Graphic Design Theory

Proof of
Concept
Written & Photographed By Katilyn Gehringer
Table of Contents
Assignment 1
Staatliches Bauhaus Ausstellung 2-3

Assignment 2
Rural Electrifcation Administration 4-5
Assignment 3
AIGA Cranbrook Poster 6-7
Assignment 4
Generation Like 8-9
Assignment 5
Elegy for the Collapse of the Empire 10-11
Assignment 6
The Treachery of Images 12-13
Assignment 7
I am Bursting with Joy/ Embarassing Portrait from 2005 14-15
Assignment 8
Untitled I shop therefore I am 16-17
Assignment 9
Once Upon a Forest 18-19
Assignment 10
Do Women Have to be Naked to Get into the Met. Museum? 20-21
1
Sources:
http://bauhaus-online.de/en/atlas/das-bauhaus/lehre/unterricht-joost-Schmidt
http://bauhaus-online.de/en/atlas/jahre/1923
http://bauhaus-online.de/en/atlas/werke/poster-for-the-1923-bauhaus-exhibition-in-Weimar
01
Staatliches Bauhaus Ausstellung
Joost Schmidt
Staatliches Bauhaus Ausstellung was
designed by Joost Schmidt in 1923. This
work was created for the 1923 Bauhaus
Exhibition in Weimar, where it was used
to advertise the event in 120 different
railway stations. The design consisted of a
cross made up of circles and squares. The
diagonal cross incorporates the Bauhaus
Logo. The colors were red, grey, and black.
The poster included information about
the exhibition including the date and
venue.
Schmidts poster design was refective
of the artistic style and interest in the
structure of letters and their fexibility
in terms of shape and size, treatment
of color and surface. Not only was this
style occurring in his early works, but it
continued in his later years as an educator.
He became a teacher at Bauhaus Dessau
where he taught a lettering design course
and had his students look at the aspects
of advertising such as the language used,
visuals, psychology and economy. Schmidt
had a goal of reforming lettering and
creating an international standard. His goal
was functionality and standard objects.
These goals for letter and standard
objects are refected heavily in this specifc
poster design.
Not only was Schmidt striving for
a more universal style, so was the rest
of society. After the end of World War
I , society didnt want to go back to
those harsh times. Art changed from
revealing social realities to universal
and non controversial topics. Art was
now a sensory experience using the
basics of shape, color and line. This art
created elemental order in a world of
political and social chaos. Schmidts poster
created a sensory experience for the
viewer using simple colors, shapes, and
a recognizable logo. These simple forms
created a relationship between the viewer
and object which made it relatable to the
masses, which was ideal since the poster
was created to spread a message to a
large audience. The poster also worked in
favor of the nationalist agenda of Bauhaus
to rebuild Germany by incorporating the
Bauhaus logo in the piece.
The poster by Schmidt can been
viewed as similar to works from the de stijl
movement discussed in the reading. De
Stijl included straight lines, right angles, and
primary colors. De Stijl was viewed as the
harmony that could be revealed with use
of abstraction, rather than objects from
the world. Similar to the Bauhaus style of
Schmidts work, the use of shapes to create
an abstract cross and logo kept elements
from the real world out of the work.
Although many visual similarities can
be made between the de stijl and Bauhaus
movements, their goals were very different.
The goal of the members of the de stijl and
Bauhaus movements was to create a new
way of living and social outcome through
physical form. The work by Schmidt can
be clearly identifed as Bauhaus because
of its nationalistic ties through the use of
the Bauhaus logo. The Bauhaus movement
was specifcally dedicated to Germany and
its economic rebuilding after World War
I. This work not only speaks on behalf of
the Bauhaus agenda of nationalism, it also
represents visually their strategy for a visual
language of modernism.

3
Sources:
www.metmuseum.org
www.aiga.org/medalist-lesterbeall
www..americanart.si.edu
www.worldcat.org
02
It was the opinion of many artistic
movements that good design could raise
the standards for the working class. The First
Things First manifesto of 1964 called for the
skills of designers to be put to good use for
such things as cultural interventions, social
marketing or educational tools. Designers
wanted to change the direction of consumer
advertising that their careers were going in.
The work created for The Rural Electrifcation
Administration by Lester Beall was ahead of its
time. Bealls posters were more than design,
they had nationalistic ties and a intentions to
educate the general public.
