Modernist artists rebelled against tradition and embraced new social and political ideas. Developments included impressionism, photography, which became recognized as an art form, and early motion pictures. Ragtime music also emerged and influenced the development of jazz. Overall, the period saw rapid technological, entertainment, and artistic changes that created a new modern era.
Iconology is the study and interpretation of symbols and images within their cultural and historical contexts. It aims to understand the deeper meanings represented in works of art beyond their literal subject matter. Key figures who developed the field include Aby Warburg, who emphasized the transmission of classical imagery over time, and Erwin Panofsky, who established a three-level method of iconographic analysis moving from basic description to cultural and historical interpretation. The systematic study of iconography flourished in 16th century Italy and was advanced in the early 20th century by Panofsky and others who brought more rigorous methodologies to the classification and interpretation of visual symbols and themes.
The document traces the origins and evolution of the concept of modernity from the 6th century through the 20th century. It discusses how modernity was initially viewed negatively in contrast to antiquity, but began being celebrated with thinkers like Descartes who broke from ancient traditions. Key developments like the Enlightenment, Industrial Revolution, and scientific/technological advances led to new art movements like Romanticism, Symbolism, and the avant-garde that experimented with form and sought to liberate humanity. Dada, Surrealism, Precisionism, and early abstract films broke from conventions to celebrate or question modern experience.
Cubism was a 20th century avant-garde movement pioneered by Picasso and Braque that revolutionized European painting and sculpture. Futurism was an Italian movement that glorified modernity, technology, and war. Expressionism aimed to depict subjective emotions rather than objective reality, emerging in Germany in 1910. Abstract art uses form, color and line independently of visual references to create non-representational compositions along a continuum from figurative to total abstraction. Pop art challenged fine art traditions by incorporating mass-produced visual objects of popular culture in the 1950s-60s.
The document discusses the art of totalitarian regimes such as Nazi Germany, Stalinist Soviet Union, and Fascist Italy between 1922-1953. It describes how the dictators manipulated art to promote their ideologies and glorify themselves and the state. Art focused on themes like large public works, portraits of leaders, and the idealization of the body. Specific artists and styles endorsed by each regime are also mentioned. The objective was to use art for propaganda purposes rather than individual expression.
This document provides context on modernism and postmodernism through discussions of decolonization, the Cold War, existentialism, Clement Greenberg's views on modernism, and the emergence of postmodernism. It also summarizes two paintings by Francis Bacon - Figure Study II from 1945-1946 depicting a distorted female figure with an open mouth, conveying anguished tragedy, and Painting from 1946 set in a butcher's shop with a figure addressing an audience in front of a carcass acting as a headless Crucifixion. Finally, it discusses Bacon's Study after Velazquez's Portrait of Pope Innocent X from 1953 as a satirical reinterpretation of Velazquez's portrait, conveying
The document summarizes the key developments in literature between 1915-1946 known as the Modern Age. It describes how World War I shattered optimism and faith in social institutions, leading writers to experiment with fragmented styles reflecting the modern world. Modernist works often rejected traditional narratives and forms in favor of stream-of-consciousness, free verse, and techniques from surrealism and imagism to depict psychological realities. Notable movements included the Lost Generation expatriates and the Harlem Renaissance, while authors like Hemingway, Fitzgerald, and Faulkner gained international recognition.
Postmodernism emerged in the late 20th century as a departure from modernism in various art forms and intellectual movements. It was first used to describe new forms of art and music in the 1920s, and then expanded to describe dissatisfaction with modern architecture in the 1940s and new approaches in literature, philosophy, and culture starting in the late 1960s. Postmodernism rejects the idea of a single objective viewpoint and is characterized by critical examination of Western culture and ideas around concepts like love, marriage, and history. It grew out of and is closely related to post-structuralism, challenging structuralism and modernist ideas through new ways of analyzing culture and society.
The document provides an overview of major events from 1900-1945, including World War I and II, the rise of modernism, and key modernist writers and works. Some of the main events discussed are the start of WWI due to the assassination of Archduke Franz Ferdinand, Germany's surrender in 1918, the Treaty of Versailles, the stock market crash of 1929 beginning the Great Depression, and the US dropping atomic bombs on Hiroshima and Nagasaki in 1945. The document also summarizes features of modernism such as its pessimistic viewpoint and focus on language and style over content or morality in art.
This document discusses the history of monuments and statues in 20th century Latvia, including their erection, dismantling, and changing meanings over time. It describes how monuments celebrated different leaders and events depending on whether Latvia was independent or occupied by Nazi Germany or the Soviet Union. Statues of communist figures like Lenin and Stalin were erected during Soviet rule but then dismantled after Latvia regained independence in the 1990s. The semantics and pragmatics of how monuments were used and interpreted by society also shifted based on the political context.
This document discusses how portraiture communicates cultural identity through history. It begins with a brief history of portraiture from paintings of wealthy individuals and royalty to the rise of photography making portraits more widely accessible. The document then explores how early photographers captured portraits that depicted cultural identity, both positively through images of black cultural heritage, and negatively through racist stereotypes. The document continues looking at the changing subjects and styles of portraits throughout the 19th and 20th centuries as new technologies emerged and social norms evolved.
Modernity began between 1817-1914 as a period marked by industrialization, secularization, and rationality. It involved artists and writers rebelling against traditional styles and creating a new aesthetic called Modernism. Modernism implied rejecting previous artistic conventions in favor of radically different forms of expression and is seen as evolving in the early 20th century. The document discusses Modernist paintings and artists like Picasso and Kandinsky who were especially interested in using color to convey emotion rather than realism.
Modernism was an artistic movement that rejected Victorian standards and flourished in the early 20th century in response to World War I and social/economic upheaval. It developed new complex forms that disturbed readers by challenging traditions. Modernist writers explored the inner lives of characters and criticized society through techniques like stream of consciousness and multiple perspectives. They addressed themes of alienation, lost community, and the contradictions of modern life.
The document discusses the intersection of contemporary art and globalization. It explores how globalization has impacted the production, circulation, and consumption of visual art through increased travel by artists, expanded trade networks, and the spread of ideas worldwide. While globalization has led to more cross-cultural exchange, there remains a legacy of European imperialism that defined Western art as "civilized" and non-Western arts as "primitive." Large-scale international exhibitions like the Venice Biennale have also contributed to the effects of globalization on the art world.
The document discusses social and political events in Britain, the US, and Russia from 1955-1960, including the rise of feminism and beatnik culture in Britain, the American civil rights movement, and liberalization in the Soviet Union under Khrushchev. It also briefly outlines notable cultural works from this time period and compares them to 1910-1915, including literature, theater, film, science, and technology developments. Racial tensions increased in Britain and the US during this era as social changes challenged traditional norms.
