OUGD501 - Research - Punk

OUGD501 - Research - Punk 


B, Turcotte & C, Miller. 1999. Fucked Up + Photocopie. Instant Art of The Punk Rock Movement. Gingko Press Inc: Los Angeles. 

• punk flyers took the piss or made you laugh, had to be made quickly
• diy
• posters were vital, no outlet for legitimate advertising  
• all free, they received no money, just wanted to help out to fight 'the man'
• had reason, part of something 
• post modern statement
• newspaper clippings, retail catalogues, pictures ripped out of magazines
• shock value
• sexy, violent and absurd, got to have something to say

R, Crimlis & A, Turner. 2006. Cult Rock Posters 1972 - 1982. Aurum Press Limited: London

• old gig posters were silk screened, then went onto using off-set litho, a technique cable of mass production.
• sleeves needed to be decoded, they demanded that the viewer recognise the imagery and relate it to a particular record with which - to an outside observer - it had little obvious connection 
• they were part of rock and roll, speaking directly to the viewer, communicating the style and content of the music inside
• 60s rock artwork themes - psychedelia nouveau, Tolkien-esque fantasy and surrealism 
• confrontational tone of voice 
• punk artwork, sex pistols never featured images of the band
• 1978 punk movement had passed, death of punk mirrored the death of glam
• power of disco 
• since the 60s and post war Britain  something had changed, it wa sa fragmented society 
• value of merchandising then came about pre beatles era, you needed a large, good mass of merchandising so fans knew that you were the real deal
• 1981 england riots, the specials - ghost town
• new era, massive growth of promotional videos
• the gap between fly posting and billboards narrowed, poster campaign role diminished

Swag

• the labels then tired to create and sell their own posters, but they didn't sell and the practice diminished 
• issue with after market sales

J, Frascara. 1997. User-Centred Graphic Design: Mass Communication And Social Change. Taylor & Francis: London

• visual communication changes perceptions and must be detectable and convincing

R, Poynor. 2003. No More Rules: Graphic Design and Postmodernism. Yale University Press: North America 

• graphic designers from 1970s and 80s moved away from the conventions of orderly methods, refusing to acknowledge any such category of 'error' 
• (Jamie Reid - Never mind the bollocks)
• block typography and acid yellow
• graphic techniques for political purposes, meaning rather than typical professionals 
• cheap solutions for posters announcing shows, chaotic layouts, hand lettering, newspaper clippings
• deconstructionists

http://jdh.oxfordjournals.org/content/19/1/69.short

•  The employment of such techniques and technologies has had an impact on an overall idiosyncratic and distinctive visual style affiliated with punk fanzines. 
• Arguably, the DIY approach reached its peak in the 1990s and still continues today, having been co-opted into the worlds of commercial mainstream lifestyle magazines and advertising which trade on its association with punk authenticity.

Ryan Moore and Michael Roberts. 2009. Do-It-Yourself Mobilization: Punk and Social Movements. Mobilization: An International Quarterly: September 2009, Vol. 14, No. 3.

• symbolic forms of resistance and identity formation but also as a means of organizing protest, raising consciousness, and creating change. 
• The central mechanism that has allowed punk subcultures to achieve high levels of mobilization has been the do-it-yourself ethic, which demands that punks take matters of cultural production into their own hands by making music, fanzines, and record labels
• The punk movement is often viewed as a youth culture based on teen adolescence angst. However, punk as a subculture goes much further than rebellion and fashion as punks generally seek an alternative lifestyle divergent from the norms of society. The do-it-yourself, or D.I.Y. aspect of punk is one of the most important factors fueling the subculture.
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• Because no major labels showed interest in punk, punks were forced into creating almost every aspect of the subculture.