Bealls poster titled Rural Electrifcation
Administration was created on silkscreen in
1937. His series of posters had a purpose
to educate rural working class citizens about
the benefts of electricity. These posters
were produced in a series and had a simple
message to ensure that rural Americans could
read the content of the posters.
It was the belief of many modern designers
that design could have positive social effects
on the middle class if they were surrounded
by good taste. Designers believed that by
surrounding rural Americans with tasteful and
educational design could change their learned
values. The rural Americas who were targeted
by Bealls Poster did not see electricity as
an immediate need, but designers could
hope that good design and education about
the Rural Electrifcation Administration
could lead them to want electricity. It is also
important to note that during this time
period there were changes occurring with
social class and style. Highly decorated things
were once seen as only for the rich were
now more accessible for purchase by the
middle class. Therefore, the desire that the
Rural Electrifcation had for rural middle
class Americans was not out or reach.
With the changing economy this was
something that would have a drastic
impact on their everyday life, and the
design of these posters could be a part
of that change.
American designers of this time
were heavily infuenced by European
modernist graphic designers who
were immigrating to the United States.
These designers preferred asymmetrical
compositions, mechanically produced
imagery, white space and cohesive type.
Many of these design preferences can be
seen in this poster by Beall. His poster
includes mechanically produced imagery
and cohesive type, and a large amount of
white space.
All though American and European
design may have had similarities,
there goals were very different.
American design was more about
fueling consumption and advertising
transformed objects of use into
objects of value. The goal of the Rural
Electrifcation Administration was to fuel
consumption of electricity by proving to
rural Americans that electricity was more
than just something they could use, but
something that could be of value in their
lives. American advertising became the
new form of art and messaging in North
America and was much different from
the philosophical design approach of the
Europeans. Advertising had the ability to
shift the public view about new styles
and behavior in a way which encouraged
the economic need for consumption.
The series of posters created by Beall
would prove that the rural Americans
view about a need for electricity would
change with education and messaging.

Rural Electrifcation Administration
Lester Beall
5
5
Sources:
http://www.aiga.org/medalist-stefan-sagmeister
http://media.wix.com/ugd/
03
From the universal and rational meanings of
the modernist movement, to the disorder
and multiple meanings of the post modern
movement, Stefan Sagmeister takes the
incentive to push art from one extreme to
the other. His poster created in 1999 for an
AIGA lecture he would give at Cranbrook,
pushed the boundaries and was part of the
post - modern push for multiple meanings and
away from the modern aesthetic. The photo
is of Sagmeister himself. He is naked and the
image spans from his neck to a little below his
waist. There is information about an upcoming
lecture of his carved into his chest and arms
with an x-acto knife. The dried blood from the
cuts formed the words about the event. The
letters are a mixture of cursive and regular
forms, and the content is unorganized and
breaks the organizational rules of using a grid
which modernist initiated. Not only does this
work break the social boundaries for what is
appropriate it also is a great example of the
post-modernist attitude about breaking the
rules of modernist design.
There are several distinct differences
between modern design and that of post-
modern designers. The frst category that
makes them different is writerly rather than
readerly text. The text used in this poster is
writerly because the reader constructs the
meaning, and the viewers own experiences are
brought to interpretation. One viewer may fnd
that they simply see the cuts as letterforms,
another might associate the cuts with a bad
experience with a knife and may fnd the
writing more disturbing. This poster would
be considered a text because of its multiple
meanings.
Using an x-acto knife to etch the message
into his skin can portray a plurality of meanings
which is also common for the post-modern
movement. The words arent simply written
on his skin with a sharpie, the cut of the
knife provides a deeper meaning which goes
beyond the typographic letterforms, and tells
a story. Many art works have a metaphorical
meaning behind them explained through
visual and written components. In the case
of post-modern designers like Sagmeister
he seeks a plurality of meanings so his work
is a metonoymy because of the multiple
statements that the artist is attempting to
create. He is not just providing meaning
to the viewer through words, the use of
himself in the art work creates a whole other
meaning.