Postmodern art emerged in the 20th century in response to modernism. It rejects the fixed views and purity of form in modern art in favor of a more complex and uncertain view of the world. Postmodernism aims to eliminate boundaries between high and popular culture. Some key movements in postmodern art include minimalism, post-minimalism, new classicism, conceptual art, installation art, and lowbrow art. Postmodern works are characterized by their subjective nature, interest in social issues, and eclectic styles and mediums.
Pop art emerged in the mid-1950s in Britain and late 1950s in the US as a challenge to traditions of fine art by including popular culture imagery like advertising. Pop art employs aspects of mass culture and is interpreted as a reaction to abstract expressionism, using irony to depict banal or kitschy cultural elements through found objects and images. It is considered one of the earliest examples of postmodern art.
During the early decades of the 20th century, Modern photography emerged through the experimentation of photographers and their questioning of the camera's functions. Photographers began redefining photography's role among the arts and exploring new visions that broke from tradition and convention. This led to photography's revitalization and recognition as an independent art form with its own characteristics. Key figures like Alfred Stieglitz helped establish Modernist principles and ideals for photography through galleries and publications, influencing other artists and critics. Modern photography developed from many sources and individuals, not as a single movement, helping transform it into a major art form of the century.
Week 7 Introduction to Postmodernism: Globalisation and Art DeborahJ
This document discusses several topics related to globalization and art:
- Globalization refers to the worldwide diffusion of practices and expansion of relations across continents on a global scale.
- Postmodernism sees the world as socially constructed with no universal truth, in contrast to modernism which is based on rational knowledge.
- Artists have explored themes of global networks, cultural identity, and the effects of advanced capitalism through works examining transnational mobility and global flows.
- Biennales have helped disseminate contemporary art globally but also serve existing mechanisms of centralization, with some critics arguing they flatten cultural diversity.
Offering a very basic introduction to Globalization, this presentation seeks to re-frame previous discussions on Postmodernism within a broader political and social context.
Modernism began in the late 19th century as a deliberate departure from tradition in art, literature, music, architecture and other areas influenced by industrialization and new technologies. Key developments included photography, which challenged notions of artistic originality, and World Wars I and II, which accelerated social and political changes. Modernist works often shocked audiences with controversial subjects and styles that broke from classical forms. The movement included many styles like Cubism, Dada, Surrealism and the Bauhaus school, which emphasized form following function. By mid-20th century, modernism influenced fields from art to film to product design and helped establish an international modern aesthetic. However, it also faced criticism for abandoning skill and beauty in favor
Post-Modernism is a late 20th century style that departs from modernism and questions grand theories and strict definitions of art. It emerged in various fields in the late 19th century and was applied to many 20th century movements that reacted against imperialist capitalism. In literature, postmodernism was established with the journal "boundary 2" in 1972, featuring writers like David Antin who experimented with form. In music, minimalism arose in the 1970s as composers like Steve Reich and Philip Glass created simple, accessible works that broke from atonal modernism.
The document provides an overview of Pop Art, which emerged in the mid-1950s in England and late 1950s in America. Pop Art used popular and commercial imagery as subject matter, challenging the divide between high and low art. Key Pop Artists mentioned include Warhol, Johns, Lichtenstein, Oldenburg, and Rauschenberg. The document also discusses the related postmodern movement and how Pop Art influenced underground arts through its critique of consumer culture and American ideals.
Modernism refers to a revolutionary cultural movement that began around 1900 across multiple fields including philosophy, art, music, dance, literature, and architecture. The word "modern" derives from the Latin word "modo" meaning "in a certain manner" and has undergone changes in definition over the past four centuries. Modern can now refer to things relating to recent or present times, characteristic of recent times, or developed using advanced styles or technologies. In linguistics, "modern" describes current living languages.
As a mini version of Sky Tower ride, the newly designed Frog Hopper amusement ride, also known as Jumping Frog, is leaping its way into the hearts of young and old with fresh color design and the thrilling feelings to the riders. The Frog Hopper amusement ride bounces up and down and offers quite a thrill, which can make the children braver to resist to the fear.
The document discusses the art of totalitarian regimes such as Nazi Germany, Stalinist Soviet Union, and Fascist Italy between 1922-1953. It describes how the dictators manipulated art to promote their ideologies and glorify themselves and the state. Art focused on themes like large public works, portraits of leaders, and the idealization of the body. Specific artists and styles endorsed by each regime are also mentioned. The objective was to use art for propaganda purposes rather than individual expression.
This document provides context on modernism and postmodernism through discussions of decolonization, the Cold War, existentialism, Clement Greenberg's views on modernism, and the emergence of postmodernism. It also summarizes two paintings by Francis Bacon - Figure Study II from 1945-1946 depicting a distorted female figure with an open mouth, conveying anguished tragedy, and Painting from 1946 set in a butcher's shop with a figure addressing an audience in front of a carcass acting as a headless Crucifixion. Finally, it discusses Bacon's Study after Velazquez's Portrait of Pope Innocent X from 1953 as a satirical reinterpretation of Velazquez's portrait, conveying
The document summarizes the key developments in literature between 1915-1946 known as the Modern Age. It describes how World War I shattered optimism and faith in social institutions, leading writers to experiment with fragmented styles reflecting the modern world. Modernist works often rejected traditional narratives and forms in favor of stream-of-consciousness, free verse, and techniques from surrealism and imagism to depict psychological realities. Notable movements included the Lost Generation expatriates and the Harlem Renaissance, while authors like Hemingway, Fitzgerald, and Faulkner gained international recognition.
Postmodernism emerged in the late 20th century as a departure from modernism in various art forms and intellectual movements. It was first used to describe new forms of art and music in the 1920s, and then expanded to describe dissatisfaction with modern architecture in the 1940s and new approaches in literature, philosophy, and culture starting in the late 1960s. Postmodernism rejects the idea of a single objective viewpoint and is characterized by critical examination of Western culture and ideas around concepts like love, marriage, and history. It grew out of and is closely related to post-structuralism, challenging structuralism and modernist ideas through new ways of analyzing culture and society.
The document provides an overview of major events from 1900-1945, including World War I and II, the rise of modernism, and key modernist writers and works. Some of the main events discussed are the start of WWI due to the assassination of Archduke Franz Ferdinand, Germany's surrender in 1918, the Treaty of Versailles, the stock market crash of 1929 beginning the Great Depression, and the US dropping atomic bombs on Hiroshima and Nagasaki in 1945. The document also summarizes features of modernism such as its pessimistic viewpoint and focus on language and style over content or morality in art.
