Ory Bartal
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9781526139979
- eISBN:
- 9781526152039
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7765/9781526139986.00008
- Subject:
- Art, Art History
This chapter presents the avant-garde and subversive advertising design that operated on the margins of the newly emerged advertising industry. This was created for the new consumer culture of the ...
More
This chapter presents the avant-garde and subversive advertising design that operated on the margins of the newly emerged advertising industry. This was created for the new consumer culture of the 1960s alongside the new national style that was created for the 1964 Olympic Games and the 1970 Expo. This era, following the economic miracle, was known as the first golden age of graphic design and advertising in postwar Japan. The subversive graphic design is presented by means of two innovative advertising campaigns: the Fuji-Xerox campaign and the Parco campaign. These campaigns were created during the 1970s by two major art directors, Suzuki Hachirō and Ishioka Eiko, who transformed advertising design by blurring the boundaries between commercial and subversive styles. Their campaigns encapsulated the new critical spirit (including ecological, feminist, and anti-institutional concerns) at the heart of the period’s mainstream consumer culture. These campaigns are presented in the context of subversive, countercultural Japanese graphic design as well as of the mainstream commercial and national advertising posters of the same era.Less
This chapter presents the avant-garde and subversive advertising design that operated on the margins of the newly emerged advertising industry. This was created for the new consumer culture of the 1960s alongside the new national style that was created for the 1964 Olympic Games and the 1970 Expo. This era, following the economic miracle, was known as the first golden age of graphic design and advertising in postwar Japan. The subversive graphic design is presented by means of two innovative advertising campaigns: the Fuji-Xerox campaign and the Parco campaign. These campaigns were created during the 1970s by two major art directors, Suzuki Hachirō and Ishioka Eiko, who transformed advertising design by blurring the boundaries between commercial and subversive styles. Their campaigns encapsulated the new critical spirit (including ecological, feminist, and anti-institutional concerns) at the heart of the period’s mainstream consumer culture. These campaigns are presented in the context of subversive, countercultural Japanese graphic design as well as of the mainstream commercial and national advertising posters of the same era.
Ory Bartal
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9781526139979
- eISBN:
- 9781526152039
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7765/9781526139986
- Subject:
- Art, Art History
This book tells the story of critical avant-garde design in Japan, which emerged during the tumultuous 1960s and continues to inspire contemporary designers today. The postwar avant-garde milieu gave ...
More
This book tells the story of critical avant-garde design in Japan, which emerged during the tumultuous 1960s and continues to inspire contemporary designers today. The postwar avant-garde milieu gave rise to a ground-breaking popular visual language and garnered tremendous attention across the fields of product design, graphic design, fashion design, and architecture. It created conceptually challenging artefacts and made decisions that radically altered the course of Japanese design history. The avant-garde works that were created in the sphere of popular culture communicated a form of visual and material protest inspired by the ideologies and critical theories of the 1960s and 1970s, which were concerned with feminism, body politics, the politics of identity, and, later, ecological, anti-consumerist, and anti-institutional critiques as well as an emphasis on otherness. These designers were driven by passion, anger, and a desire to critique and change society and introduce the avant-garde political thinking of the 1960s and subversive visual and material practices into the heart of consumer culture starting from the 1980s. Their creations thus combined two seemingly contradictory concepts: luxury and the avant-garde. By presenting the new arena of avant-garde Japanese design that is operating as a critical sociopolitical agent and involves an encounter between popular culture, postmodern aesthetics, critical theory, and new economic rules, the book carries the common discourse on Japanese design beyond aesthetic concerns and especially beyond ‘beautiful’ or ‘sublime’, revealing the radical aesthetic of the designed objects that forms an interface leading to critical social protest.Less
This book tells the story of critical avant-garde design in Japan, which emerged during the tumultuous 1960s and continues to inspire contemporary designers today. The postwar avant-garde milieu gave rise to a ground-breaking popular visual language and garnered tremendous attention across the fields of product design, graphic design, fashion design, and architecture. It created conceptually challenging artefacts and made decisions that radically altered the course of Japanese design history. The avant-garde works that were created in the sphere of popular culture communicated a form of visual and material protest inspired by the ideologies and critical theories of the 1960s and 1970s, which were concerned with feminism, body politics, the politics of identity, and, later, ecological, anti-consumerist, and anti-institutional critiques as well as an emphasis on otherness. These designers were driven by passion, anger, and a desire to critique and change society and introduce the avant-garde political thinking of the 1960s and subversive visual and material practices into the heart of consumer culture starting from the 1980s. Their creations thus combined two seemingly contradictory concepts: luxury and the avant-garde. By presenting the new arena of avant-garde Japanese design that is operating as a critical sociopolitical agent and involves an encounter between popular culture, postmodern aesthetics, critical theory, and new economic rules, the book carries the common discourse on Japanese design beyond aesthetic concerns and especially beyond ‘beautiful’ or ‘sublime’, revealing the radical aesthetic of the designed objects that forms an interface leading to critical social protest.
