#Editions Mémory | Explore Tumblr posts and blogs

eglise22 · 6 years ago

Text

Lectures - Films - CD

Pour Dinan, en accord avec « Le Lien », voici la sélection des lectures que nous vous proposons chaque mois de l'année.Très bonne (s) Lecture (s) pour cette année 2018 !

Année 2018 :

Novembre :

La nuit du coeur

La nuit du cœur, de Christian Bobin Tout commence à Conques dans cet hôtel donnant sur l'abbatiale du onzième siècle où l'auteur passe une nuit. Il la regarde comme personne et voit ce que, aveuglés par le souci de nous mêmes et du temps, nous ne voyons pas. De retour dans sa forêt près du Creusot, le poète recense dans sa solitude toutes les merveilles « rapportées » : des visions, mais également le désir d'un grand et beau livre comme une lettre d'amour.

Gallimard coll. Blanche (octobre 2018), 18.00€

Aimer c'est tout donner

Voici un CD de Natacha St-Pier Après le succès de son premier album dédié à sainte Thérèse, Natacha St-Pier continue de nous faire découvrir les écrits de cette sainte, en musique. Et c'est un grand Oui pour ces chants, entraînants et magnifiques, doux et touchants… qui nous font entrevoir un bout du Ciel ! (19.90€)

La dignité de la procréation

La dignité de la procréation, PMA, révision de la loi, Conférence épiscopale française par Pierre D'Ornellas. Un texte grave et fort des évêques de France qui, dans le cadre de la révision de la loi bioéthique, appellent « au regard qui contemple la valeur insondable de chaque personne en sa dignité ». Un appel au dialogue, à la fraternité et « au respect de la dignité de l'être humain et de la procréation. » Ed. Cerf, Mame, Bayard, 5.00€

Octobre

Ils continuent d'être appelés

Ils continuent d'être appelés : les jeunes et la foi aujourd'hui de Jean-Marie Petitclerc, A l'occasion de l'ouverture du synode sur le thème « Les jeunes, la foi et le discernement des vocations », convoqué par le pape en octobre 2018, le prêtre, qui a une très grande expérience de l'accompagnement des jeunes, évoque les attentes spirituelles et religieuse des jeunes d'aujourd'hui et la façon dont on peut les accompagner dans leur vocation : mariage, vie religieuse ou encore ministère presbytéral. Médiaspaul (février 2018) - 10.00€

Les enfants portiers du royaume

Les enfants, portiers du royaume : accueillir leur spiritualité, de Caroline Baertshi-Lopez. Les enfants portiers du royaume ? Accueillir la spiritualité des enfants et reconnaître l'enfant théologien bouleverse profondément nos modèles d'éducation chrétienne. Une spiritualité propre à tous les enfants est aujourd'hui évidente. À partir d'échanges vécus au sein de rencontres catéchétiques, l'auteure confirme que les enfants sont de petits théologiens en herbe, qu'ils évangélisent à leur tour, et que les enfants de la Bible et Jésus nous mettaient déjà sur cette piste. Editions Cabedita (octobre 2017)- 23.00€

Septembre

Comme l'éclair part de l'Orient de Alexandre Siniakov, C'est la révélation de cette fin d'année ! Écrit avec une plume incroyable, ce jeune auteur, prêtre orthodoxe et vivant en France, nous ouvre les portes d'une intériorité peu commune. C'est dans les plaines du Caucase qu'il vit le jour, dans un sovkhoze soviétique, coupé de tout sauf d'émerveillement et de curiosité, de soif et de volonté. Ce récit original, mêlant souvenirs personnels et fulgurances spirituelles, laisse découvrir une personnalité terriblement attachante et une voix spirituelle totalement accordée à notre temps. Editions Salvator (août 2017) - 18.90€ Aux générations qui ne peuvent pas se taire du Pape François, Recueil des lettres et messages adressés aux jeunes par le pape François dans le cadre de la préparation du synode sur la jeunesse d'octobre 2018 et des JMJ de Panama en janvier 2019. « Chers jeunes, la joie que Jésus suscite en vous est un motif de gêne et d'agacement pour certains, parce qu'un jeune joyeux est difficile à manipuler… Faire taire les jeunes est une tentation qui a toujours existé. Il nous est bon d'entendre la réponse de Jésus aux pharisiens d'hier et de tous les temps : « Si eux se taisent, les pierres crieront » (Lc 19,40). Chers jeunes, c'est à vous qu'appartient la décision de crier et c'est à vous de ne pas rester silencieux. Si les autres se taisent, si nous, les aînés et les responsables, sommes silencieux, si le monde se tait et perd la joie, je vous le demande : est-ce que vous, vous crierez ? S'il vous plaît, décidez-vous avant que les pierres ne crient ! » Editions Salvator (mai 2018) - 5.00€