This document discusses the history of monuments and statues in 20th century Latvia, including their erection, dismantling, and changing meanings over time. It describes how monuments celebrated different leaders and events depending on whether Latvia was independent or occupied by Nazi Germany or the Soviet Union. Statues of communist figures like Lenin and Stalin were erected during Soviet rule but then dismantled after Latvia regained independence in the 1990s. The semantics and pragmatics of how monuments were used and interpreted by society also shifted based on the political context.
This document discusses how portraiture communicates cultural identity through history. It begins with a brief history of portraiture from paintings of wealthy individuals and royalty to the rise of photography making portraits more widely accessible. The document then explores how early photographers captured portraits that depicted cultural identity, both positively through images of black cultural heritage, and negatively through racist stereotypes. The document continues looking at the changing subjects and styles of portraits throughout the 19th and 20th centuries as new technologies emerged and social norms evolved.
Modernity began between 1817-1914 as a period marked by industrialization, secularization, and rationality. It involved artists and writers rebelling against traditional styles and creating a new aesthetic called Modernism. Modernism implied rejecting previous artistic conventions in favor of radically different forms of expression and is seen as evolving in the early 20th century. The document discusses Modernist paintings and artists like Picasso and Kandinsky who were especially interested in using color to convey emotion rather than realism.
Modernism was an artistic movement that rejected Victorian standards and flourished in the early 20th century in response to World War I and social/economic upheaval. It developed new complex forms that disturbed readers by challenging traditions. Modernist writers explored the inner lives of characters and criticized society through techniques like stream of consciousness and multiple perspectives. They addressed themes of alienation, lost community, and the contradictions of modern life.
The document discusses the intersection of contemporary art and globalization. It explores how globalization has impacted the production, circulation, and consumption of visual art through increased travel by artists, expanded trade networks, and the spread of ideas worldwide. While globalization has led to more cross-cultural exchange, there remains a legacy of European imperialism that defined Western art as "civilized" and non-Western arts as "primitive." Large-scale international exhibitions like the Venice Biennale have also contributed to the effects of globalization on the art world.
The document discusses social and political events in Britain, the US, and Russia from 1955-1960, including the rise of feminism and beatnik culture in Britain, the American civil rights movement, and liberalization in the Soviet Union under Khrushchev. It also briefly outlines notable cultural works from this time period and compares them to 1910-1915, including literature, theater, film, science, and technology developments. Racial tensions increased in Britain and the US during this era as social changes challenged traditional norms.
Postmodern art emerged in the 20th century in response to modernism. It rejects the fixed views and purity of form in modern art in favor of a more complex and uncertain view of the world. Postmodernism aims to eliminate boundaries between high and popular culture. Some key movements in postmodern art include minimalism, post-minimalism, new classicism, conceptual art, installation art, and lowbrow art. Postmodern works are characterized by their subjective nature, interest in social issues, and eclectic styles and mediums.
Pop art emerged in the mid-1950s in Britain and late 1950s in the US as a challenge to traditions of fine art by including popular culture imagery like advertising. Pop art employs aspects of mass culture and is interpreted as a reaction to abstract expressionism, using irony to depict banal or kitschy cultural elements through found objects and images. It is considered one of the earliest examples of postmodern art.
During the early decades of the 20th century, Modern photography emerged through the experimentation of photographers and their questioning of the camera's functions. Photographers began redefining photography's role among the arts and exploring new visions that broke from tradition and convention. This led to photography's revitalization and recognition as an independent art form with its own characteristics. Key figures like Alfred Stieglitz helped establish Modernist principles and ideals for photography through galleries and publications, influencing other artists and critics. Modern photography developed from many sources and individuals, not as a single movement, helping transform it into a major art form of the century.
Week 7 Introduction to Postmodernism: Globalisation and Art DeborahJ
This document discusses several topics related to globalization and art:
- Globalization refers to the worldwide diffusion of practices and expansion of relations across continents on a global scale.
- Postmodernism sees the world as socially constructed with no universal truth, in contrast to modernism which is based on rational knowledge.
- Artists have explored themes of global networks, cultural identity, and the effects of advanced capitalism through works examining transnational mobility and global flows.
- Biennales have helped disseminate contemporary art globally but also serve existing mechanisms of centralization, with some critics arguing they flatten cultural diversity.
Offering a very basic introduction to Globalization, this presentation seeks to re-frame previous discussions on Postmodernism within a broader political and social context.
Modernism began in the late 19th century as a deliberate departure from tradition in art, literature, music, architecture and other areas influenced by industrialization and new technologies. Key developments included photography, which challenged notions of artistic originality, and World Wars I and II, which accelerated social and political changes. Modernist works often shocked audiences with controversial subjects and styles that broke from classical forms. The movement included many styles like Cubism, Dada, Surrealism and the Bauhaus school, which emphasized form following function. By mid-20th century, modernism influenced fields from art to film to product design and helped establish an international modern aesthetic. However, it also faced criticism for abandoning skill and beauty in favor
Post-Modernism is a late 20th century style that departs from modernism and questions grand theories and strict definitions of art. It emerged in various fields in the late 19th century and was applied to many 20th century movements that reacted against imperialist capitalism. In literature, postmodernism was established with the journal "boundary 2" in 1972, featuring writers like David Antin who experimented with form. In music, minimalism arose in the 1970s as composers like Steve Reich and Philip Glass created simple, accessible works that broke from atonal modernism.
The document provides an overview of Pop Art, which emerged in the mid-1950s in England and late 1950s in America. Pop Art used popular and commercial imagery as subject matter, challenging the divide between high and low art. Key Pop Artists mentioned include Warhol, Johns, Lichtenstein, Oldenburg, and Rauschenberg. The document also discusses the related postmodern movement and how Pop Art influenced underground arts through its critique of consumer culture and American ideals.
Modernism refers to a revolutionary cultural movement that began around 1900 across multiple fields including philosophy, art, music, dance, literature, and architecture. The word "modern" derives from the Latin word "modo" meaning "in a certain manner" and has undergone changes in definition over the past four centuries. Modern can now refer to things relating to recent or present times, characteristic of recent times, or developed using advanced styles or technologies. In linguistics, "modern" describes current living languages.
As a mini version of Sky Tower ride, the newly designed Frog Hopper amusement ride, also known as Jumping Frog, is leaping its way into the hearts of young and old with fresh color design and the thrilling feelings to the riders. The Frog Hopper amusement ride bounces up and down and offers quite a thrill, which can make the children braver to resist to the fear.
Capgemini ses - smart home operational services brochure (gr)Gord Reynolds
The document discusses the evolution of the smart home and its role in connecting energy consumers to utilities. It describes how smart homes use automated appliances, energy monitoring devices, and two-way communication to allow homeowners to better understand and manage their energy usage and costs. This new paradigm creates opportunities for utilities to enhance customer service and implement more efficient demand response programs.