Another similarity that exists between the
art work and the reading is that Sagmeister
is in a cultural position which infuences the
frame of reference from which his work is
created. For Sagmeister he may have a few
particular messages which he is trying to get
across. The viewer of the work may have a
completely different message that they get
from the work. As a designer post- modern
theorist argue that one cannot stand apart
from their culture. Designers are producers
and consumers of ideas. Sagmeister produces
a cutting edge work with multiple means,
and at some point he likely consumed that
cutting edge attitude from another work,
artist or idea. In this case his cultural position
may not be that different than his target
audience since they too are designers, but
in any situation cultural position effect how
the work is viewed because of differences in
lifestyle and past experiences. This work truly
represents post-modern design because it
pushes the boundaries of modernism and
moved away from a universal message. The
differences among designs and viewers is
what makes the post modern movement
interesting.
AIGA Cranbrook Poster
Stefan Sagmeister
7
04
It is clear that the current generation of young
people evaluate their life by the amount
of likes or attention they can gain on social
media. Communication models that were
created hundreds of years ago would not have
been able to foresee the drastic changes in
communication that have occurred over the
years. Although communication that takes
place on social media can still be seen as a
basic form of communication among people it
has become much more than a two way street
where information can be exchanged and
feedback can be given.
Since communication models like the
Shannon/Weaver and Emmert/Donaghy
models came about, many changes have
taken place in society. The Shannon / Weaver
Model only takes into account a sender and a
receiver and noise that may occur to interrupt
their communication. It does not take into
account the feedback given to the sender or
the context in which the communication takes
place like the Emmert/Donaghy model does.
Emmert/Donaghy also looks at the receivers
past experiences and how the message is
not controlled by the sender, which can
incite a variety of responses. Berlos Message
components match closer with todays current
generation of communicators by being inclusive
of content, elements, structure, code, and
treatment. Looking at all of these components
helps one to determine the meaning that is
constructed by a person who receives the
message. All of the above models are forms
of communication which are most familiar to
us, but not necessarily the communication that
occurs in social media today.

These communication models work well
to understand traditional communication
between two people. However they dont
translate well to use for mass audiences. The
Generation Like documentary most closely
relates to the message cycle. The content
posted on social media is ever changing
because of the ability for more than two
people to see the message. Looking at this
model in terms of Facebook , one can break
down how communication occurs, Someone
creates a post, their content is reproduced
on their friends newsfeeds, comments made
by friends can then be distributed or shared
among hundreds of users. As the message is
shared individuals have their own reception
about the content and react by either liking/
sharing/commenting or simply scrolling over
the material.
In cases of popular posts by companies
or people who are social media mongrels, a
post might even be consumed by culture. For
people marketing something consumption
by culture is key. The marketers goal is to
infuence an individuals understanding,
opinion or action. For example in the
documentary they talked about Oreo
posting a rainbow Oreo in support of
marriage equality. This help viewers to see
that Oreo supports marriage equality, and
gave them the opportunity to give their
opinion, thus creating content for Oreo on
Facebook. This cycle is never ending and is
the reason for success of many companies
using social media. The companies simply
place content on social media and they
allow generation like to do the work.
Generation Like
PBS Frontline Documentary
9
Sources:
http://www.elliotearls.com/2012/02/11/elegy-for-the-collapse-of-the-em-
pire-at-the-triennale-design-museum-in-milan/
http://www2.metrotimes.com/arts/story.asp?id13620
05
There are many representational connections
between the reading for this week and the
work Elegy for the Collapse of the Empire;
Detroit Craft and Disintegration by Elliott Earls.
The work depicts struggles in Detroit since the
1960s with companies in the west outsourcing
their work to countries with cheap labor.
Earls explores this concept of the collapse of
Detroit through the use of technology within
his installation. He uses technology in the form
of projectors and other tablets to show how
technology has allowed us to advance, but has
not caused this outsourcing to occur. The capital
from our country is moving from west to east,
which is why the Chinese fag are throughout
the installation along side the American fag.
This exhibit is very representational of different
things some ides clearer than others. Some
representations can be expressions of intangible
ideas, concepts or feelings in a physical form. They
can also communicate information about tangible
objects, people or places in the real world. In
Earls exhibit his representations communicates
information about tangible place (Detroit), using
somewhat intangible ideas and concepts.
The relationships between the physical
characteristics of the symbols and signs in
the installation are arbitrary or a matter of
cultural agreement. Someone from a different
county who is not familiar with the collapse
of Detroit might get a completely different
message than someone from the United States.
