There is a large volume of published Graphic design in
the commercial industry. This paper will explore the descriptive analysis,
contextual and theoretical studies of visual Graphic design, to identify the
role of popular culture.
L.H.O.O.Q by Marcel Dunchamp, is an example of reproduction within
popular culture. L.H.O.O.Q was produced in 1919, where the artist changed the
original painting (Mona Lisa by
Leonardo de Vinci) by adding a moustache and beard in pencil. This is
influenced through graffiti culture, a developed culture in the modern day. The
name of the piece is a pun, pronounced ‘Elle a chaud au cul’ which means ‘she
is hot in the arse’. This makes the audience more aware of the subject matter.
The use of humor mimics the concept of woman’s rights. The contrast
of conflict; how women was perceived in the 16th century juxtaposed
to the 20th century. The artist explored gender reversal to act as
an unexpected purpose. This then leads to the response of the audience acting
in a humor manner addressing an open-minded response. This backs up William
(1976) theory of people becoming more open minded.
Due to society becoming more open minded this stems to an open
interpretation of meaning. Barthes (1968) suggests how Semiology is applied to
mythology; myths being perceived as a factual system, when in fact, meanings
are up for interpretations. This leads to issues about meaning, what people
recognize and what they communicate from a set piece.
This image is then applied to the commercial industry where it can
be reproduced to achieve income. This then results to the economy becoming more
commercialized through popular culture. This is stated through Walter Benjamin
(1973) theory on famous paintings being introduced into the commercial
industry. Walter Benjamin (1973) also discusses the conflict between popular art
is the concept of disrespect towards the initial painting; the respect of the
art is lost through the commercial advertisement to gain income.
In the modern day, technology has played a
role of reproducing images to create them to become more commercialized. In
this case, Leonardo’s rights for Mona Lisa has expired, therefore artists have
interpreted the painting in their own way. This leads to Goodwin (1991) theory
on sampling; technology develops images to create a pastiche outcome. However,
Cornel West (2009) argues this case explaining how work is being developing
from pulling aspects from the past and present.
Source 2 reveals how popular culture is
explored through contemporary branding. An example of this is ‘The XX’ branding
logo. The logo was designed by an art student and Romy Madley Croft, a member
of ‘The XX’. The design includes a creative, original material to indicate a
fresh feel. The branding explores using negative and positive layout. The
designer has played with clarity through the use of white. This is done to create an angelic, subtle
approach. The typeface for the letter ‘X’ is a Bold San-Serif typeface which is
used for a more contemporary, modern, approach. The use of the type being
singular with a larger scale, suggests intimidation and individuality towards
the brand. This supports William (1976) theory on individuality and
independency, not relying on a set group. The designer has also established this through
using space to address clarity. This has created a memorable effect towards the
brand.
The XX is a band formed in 2005, formed in
England, London. The music produced is Indie pop and electric Rock. This
supports Cornel West’s theory of reproducing music which was once popular. For
instance, rock music was popular during the 1960s, this has developed into the
21st Century through ‘The XX’ creating music which includes Rock and
Indie music to create a new genre.
Another way of how the Rock Industry has
developed into pop culture is through magazines. For instance, Rolling Stone is an American biweekly
magazine which focuses on pop culture. The magazine was first known for its
musical coverage inspired by rock. The magazine was founded in 1967, during
this time period, rock was the main aspect of popular culture. However, in
1990, the magazine branched out to other segments: television shows, film,
actors and popular music. To the company branching out reveals the development
through popular culture. Perhaps due to other interests being developed,
popular culture has become more diverse due to societies becoming more open
minded, this supports William (1976) theory on mass culture.
Source 3 is an example of a contemporary cover
by Rolling Stones magazines, released in the 21st century. The use of the type being blocked out perhaps
shows how popular culture has developed, as the typeface is used in context for
the Rock genre. The colour red is used for rebellion as the rock genre
emphasised this association.
The cover includes a
celebrity which is well-known in the music industry. This supports Barthes (1915-1980) theory on role models. This
relates to popular culture, as in the modern day, people need the idea of perfection,
a heroic role model of making things right in human affairs. This theory is
shown through the composition layout being centred. The use of role model
covering the title of rolling stones reveals the development of popular
culture. This shows the person has high status compared to the magazine itself.
Perhaps this shows how one thing may be popular today but may not be popular
tomorrow.
To conclude, perhaps education has played a
role of creating awareness and to help produce mass culture being an
open-minded way of life. Therefore, people appear more individual and how
society does not keep a set structure of classification. This then leads to the
concept of Aesthetics through trends. The conflict with aesthetics is the worry
things may go out of trend. To resolve this issue, the commercial industry has
introduced sampling which relives trends which have died out. This is shown
through the Rolling stones magazine,
developing the company to fit into modern day popular culture. Popular culture
has expanded due to developed interests, society allows this through mass
culture being more individual and open-minded.
Bibliography
Source 1:
Source 2:
Source 3:
Harison, R (1998) Mass
Communication: Living in a Media World.
Striate, D (1994) The Introduction
to Theories of Popular Culture second edition, New York:
Rutledge
Storey, J (2012) Cultural
Theory and Popular culture an introduction sixth edition, Pearson
Friske, J (1998)
Understanding Popular Culture, New York: Routledge
Barthes, R (1968) Elements of
semiology, New York: Macmillan
Goodwin, A (1991) Popular music
and postmodern theory, Cultural studies
No comments:
Post a Comment