Ducktype Lightning Talk for GUADEC 2015Shaun McCance
Ducktype is a lightweight format designed explicitly for Mallard. These are the slides from a fast-paced lightning talk on Ducktype I gave at GUADEC 2015. Slides lack commentary, jokes, and Mallard balls flying through the air.
The document discusses how changing consumer behavior and new technologies have impacted the marketing communication landscape. It outlines the evolving consumer decision journey, from increased online research to evaluations based on multiple sources. Marketers now must understand this changing process and address consumers across different touchpoints. Specifically, communication needs to be tailored to each stage of the purchasing funnel. Technologies like social media also allow consumers to research products and get opinions from others, influencing their decisions. To be effective, marketers must understand the consumer decision process and align their strategies and content to each step of the buying cycle on various digital channels.
This PR plan outlines strategies to increase awareness and sales for one of Omaha's longest-operating restaurants. The plan targets college-educated professionals aged 25-60 through media relations, hospitality partnerships, and promotions during local events. Key objectives are boosting sales 20% and national recognition. Immediate tasks include hiring a PR professional, registering for food events, and distributing information to hotels and real estate agencies to attract new customers. The total budget is $50,000.
This document discusses making cultural competency initiatives stick in organizations using a human-centered design approach. It advocates starting by understanding people's strengths, needs, wants and desires through engagement. It also recommends co-designing solutions with people and champions, measuring impact, and focusing on customers to ensure relevance and buy-in for cultural competency frameworks. Case studies from organizations that used this approach show benefits like identifying strengths, reframing complex frameworks, and gaining frontline clinician engagement.
This document provides a design proposal for an Automated Wasted Disposal System (AWDS) for Hindustan Newsprint Limited. The system aims to automate the manual transport of waste from a hopper to a truck. Key elements include:
- A box that collects waste from the hopper and transports it along rails using a chain and sprocket drive powered by a motor.
- Sensors to detect when the box is full and in position by the truck to trigger a pneumatic piston to open the bottom door and release the waste.
- Calculations to design the box, select appropriate chains, sprockets, motors and bearings to support the estimated 300kg load and 0.4m/
A yearbook is a memory book that serves as a history book and reference book for a school. It is also a public relations piece. Yearbooks should contain appropriate content that does not include anything libelous, offensive, reckless, irresponsible, or feature illegal activities. As a memory book, yearbooks last longer than memories and should be produced with the goal of documenting the school year for students and faculty.
This document discusses the author's fond memories of family traditions from their childhood, including celebrating their father's birthday with cake and mariachis, dressing up and going trick-or-treating on Halloween, visiting grandma and gossiping in the living room while listening to old music, and playing video games and soccer with their brother while also fighting sometimes.
This short document promotes the creation of Haiku Deck presentations on SlideShare and provides inspiration. It includes a photo credit and a call to action to get started making presentations on the Haiku Deck platform.
This document summarizes a study examining how perceived discrimination relates to anxiety levels among Black, Latino, and Asian individuals. It hypothesized that discrimination would be associated with feelings of societal devaluation for Black and Latino individuals, and lack of acceptance for Asian individuals. The study surveyed 171 Black, 154 Latino, and 144 Asian individuals online, measuring perceived discrimination, feelings of societal value and acceptance, and trait anxiety. Results supported the hypotheses, with discrimination relating to feelings of devaluation for Black and Latino participants and lack of acceptance for Asian participants. The discussion notes the findings have implications for tailoring interventions to address the specific needs of different ethnic groups regarding discrimination.
The People, Culture & Communication project aims to enhance the capacity of the disability sector to support people from culturally and linguistically diverse backgrounds. The project is funded by FaCS and runs parallel to Northcott's Diversity in Disability initiative. Completed projects include translating career materials into 10 languages and providing guidance on using language services. Upcoming work involves business seminars on diversity and multilingual career videos. More information is available from the listed website and contact.
This document outlines the requirements for a final project assignment on designing a better future city. Students will first complete individual tasks to research and propose a new city through a pamphlet. They will consider elements of cities and address a current issue such as disaster resilience or migration. Selected proposals will then be developed into group models and presentations. Students must consider urban planning principles and include zoning, infrastructure, sustainability, and meeting community needs in their city designs. The goal is to apply knowledge of natural and built environments to propose livable, resilient cities.
The document discusses visual propaganda in Soviet Russia. It begins by providing context on the Constructivist artists in the early Soviet era who believed art could help create a more just society, but their experimental styles had limited appeal to masses. After Lenin's death in 1924, the new leadership under Stalin rejected modern art as incompatible with Soviet goals. The document then examines how traditional Russian artists trained in religious icon painting were more influential in Soviet propaganda, as they understood visual storytelling methods familiar to the public. Their propaganda was successful because it used familiar symbols, styles, and iconography from traditional Russian art but replaced old meanings with new Bolshevik messages.
The Pop Art Movement began in the 1950s in Britain and the US and lasted until the late 1960s. It featured bold, colorful works depicting popular culture and mass media imagery. A key work was Andy Warhol's 1962 painting Marilyn Diptych, which depicted Marilyn Monroe. The movement reflected the increasing influence of advertising, celebrities, and consumerism in postwar Western culture. While initially popular, it declined as the Vietnam War intensified and social values shifted in the late 1960s.
After my lecture for the International Conference for Curators of Contemporary Art (IKT) in Siena in 2001, I was invited by the Vestjaellands Kunstmuseum in Denmark to write an essay in the framework of "Industry of Vision" a project and exhibition that addressed and questioned historical and contemporary Utopias and Heterotopias.
Abstract expressionism and the rise of formalism .fys pptxDeborahJ
This document discusses the rise of formalism in art and its relationship to political and cultural contexts. It provides background on Expressionism and defines key terms like formalism and modernism. Clement Greenberg is discussed as a major art critic who championed Abstract Expressionism and formalism. He argued that art should focus solely on its formal qualities and maintain purity from mass culture. The CIA is also mentioned as covertly promoting Abstract Expressionist art during the Cold War to promote American cultural values over Soviet communism.
The document discusses the importance of controversial art throughout history and in contemporary society. It explores how controversial art has contributed to the development of new artistic movements and styles, from Picasso's Les Demoiselles d'Avignon to Tracy Emin's My Bed. The document also examines how controversial art continues to be a platform for political and social commentary, as seen in the works of Ai Weiwei, Pussy Riot, and Ti-Rock Moore. While some view controversial art as irrelevant in today's world, the document argues it still plays a vital role in innovation, self-expression, and sparking important discussions.