Differences in understanding of the symbolism
in the work may even vary with in the Unites
States. Someone from the west coast might
not fully understand the struggles that Detroit
endured any may not pull as much meaning
from the piece as a Detroit native might.
The economic struggle in the United States over
the past few years is clearly something that is
talked about. Especially outsourcing situations that
have occured in places like Detroit. Earls is using
a represented world because he is using societal
issues the topic for his installation. Within the
world of art he is using his idea of a represented
world to communicate his opinions through
the use of signs, sounds, symbols which society
uses to communicate. Although he uses symbols
which are familiar to most people such as a
Craftsman tool box, he is also juxtaposing them
with items such as sculptures of bust. Unfamiliar
symbols placed next to the familiar, encouraging
the viewer to dig deeper for meaning and
form connections between the items. As the
artist Elliot has the ability to impose these
meanings and ideas to the viewer. Along with
the intentional approach by Elliot there is also a
constructionist approach because the meaning
is shaped by social practices that surround it.
For example this piece may have a different
meaning to someone who grew up in the great
depression than it does for a person dealing with
the more current fall of Detroit.
These varied interpretations can come from
the mixture of connotative and denotative
meanings in the piece. There are many familiar
symbols in the piece which are slightly varied to
portray a different meaning to the audience. For
example the fags were given a shinny glow to
them to be refective of the automotive industry
which collapsed. Other symbols that make up
the piece like stars and stripes, and the image of
George Washington are clearly more connotative
representing America and our freedom. The
use of American prototypes attempt to bring
universal aspects to the piece but are placed
along side other symbolic connotations to make
the installation up for interpretation by the
viewer.
Elegy for the Collapse of the Empire
Elliot Earls
11
06
Sources:
http://smarthistory.khanacademy.org/magritte-treachery.html
http://collections.lacma.org/node/239578
Imagery and language make up most of the
works of art we see. Most people would
argue that art is a visual experience, but it
is important to note the impact that use of
words in an art work can have on the imagery.
The argument has occurred over and over
again as to weather imagery or words are
more powerful in art. Margirittes Treachery of
Images provides an interesting struggle between
imagery and language.
The oil canvas painting from 1929 puts the
viewer in an interesting scenario. The viewer
struggles to fgure out if the image or the words
are authoritative in this work. The painting is of
a pipe, which is not an actual pipe since it is a
painted illustration of a pipe, and the text below
tells the view This is not a pipe. So with this
piece the argument continues, will the viewer
believe that this is a pipe because it looks like
a depiction of one, or will they believe the text
below that tells them differently. Do people
believe what they see or what they read? This
question is arbitrary, many people view things
differently which is what makes this piece of
work so interesting and controversial for the
viewer. The viewer is forced to step back and
understand how they themselves view work,
and if imagery or text is more dominant in their
viewing experience.
Like Ferdinand De Saussurer who
investigated the nature of representation and
relationship between language and knowledge,
Magrittes work forms this relationship as well.
We the viewer has knowledge that the image
in the work is a depiction of a pipe, and we are
aware of what a pipe looks like. The language
of the work tells us that this is not a pipe,
therefore contradicting our previous knowledge.
We are forced to think about things not only as
objects but as depictions of objects which dont
equate to being the real deal.
Saussurer says that writing is dominant
because of its permanence and stability. The fact
that languages have been around for hundreds of
years makes them stable. Images and symbols can
be seen as unstable because of their numerous
changes in meaning that have occurred over time.
Although this seems true, it is hard to believe
that people 100% listen to what language tells
them and dont interpret a work by the imagery
and symbols and how it relates to their current
culture, time and location.
It has been pointed out that language is
powerful but the slightest changes in language
can completely destroy a message that an artist
is trying to convey. The syntagmatic axis takes
into consideration the ordering and placement
of words within a sentence. For example if the
statement read, A pipe this is not it would
have a completely different meaning and a less
assertive nature than This is not a pipe. The
paragidmatic axis is a list of all the possible word
choices for example if the pipe was refereed to
as a tobacco holder it would not have the same
connection between the image and text because
the viewer knows the image as a pipe. This work
can also be broken town in terms of signifed
and signifer. The signifed is the actual pipe which
in this case grabs a large amount of the viewers
attention. The signifer would be the text below
the image which tells us more about the pipe.