Explain how Photomontage has been applied as a visual languageMichael Cox
The document discusses the history and evolution of photomontage as a technique and form of social commentary. It begins by examining early Russian Constructivist photomontage pioneers like Rodchenko, Lissitzky, and Klutsis who used the technique to promote communism and the Soviet state's industrial and technological achievements. Their photomontages combined images with abstract designs to depict their utopian visions. The document then analyzes specific influential Constructivist works like Lissitzky's covers for USSR in Construction magazine and Klutsis' poster "Millions of Workers Take Part in Socialist Competition." It explores how their photomontages spread propaganda and ideology abroad while claiming to represent the lives of workers.
After World War II, Europe was divided between the Eastern bloc allied with the Soviet Union and the Western bloc allied with the United States and United Kingdom. The Soviet Union helped establish communist governments in Eastern Europe while the US provided economic support to rebuild democratic Western Europe. Germany was divided between the Soviet occupied East and Western Allies occupied West. This grew tensions and distrust between the Soviet Union and the Western allies, marking the beginning of the Cold War in Europe.
The document discusses how modern art movements in the early 20th century, such as Cubism and Expressionism, influenced graphic design. It describes Pablo Picasso's Cubist works which analyzed subjects from multiple viewpoints using geometric planes. Cubism challenged Renaissance traditions and its emphasis on shapes influenced graphic composition. Expressionist works exaggerated color and proportion to depict subjective emotions. Both styles influenced graphic illustration and poster art by emphasizing social and political messages.
The Chicago Renaissance turn of 20th c.-1960s(ish)a ga.docxmamanda2
The Chicago Renaissance: turn of 20th c.-1960s(ish)
“a gathering of writers, a flowering of institutions that supported and guided them, and the outpouring of writing they produced”
http://www.encyclopedia.chicagohistory.org/pages/257.html
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Chicago in the 1890s—Setting the Stage for the Renaissance
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Historical significance of the World's Columbian Exposition
The second half of the 19th century was an age of fairs and expositions held in London, Paris, and other great cities throughout the world. The World's Columbian Exposition, held in Chicago in 1893, was the first critically and economically successful U.S. world's fair. Conceived as a celebration of the 400th anniversary of Columbus' landing in the new world, the Exposition held a near-mythological appeal for people of the time.
The Columbian Exposition showcased a city just 60 years old, a city magnificently reborn just 22 years after the Chicago Fire. It also placed before the world the genius of Chicago architects Daniel Burnham, Frederick Law Olmsted, and Louis Sullivan. In effect, the Columbian Exposition was Chicago's debut on a world stage as a locus of great architecture and burgeoning economic power.
http://columbus.gl.iit.edu/index.html
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"The exterior of the gigantic bubble of glass and iron that rises over the central pavilion of Horticultural Hall has already been shown in these plates, and here we are admitted into the luxurious tropical garden that flourishes in the interior. Here in a great space of light and air may be seen a miniature mountain covered with strange foliage and with a little stream dashing down its sides, great tubs of palms and tree ferns, bamboos, century plants, "elk horns," a miniature Japanese garden, bridges and all, and shady, inviting nooks, in which the tourisht may find picturesque rest - much as the painter has here shown." Art & Architecture (the White City Edition)
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The Chicago Defender, 1905
The Chicago Defender, which was founded by Robert S. Abbott on May 5, 1905, once heralded itself as "The World's Greatest Weekly." The newspaper was the nation's most influential black weekly newspaper by the advent of World War I, with more than two thirds of its readership base located outside of Chicago.
As a northern paper, The Defender had more freedom to denounce issues outright, and its editorial position was very militant, attacking racial inequities head-on. The Defender did not use the words "Negro" or "black" in its pages. Instead, African Americans were referred to as "the Race" and black men and women as "Race men and Race women.“
During World War I The Chicago Defender waged its most aggressive (and successful) campaign in support of "The Great Migration" movement. This movement resulted in over one and a half million southern blacks migrating to the North between 1915-1925.
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,
Richard Wright, born 1908
Native Son, 1940
Black Boy, 1945
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Harriet Monroe and Poetry, 1912
The word "Imagiste" a.
This thesis, written in 2013, focuses on the relationship between the Chinese government and the country's contemporary artists' attempts to organize in the postmodern period.
Shostakovich was forced to compose music in older, more conservative styles to avoid imprisonment during Stalin's rule in the Soviet Union. While facing pressure from officials to conform, he also felt compassion for the suffering of his fellow citizens. Through his music, Shostakovich was able to express powerful emotions while subtly concealing rebellious themes within his compositions.
Performance art emerged in the late 19th/early 20th century from experimental art and theatrical performances. It creates contact with basic human instincts and concerns through violating borders. The document profiles three influential performance artists: Marina Abramovic, known for physically and emotionally demanding ritualistic performances exploring themes of the Balkans, relationships and vulnerability; Joseph Beuys who used performance, installations and multimedia to promote social and political reform influenced by his experiences in WWII; and Chris Burden who endangered his life in performances addressing sociological and environmental issues.
The document discusses how art was impacted by the French Revolution in two main ways. First, art took on a new social and political purpose, expressing ideas about liberty, equality, and justice. For example, Eugène Delacroix's painting "Liberty Leading the People" depicted the French Revolution. Second, new artistic styles emerged that focused on these new themes, like Neoclassicism and Romanticism. No longer was art solely used for religious purposes - it became a way for new ideas to spread. The Revolution drastically changed the purpose of art in France to incorporate social and political messages.
Constructivism was an artistic and architectural philosophy that originated in Russia in 1919 that had a great influence on modern art movements of the 20th century. It was pervasive across many mediums including architecture, design, theatre, film, dance, and fashion. Constructivism proposed focusing on the construction of objects rather than their composition, with the goal of designing functional objects that could be mass produced to serve communist society. While it declined in Russia by the mid-1920s due to hostility from the Bolshevik regime, Constructivism continued to inspire international artists and had a lasting legacy.
- In the 1940s, American artists distanced themselves from politically driven avant-garde styles and Marxism. Diego Rivera included communist imagery in his Rockefeller Center mural, causing controversy.
- Surrealist artists like Andre Breton and Wolfgang Paalen experimented with automatism and techniques like frottage and fumage. Many European surrealist artists fled to the US to escape Nazi persecution.
- Abstract expressionism emerged in the late 1940s in New York, exemplified by artists like Pollock, Rothko, Motherwell, and de Kooning. Pollock's drip paintings in the late 1940s were especially influential in establishing this new American style of abstract art.
1. Smart Museum of Art, The University of Chicago
September 29, 2011 — January 22, 2012
Viktor Koretsky, Africa Fights, Africa Will Win!, 1971,
Poster on paper. Ne boltai! Collection.
The Exhibition Project
Drawn from one of the great private collections of Soviet propaganda posters and
related material, Vision and Communism introduces the poster art of Viktor Koretsky
(1909–1998), a master of Soviet propaganda imagery, to audiences unacquainted
with his work and the underlying approach that guided his design choices. Vision and
Communism presents nearly ninety of Koretsky’s posters, photographs, and original
maquettes from the 1930s through the 1980s.
While great attention has already been paid to the artistic production of the Russian
Revolution and its aftermath in the early years of the newly formed Union of Soviet
Socialist Republics (USSR) (1918 to 1930s), later Soviet material has received much
less attention. The exhibition at the Smart Museum contains some pre–World War II
images from the Soviet Union, but the largest share of Koretsky’s work parallels the
struggles for independence and civil rights around the world in the decades following
World War II.
Curated by University of Chicago art historian Matthew Jesse Jackson, this exhibition
seeks to move beyond conventional thinking about the role of visual propaganda in
the U.S.S.R. It does not simply focus solely on what such images reveal about life
and aspirations under Communism, but instead asks what these propaganda posters
can teach us about the nature of visual communication in the twentieth century
more broadly—the power and use of graphic imagery as a tool of communication.
The exhibition also makes us think about contemporary visual culture, contemporary
2. Smart Museum of Art, The University of Chicago
world political issues, and advertising and
mass media in related to the printed word
and image.
South African protest music will be presented
in the museum’s galleries as a counterpart
to the ideology of shared struggle against
injustice and inequality that animates much
of Koretsky’s work. Music, as heard in the
exhibition, was a crucial means of expressing
and maintaining traditional culture in Africa.
As a strategy of resistance in the early wars
between white settlers and local black
ethnic groups, warriors would collectively
chant before going into battle as a way of
instilling fear in the enemy. Songs became
a part of the twentieth century experience
as workers forced to live away from their
families, addressed rural life, loneliness, and
African heroes, as well as condemning the
deterioration of traditional values and the
rise of apartheid politics. Protest songs
and broadcasts from Radio Freedom, a live
broadcast station from Tanzania, Zambia,
Angola, and Ethiopia, also demonstrate
civil disobedience and unification. The music heard in relation to Koretsky’s poster
depictions of struggle and strife in Africa and other parts of the world, provides an
additional point of access to thinking about methods of communication.
Vision and Communism is also accompanied by a smaller complementary exhibition,
Process and Artistry of the Soviet Vanguard, which examines the experimental
creative production and imagery of photomontage that generated iconic
propaganda imagery in the 1920s and 1930s. The Smart Museum’s two exhibitions
are presented as part of The Soviet Arts Experience, a yearlong series of exhibitions,
performances, and events that explore the riches of Soviet culture.
The Power of Poster Art
Early in the Russian Civil War, following the October Revolution of 1917, the Bolsheviks
(the major political party fueling the revolution) used posters to inform the public
about the news of the day—posters were the principal means of communicating to
the masses. Changing poster displays in major cities conveyed messages of military
support for the Soviet regime, Communist party policy, health issues, and economic
Gustav Klucis, Long Live Red Army of Workers and
Peasants - Faithful Guard of Soviet Borders!, 1935.
Poster. Ne boltai! Collection.
3. Smart Museum of Art, The University of Chicago
Viktor Koretsky, The People Will Break the Monopolies,
c. 1960s, Black and white photograph.
Ne boltai! Collection.
news. News and propaganda messages
were produced centrally in Moscow and also
telegraphed to outlying towns and villages
held by Bolsheviks, where small groups of
revolutionary artists produced the posters
with hand-made stencils, using any available,
cheap, easy-to-replicate materials. Printed
posters were printed in editions of thousands
and quite literally flung to the masses from
trains. The designs and messages served a
definitive purpose—to further the Bolshevik
agenda of revolution. The civil war artists
used crude stereotypes to make images
more relatable to a general audience, and the
imagery had to be eye-catching graphically
to appeal to a widely illiterate people. For
these reason, one doesn’t have to understand
the slogans included on these posters to
understand the general meaning conveyed
by the graphics.
Poster graphics in the 1920s and 1930s
provided relentless interaction with the
masses. They were produced in the
thousands, and were dispersed, moved,
removed, and replaced in a never-ending loop. Poster images, including those of
Koretsky, were rescaled (some from their original approximate size of 32 x 22 inches)
and repurposed, placed in newspapers, magazines and used as giant billboards. This
process also is well represented in the works of Gustav Klucis (1895-1938) featured in
Process and Artistry in the Soviet Vanguard.
Posters in the style of Socialist Realism incorporated bold, bright colors with simple,
easy-to-read messages to convey a political party message. Confronting viewers with
larger-than-life icons, or symbols, and a flat picture plane, poster artists intended
to disrupt the viewer’s everyday experience by intruding into their personal space,
raising political consciousness and an awareness of reality itself. Posters were
created to quietly instruct thinking and overwhelm the senses. Often imagery that
was presented depicted an “us/them” opposition using exaggerated contrasting
characters displayed side by side to clearly convey messages of “good” versus evil—
socialism/capitalism; Soviet Red army/foreign military forces; and loyal Communist
workers/counter-revolutionary intellectuals. By illustrating the political, social, and
economic evils of the West, Soviet artists demonstrated the contrasting strength of
the Communist vision of a new world order.
4. Smart Museum of Art, The University of Chicago
Viktor Koretsky, American Policy (Internal/External),
1970, Poster. Ne boltai! Collection.
International Communism
Viktor Koretsky, one of many artists who worked under a state-controlled Socialist
Realism style, didn’t adhere to the narrow orthodoxy of officially sanctioned methods
and messages. Rather than creating images that idealized the Soviet experience, he
instead depicted at times violent images of human pain and suffering as a way of
showing experiences in other part of the world to truly impact and affect the Russian
viewer. Koretsky intended to provoke, instruct, and incite by graphically describing
the Western world as untrustworthy and undesirable. He did this by producing
images of struggle against Capitalist oppression in other parts of the world, such
as South Africa, the United States, and Indochina against which he juxtaposed
Communism’s promotion of equality, acceptance, and togetherness.
Koretsky was especially moved by Black South Africans fighting against apartheid
for the right to live as equals in their own country. Although apartheid laws were
officially enacted in 1948, racial segregation and oppression of blacks began much
earlier with the Portuguese colonization of South Africa in the early 1500’s. Over
time, Black South Africans were displaced from their lands, reduced to serfdom, even
enslavement. Industrialization of the country, followed by enactment of apartheid,
led to poverty and the disintegration of Black South African culture. This struggle
was fodder for Soviet poster propaganda.