Typically the signifed is the component which is
our mental idea of what the actual image stands
for, in this case it only tells us what it is not. This
is why this work is so unique because it changes
the human order of understanding of symbols.
This work challenges human nature with its
unique approach. Not only do we see a beautiful
illustration of a pipe, but one is also forced to
understand how this is not a true to life pipe, and
it is an illustration. We are forced to fnd a deeper
meaning and decide if we will believe what we
read or what we see.
The Treachery of Images
Rene Magritte
13
07
Sources:
http://tv.adobe.com/watch/designing-minds/acd-young-gun-keetra-dean-dixon/
Keetra Dean Dixon has an objective in her
work to move her viewer towards and
analytical approach. Her work I am bursting
with Joy/ Embarrassing Portrait from 2005 is a
great example of pushing a viewer towards
a more analytical approach. The viewer is
only given an odd image of a girl and a small
line of text that says I AM BURSTING WITH
JOY. In an interview with the Adobe Channel
Dixon mentions that the goal with one of her
other works attempting to make people feel
vulnerable and asking them to then embody
those moments of vulnerability and then
respond in a positive light. The title of this
work gives the viewer the idea that this was
an embarrassing moment for Dixon and might
further infuence the reader to recall their
embarrassing moments, embrace them and
turn them into something that they can now
view as a positive experience.
This image represents a duality because
there is a divorce between meaning and form.
This occurs because the form of the image
differs greatly from the realistic meaning of
bursting with joy. The term bursting with
joy is used in the photo as a possible literal
translation with the cones shaped objects that
appear to bursting out from Dixons head.
Of course for the viewer to see the work in
this light they would need to have a common
understanding of the word burst. To break,
break open, or fy apart with sudden violence.
This work is similar to Broodthaers The
Farm Animals which includes cattle with the
names of car brands under them. With the
cows the viewer tries to fnd an association
between the work and the text that is
included with it. As the viewer of Dixons
piece it was my immediate reaction to look
at the image, read the text and then make a
connection between the two. Maybe there is
no connection, but my mind is set on making
the connection between the word burst and
the cone shapes bursting from her head.
The parts of Pierces triangular model
include the sign itself, the user of the sign and
the external reality or the object referred
to by the sign. In the case of this work the
sign would be the actual photo of Dixon.
The interprent would be how the viewer
responds, which would vary depending on
the viewers past experiences and culture. The
external reality could be the reference to the
cone shaped objects through the use of the
language and the word bursting below.
This can also be related to Peirces defned
categories of signs, Icon, Index and symbol.
The icon in this would be Dixon because
she physically resembles what she is trying to
represent. The index would in this case might
be the shapes coming from her head because
they can be seen as having a direct link to
where they are placed to give the work more
meaning. If they were not place on her head
they may have a completely different meaning.
The symbols used in this piece would be the
alphabet, which gives the viewer a sentence of
text from which to pull a deeper meaning for
the work.
This work would be an example of
unlimited semiosis because of the many
associations that come to mind when a
person views this work. Multiple meaning
will be pulled form this based on the viewers
experiences and life. Meaning is not fxed
it becomes an active process between the
work and the viewer. This reading reiterates
that where there is choice there is mean, the
choices made by Dixon in this work have
a great impact on the interpretations that
can be made by the viewer. Many of Dixons
works would not accomplish her goal to make
the viewer think if there was not this active
process occurring.
I am Bursting with Joy / Embarassing Portrait from 2005
Keetra Dean Dixon
15
08
Sources:
www.smithsonianmag.com
www.artreview.org
Barbara Kruger takes images from the media
and paste words over them. Her use of language
comes in short phrases and slogans that force the
viewer to think about catch phrases and their ties
to current culture and society. Barbara Kruger has
knowledge of old theory but believes that current
culture is where ideas from her art work need to
be taken from that current issues in society can
be pointed out to viewers. Kruger knows that our
society is drowned with words on a daily basis so
she makes the combination of imagery and short
phrases count in order to gain a large amount of
attention from the viewer.
There are several different ideas among artist
and writers about the way in which society should
operate. Barthes is a writer with similar opinions
about society as Kruger. Barthes uses a scenario
of WWE wrestling as an example of the theatric
components of society. He refers to wrestling as
an open air spectacle where the public is aware
of the theatric qualities of the match but they
are uninterested in fguring out if the contest is
rigged or not. This can be related to our current
popular culture and the heavy viewing of reality
TV. Kruger whos work is based on pointing out
issues in society, is inspired by the viewing of reality
TV to understand what people are viewing with
no regard to its truth. Viewers of this type of
show understand that they are not 100 percent
truthful, but still continue to watch. Krugers work
Untitiled (I shop therefore I am) is an example
of this understanding of faults in ones culture.
Krugers work is a hand holding what appears to
be a creadit card. The person hold the credit card
represents the materialistic and consumer based
society in which we live. Most people understand
that they dont need to spend money on certain
material goods but they know that there is a
material image associated with these things,
therefore we are all putting on a show to be
something which we are not.
Barthes says Thus the function of the wrestler
is not to win; it is to go exactly through the
motions which are expected of him. This quote
relates closely to Krugers work because as a
consumer society we are going through the
motions of buying things that we are expected
to have in order to obtain a solid image. The
text saying I think therefore I am relates the
idea that society thinks that the purchases of
materialistic goods help them belive that they
are of a certain superior level because of that
purchase. For example I think that I am better or
seen as a better person because of this new car,
so I am better! Even if the spectators (society)
knows what they are seeing is false they are
somehow ok with it. It no longer mattes
whether the passion is genuine or not. What the
public wants is the image of passion, not passion
itself. Both the viewer and the competitor or are
to blame for these issues.
Many of Krugers works are based on this
cause / effect relationship between the society
we live in and the culture driving many of its
negative effects. Bartes talks about the wrestler
being put in a particular hold and understanding
why he is suffering. This can be related to our
society and the suffering we place on ourselves
with the purchase of material goods, we know
we are hurting ourselves with unnecessary
purchases, yet still we continue to make them for
our own image and perception we want to hold
in the world.
As a society we are forced daily to have
battle between good and evil. We make decision
that we know harm us, yet we continue with
those habits until we are in over our heads.
Krugers works force society to step back and
think about the things we already know about
society. Put in the context of artwork which is
an interpretative activity society might be more
likely to fnd meaning it and be reminded of our
faults and issues which we choose to ignore in
normal and everyday context of our lives. Kruger
has the potential for a hefty impact on the
viewers of her work.
Untitled I shop therefore I am
Barbara Kruger
17
09
Sources:
http://www.once-upon-a-forest.com
It is arguable that technology has had a great impact
on art of the years. Not only is art something put
on a piece of paper or canvas it has expanded to
many other types of media. Marshall Mcluhans belief
that the medium is the message is the idea that
media has changed the world around us by effects
that supersede the content they are attempting to
communicate. The work Once Upon a Forest by Joshua
Davis can be closely related to the idea that the
medium is the message. Not only is Davis medium
non - traditional by being online, but it is also non
- traditional because of its hidden message within
the medium. All works of art seam to have a hidden
meaning, but it is usually up to the viewer to interpret.
Davis message about his work is hidden in the coding
of the website (medium) in which it lives. In the
summary hidden in the code by Davis he talks about
identifying with Jackson Pollock because he identifed
himself as a painter and even though most of the
time he never touched a brush to canvas. Davis goes
on to talk about not using things in the traditional
method and how that allows for disconnect and leads
to beautiful randomness. Davis work, especially Once
Upon a Forest is a prime example of producing art
in a non traditional way and it leading to beautiful
randomness.
Another aspect of Davis work that relates to
Mcluhan is the idea of a cool media which requires
more of the viewers involvement. The viewer must fll
in the blanks and make the story. In the case of Davis
work, not only do we have to interpret the work, we
also have to interpret the website to fnd answers
to our questions. Being the tech savey man he is,
Davis knows that when a person goes to a website
they are usually looking for information of some
sort. At frst glance the only function of the website
the one button which fips through the computer
generated images created by Davis. If one digs a little
deeper into the code of the site they can fnd greater
meaning which is not explained in the website. To
me this hidden meaning speaks volumes. Most works
of art require the viewer to determine the meaning
themselves, while some are explained briefy by
the artist. In the case of Once Upon a Forest, either
a viewer will come up with their own meaning
or if they did deep enough they can gain insights
on the authors perspective. This makes the work
unique because usually the explanation for a piece
is not tied into or associated with the work , usually
our explanation from the artist comes from other
sources.