Depictions of Africans bounded by chains, suffering, and bloodied due to conflicts,
and in pain aimed to educate Soviet citizens about the political situations abroad and
promoted the globalization of Communism. The struggles of the people pictured in
his posters mirrored the struggles of Communism itself.
Koretsky also made clear visual connections between the evils of American
Capitalism and the conflict in South Africa. Several posters, in a series called
5. Smart Museum of Art, The University of Chicago
Viktor Koretsky, Untitled, c. 1960s, Black and white
photograph. Ne boltai! Collection.
Viktor Koretsky, Peace to the World!, 1962, Poster on
paper. Ne boltai! Collection.
America is Racist!, captured the struggle for civil rights in the United States, while
condemnig Capitalism again as a means of oppression. Images showing The Klu
Klux Klan, a White Supremacist organization, or symbolically linking African-
Americans to economic imprisonment, demonstrated issues of racial segregation.
As further means of activism, Koretsky also
created images that strongly suggested the
connection between economic crisis and
war, as well as clearly representing economic
disparity in other works.
Continuing his global call to action in support
of Communism, Koretsky produced images
of the military crisis and resulting atrocities
in Indochina. In 1954, backed by Soviet aid
Communist North Vietnam invaded South
Vietnam. Afraid of losing South Vietnam to
communist rule, and the possible domino
effect on other East and Southeast Asian
countries, the United States intervened.
However, it was the citizens of Laos, Vietnam,
and Cambodia who suffered the most,
losing their land and relatives to harsh
military attacks including bombings and
chemical weapons. Koretsky created images
juxtaposing icons symbolizing money with
images suggesting the damaging affect of
American militarism.
6. Smart Museum of Art, The University of Chicago
Viktor Koretsky, A Solid Peace for the World!, 1965,
Poster on paper. Ne boltai! Collection.
Who was Viktor Koretsky?
Viktor Borisovich Koretsky’s experimental process, style, and interracial images
were ahead of his time, and perhaps foretold the visual language of multiculturalism
exemplified by companies like Benetton and MTV, and the 1994 adoption of a fully
democratic government in South Africa.
Educated in Moscow art schools, Koretsky began his career as a poster artist in 1931
and found inspiration in the new visual techniques of photomontage artists working
in the 1920’s, such as Gustav Klutsis (1895-1938). Klucis was one of the leading
propaganda artists during this time. He was heavily involved with the design of
posters for the streets of Moscow and also worked in various other capacities as a
book and magazine illustrator, and his designs appeared on the front pages of major
newspapers including Pravda (Truth, the official newspaper of the Communist Party).
He was a pioneer in the use of photomontages—an innovative technique that used
multiple photo images, painstakingly merged with hand illustration to great effect.
During World War II, Koretsky became famous for the powerful, emotion-charged
images he produced on behalf of the war effort. His design for the anti-Nazi poster
Save Us!, which depicts a Soviet woman and child being threatened by a bayonet,
is arguably the best-known work of Soviet propaganda from the entire era. In the
postwar years Koretsky diversified his art by taking on new subjects, many of them
dealing with themes of international cooperation, such as Soviet-led campaigns
for human rights and nuclear disarmament. In 1964, Koretsky received one of the
most prestigious awards for a Soviet artist, the title of Honored Artist of the Russian
Soviet Federative Socialist Republic. Throughout the 1970s and 1980s, Koretsky’s
art continued to gain international recognition, as younger generations of Eastern
European poster artists adopted his aggressive, confrontational visual style.
7. Smart Museum of Art, The University of Chicago
Viktor Koretsky, Brotherhood and Equality Among
All Nations!, c. 1960s, Black and white photograph.
Ne boltai! Collection.
Questions and topics for discussion
“The poster always works on the leading edge, in the thick of events, and
precisely for this reason, its representational form must be developed
and kept new.” —Viktor Koretsky
Propaganda posters used bright colors, clean lines, and simple content to
communicate and influence the attitude of a community toward a cause or position.
Bright colors were visually striking while single characters, narratives, or symbols
conveyed the artists’ message. In a country where the majority of the population
was still illiterate, the Bolsheviks were aware of the importance of the visual message.
What messages can you find in Koretsky’s images? What design elements helped
Koretsky to communicate these messages effectively?
Posters were useful and powerful communication tools, especially during the start
of the Russian Civil War, 1917. Very few newspapers were published in those days
and often a poster replaced the tabloid. Poster art was widely accessible to the
masses, and the images posters depicted were easily understood by everyone, and
were accompanied by a short and energetic accompanying slogan that stuck in the
viewers’ mind as a constant call for action. How is poster art different from and/or
similar to advertising now? What messages have you seen in current media and
culture that call you to action?
In time of Civil War, propaganda posters were sent to the front lines in the same
capacity as bullets and artillery shells. They were posted on walls, in cities that were
under assault. The bottom of the vivid, bright-colored poster usually contained a
warning: “Anyone who tears down or covers up this poster – is committing a counter-
revolutionary act”. In what ways can posters be considered weapons?
8. Smart Museum of Art, The University of Chicago
Viktor Koretsky also communicates messages about “we” and “togetherness”
through his imagery. How does the artist use pattern & repetition to communicate
solidarity? What images can you find in the exhibition that suggest a world united
or standing together?
Classroom projects
Visual Communication
What is the most effective way to communicate a message? Posters often present
icons, or symbols, using certain characteristics to represent values, ideals, and
qualities of a culture or group of people. We can decode the meanings of these
works by investigating the images closely and considering what the icons may
represent.
Using Koretsky’s original maquette image for Capitalism is War, start by asking
students to describe the image: What details can they find? What do they notice
about the colors, lines, and shapes used? What techniques or materials were used
to create this work? (Details to note: woman with arms over eyes, plane in left upper
corner, bomb traces in lower right.)
Have students analyze the process: How were these techniques applied? How is
he using design elements (such as line, shape, color, texture, pattern, repetition) to
influence the reading of this message?
Ask students what they can infer about the interpretation, or meaning of the image.
What is the artist asking the viewer to care about? What details support these
opinions?
Considering the intention of the artist, ask students to judge if this was a successful
work of art and explain why. Did the artist communicate his/her message
Viktor Koretsky, Capitalism is War, the People’s
Suffering, and Tears, 1960s, Original Maquette;
gouache on paper and wooden board. Ne boltai!
Collection.
9. Smart Museum of Art, The University of Chicago
effectively? Why or why not?
Students can use the DAIJ method above to analyze advertisements to consider
the effect of design elements used in visual communication. As a class, examine
some ads (try using a few from very different sources) to determine how the design
elements are used in presenting the products. You can also discuss the propaganda
techniques used by advertisers. For instance, how do companies influence us
to purchase a certain car or pair of jeans? Practice identifying these techniques
together.
Propaganda techniques used by advertisers:
1. Name-calling: links a person, or idea, to a negative symbol. The propagandist who
uses this technique hopes that the audience will reject the person or the idea on the
basis of the negative symbol, instead of looking at the available evidence.
2. Glittering generalities: Linking products to ideals we hold deep connections to such
as democracy, civilization, Christianity, good, proper, right, democracy, patriotism,
motherhood, fatherhood, science, medicine, health, and love.
3. Plain Folk: speakers attempt to convince their audience that they, and their ideas,
are “of the people.”
4. Transfer: a device that carries over the authority, sanction, and prestige of
something we respect and revere to something else in order to have us accept it.
5. Testimonial: Tiger Woods is on the cereal box, promoting Wheaties as part of a
balanced breakfast. Beyoncé is endorsing a new line of cosmetics, and Lady Gaga
says that Google Chrome helps her stay connected with her fans.
6. Bandwagon: “everyone else is doing it, and so should you.” Since few of us want to
be left behind, this technique can be quite successful.
7. Avant-Garde: Be the first on your block to own it!
8. Fear: When a propagandist warns members of her audience that disaster will result
if they do not follow a particular course of action.
To include art-making in this lesson, have students design an activist poster. Using
the design elements and propaganda techniques discussed, students will create a
work of art to communicate a message about an issue of importance to them. In the
style of Viktor Koretsky, students can use vivid colors and simple images to convey
their message, and the technique of photomontage.
10. Smart Museum of Art, The University of Chicago
First, students should brainstorm to come
up with a few ideas of issues that mean
something to them—do they want others to
help save the trees, help stop crime, collect
food for the hungry, etc. They should have a
concrete goal.
Next, collect (teacher-approved) magazines
from students to gather a collection
of resources, including magazines and
photographs. Students can pull images by
either cutting or tearing. Students should
choose images and arrange them in a way
that visually communicates their goal.
To complete the project, students can paint
the background, glue the images to the page,
and embellish with personal sketches, a short
statement, or other details.
History Happens Every Day
The daily postings of propaganda posters
could be called the blogs of their day. Posters
were used a tool of outreach by politicians
who wanted to express their views and ideas
while quickly communicating news and information to the masses. In our current,
more globalized society, we rely on social media outlets to learn about happenings
world-wide almost immediately. Blogs and mini-blogs (like twitter feeds) are now
written and maintained by politicians, media entities, and even national governments
to connect with and report to their constituents.
In this project, students will “follow” a blog (or mini-blog) maintained by a politician,
media entity, or national government for one week. Teachers can either provide a list
of pre-approved sites or preview students’ choices in advance, for security purposes.
Students will record responses in personal blogs or postings to their source site.
In responses, students should include citations of any facts and give evidence for
opinions. Students should submit a response each day. Teachers can provide a few
guiding questions for students to answer: Describe the event or report in your own
words. Explain the stance of the source. Do you agree with what has been said?
Why or why not? What is your thought on a quote, report, or activity from the
source? Did you hear about this same event or report from a different source today?
How did that shape your response? How did reading the post today affect your
opinion of the source or event?
Viktor Koretsky, We Will Defend Peace Forever!, 1965,
Poster on paper. Ne boltai! Collection.
11. Smart Museum of Art, The University of Chicago
Sharing students’ projects can be done in a few ways:
1. Students can report to the class at the end of the week, describing their
experience, and print-out of any responses, notes, and citations.
2. Teachers can host the blogs on a school-sponsored, possibly password protected
host site. This will a) provide a more secure environment for the students posting
b) if necessary, allow teacher to act as an administrator or the site, making post
approval part of the process.
If the technology available does not permit students to subscribe to an online source,
teachers can modify by doing this same activity with a newspaper or television
source—it must be a daily source to capture the immediate newsfeed.
Another modification, and to encourage comparison of facts and consider multiple
perspectives, is to pair students together, analyzing blogs from politicians on
opposite sides of the aisle, media from two different outlets, or interacting nations.
Modification for younger grades: Teachers can bring in a news article each day,
present it in a “read-aloud” exercise, and have students respond through writing or
verbally, answering similar questions posed above.
Additional Resources
http://www.sovietposters.com/
http://www.justingould-davies.com/research1.htm
http://www.ampltd.co.uk/digital_guides/soviet_posters_1940-1945/Historical-
Introduction-DW-Spring.aspx
Alignment with Common Core Standards and Illinois Learning
Standards
Docent-led discussions of Vision and Communism, related to classroom activities
inspired by works on view (as exemplified above), and follow-up classroom
discussion, reinforce elements of the Illinois standards and goals for the visual arts,
language arts, and history. Using the ideas present in this exhibition, teachers can
integrate aspects of image making, writing, and social science into the classroom.
NOTE TO TEACHERS: please preview the works in the exhibition BEFORE bringing
your students. Some subject matter may be challenging for young viewers.
12. Smart Museum of Art, The University of Chicago
In support of College and Career Readiness Common Core
Standards:
CC.K-12.W.R.6 Production and Distribution of Writing: Use technology, including the
Internet, to produce and publish writing and to interact and collaborate with others.
CC.K-12.W.R.8 Research to Build and Present Knowledge: Gather relevant information
from multiple print and digital sources, assess the credibility and accuracy of each
source, and integrate the information while avoiding plagiarism.
CC.K-12.SL.2 Comprehension and Collaboration: Integrate and evaluate information
presented in diverse media and formats, including visually, quantitatively, and orally.
CC.K-12.R.R.6 Craft and Structure: Assess how point of view or purpose shapes the
content and style of a text.
CC.K-12.R.R.7 Integration of Knowledge and Ideas: Integrate and evaluate content
presented in diverse formats and media, including visually and quantitatively, as well
as in words.
In support of Illinois State Goal 1: C. Demonstrate skills related to achieving personal
and academic goals.
In support of Illinois State Goal 14: Understand political systems, with an emphasis
on the United States.
In support of Illinois State Goal 15: Understand economic systems, with an
emphasis on the United States.
In support of Illinois State Goal 16: Understand events, trends, individuals and
movements shaping the history of Illinois, the United States and other nations.
In support of Illinois State Goal 17: Understand world geography and the effects of
geography on society, with an emphasis on the United States.
In support of Illinois State Goal 18: Understand social systems, with an emphasis on
the United States.
In support of Illinois State Goal 25: Know the language of the arts.
In support of Illinois State Goal 26: Through creating and performing, understand
how works of art are produced.
In support of Illinois State Goal 27: Understand the role of the arts in civilizations,
past and Present