Davis work also relates closely to McLuhans idea
of acoustical space. He believed that humans focus
on the things that matter to us and minimize the
importance of everything else. He states that there
is less mediation with hearing than with sight. He
believes that the technology of computers reasserted
the acoustical storytelling space. In relation to Davis
work there is an aspect of sight and an aspect of
actually hearing what the artist wants to tell us, the
viewer can get the best of both worlds and avoid the
confict between what they interpret and what they
think the artist intended messagethat is if they
interact enough with the work.
The last concept from McLuhan that can be
related to Davis work is the idea of the global village.
The idea that all people have equal access to public
information through the use of electronic media. He
also goes on to point out the deception that media
can provided to viewers during Nixons loss of his
campaign because the villagers saw to much. Davis
work is similar because everyone has equall access
to his work but because of some people limited
knowledge of code they may not understand the
full message of the piece because of their limited
knowledge.
All of these age old ideas by McLuhan relate
closely to issues with art produced via graphic design
today. Back in McLuhans day, everyone could create
art. As he predicted the evolution of technology has
changed the opportunities for all people to create
art in the new computer generated method because
of their limited knowledge of it. It makes one wonder
how long before all art forms take place on the
computer. Who will be the next McLuhan to predict
the fate for future artist? Will hand made art still exist
or will the computer completely take over? Davis
explanation of his work is forcing his audience to
think about the parallels between things being done
by hand or things being generated by knowledge
which controls the action of the machine which
creates a design.
Once Upon a Forest
Joshua Davis
19
10
Sources:
http://www.guerrillagirls.com
http://www.interviewmagazine.com/art/guerrilla-girls#_
If a member of todays younger generation
were asked if they think of artwork being
male or female dominant they would
likely not see either as overpowering the
art world. It is obvious that there was a
time when a noticeable inequality existed
between male and female artist. The
Guerilla Girls can be credited with bringing
attention to the disproportions between
male and female artist and bridging the gap
between the inequalities. Although things
may not actually be 100% equal between
men and women in the art world, great
strides toward equality have been made
because of the efforts of the Guerilla Girls.
The anonymous group had a break
-through by using statistics to present
information to the general public about
the under representation of woman artist
in art museums. This realization came to
these woman conducted a weenie count
at the Metropolitan Museum comparing the
number of nude males to the number of
nude females in artworks on display.
This insight by the Guerrilla Girls
lead to one of their strongest works Do
Women have to be naked to get into the
Met. Museum? The work is shocking to
the viewer because of the inclusion of an
image of naked woman clothed in a guerilla
Girls mask. The text of the work is equally
as powerful stating that less than 5% of
the artist, in the Modern Art Sections are
women, but 85% of the nudes are female.
The combination of image and text bring
a blunt and striking message to the viewer.
The facts in the work use vernacular
language and a clear argument so the
general public has the ability to relate to the
piece.

The guerilla girls would fall into
the category of postmodernism. This
is because of its ironic nature, and its
criticism of culture. This piece is also
postmodern because it does not use
a grid system and it is created with a
collage technique. The work rejects the
traditional art and goes where no one
has gone before. It is benefcial that the
work of the Guerilla Girls falls into the
postmodern category, instead of simply
falling into the category of feminist art.
Many have a fear of the word feminism
and are unsure if they should associate
with it. The works by the Guerilla Girls
are obvious, clear and to the point,
which is important when trying to reach
a larger audience. The average person
can gain insight on feminist issues in the
art world as a bystander and they dont
have to necessarily be associated with
feminism in any way.
Regardless of any inequalities
that may or may not exist today, it is
important is that groups like the Guerilla
Girls have made it their agenda to step
up and point out the obvious inequalities
in the art world. Without their attention
getting works such issues may have
remained swept under the rug. Now
that the issues are out from under the
rug they can continue to be addressed
and considered by new generations of
designers.
Do Women Have to be Naked to Get into the Met. Museum?
Guerilla Girls
21
Katilyn Gehringer
Theory & Practice
Meredith James
Spring 2014