Juillet - Août

Monsieur le curé fait sa crise de Jean Mercier L'abbé Benjamin Bucquoy n'en peut plus : les bonnes dames de la paroisse se détestent, une pétition est lancée contre lui, son évêque ne l'écoute plus… Quand il apprend que le poste dont il rêvait est offert à un autre, il raque… et disparaît. C'est le début d'une aventure tendre et lumineuse où derrière le comique des situations perce un questionnement de fond : quel est le cœur de notre vocation, comment y rester fidèle malgré la lourdeur du quotidien ? Jean Mercier est rédacteur en chef adjoint de l'hebdomadaire "La Vie". Au fait des problèmes actuels de l'Eglise catholique (pénurie de prêtres, rapports difficiles entre prêtres et laïcs,…), il en tire une fable passionnante, drôle, et qui fait du bien. Editions Quasar (août 2016) - 12.00€ Le Mystère de L'icône cachée BD de de Jean Evesque Inspirée d'une histoire vraie, cette BD est le récit d'une icône du Christ réalisée par Andreï Roublev qui devint la propriété d'une humble famille russe. Passant de main en main, tour à tour cachée, puis oubliée pendant des années, à sa réapparition elle fascine tous ceux qui la contemplent. Quels sont les destins de ces hommes et ces femmes qui ont croisé le regard de cette icône ? Quel mystère entoure cette œuvre qui a traversé les siècles ? Jean Evesque est diplômé de l'École Supérieure des Beaux-arts de Marseille. Il est membre de la communauté des Béatitudes. Parallèlement à son activité de travailleur social, il se lance en 2013 dans la bande dessinée. Cherchant à illustrer des histoires fortes, il découvre le recueil de témoignages "Du sang sur les mains de Maria Winowska" et décide d'en adapter un extrait. Éditions Béatitudes (avril 2018) - 19.00 €

Juin

Pour les Fêtes de la Foi : Le livre des merveilles junior : 365 histoires vraies où l'on voit Dieu à l'œuvre dans le monde, par Frédérick Mansot, Ben Lebègue, Joseph Doré, Editions Mame , Collection Livre des merveilles , (avril 2015) Un grand classique enfin réédité, un livre indispensable pour, jour après jour, faire la connaissance d'un saint ou d'un évènement important de l'histoire du christianisme. Une mine d'histoires édifiantes, étonnantes ou exaltantes, à lire par tous les jeunes. "À partir de 11 ans."- 32 €

Cadeau de Dieu

Boîte de jeux, Auteur : Céline Claire, Éditeur : "CRER" - Collection : Cadeaux de Dieu – Un cadeau idéal pour accompagner les jeunes enfants sur leur chemin de foi. 18 jeux collectifs et collaboratifs rejoignant la vie de l'enfant. la Bible et la culture chrétienne : (2 puzzles, 1 loto, 2 jeux de mémory, 2 jeux de dominos, 1 jeu de sept familles, 7 jeux de plateaux et 3 jeux de cartes). Chaque jeu peut se jouer de 1 à 6 joueurs ou en équipes de joueurs. Parfait pour les familles, comme pour les groupes d'éveil à la foi à l'école ou en paroisse. Une boîte : 49.90 €

Mai

La terre t'appartient,, Olivier Pons Giogini, Editions Salvador (mars 2018) 18.00€ Adressée aux jeunes catholiques, ce livre est une invitation à comprendre les enjeux essentiels de la science, de la foi, du monde contemporain et du sens de la vie. La Terre t'appartient, d'Olivier Pons, rassemble 21 lettres adressées à des jeunes chercheurs de sens, de 15 à 25 ans, et tentant de répondre à leurs questions, réelles ou imaginées. Ce livre est destiné à tous ceux qui cherchent à mieux connaître la Terre et à vivre leurs relations humaines. À ceux aussi qui, s'interrogeant sur leur avenir, souhaitent changer le monde.. La question interdite : qui est Jésus ?, Une BD pour les grands jeunes ; Enquête sur Dieu : les indices pensables. Saison 3. Volume 8 GioginiBrunor Éditions (septembre 2017), 20.00 €

Pourquoi un empereur a-t-il interdit que l'on discute d'une certaine question de théologie ? Quels étaient les enjeux de ces brûlants débats ? Comment des faussaires du IVe siècle ont-ils réussi à perturber la réflexion des théologiens jusqu'à nos jours sur des questions aussi essentielles que l'identité du Christ et la Trinité ? Dans cette nouvelle saison des Indices pensables, Tom et Marine questionnent l'histoire de la pensée. Réussiront-ils à remonter aux sources de ce qui est dit du Mystère du Christ ? Ce nouvel album nous aide à comprendre comment la pensée de l'Église s'est développée et nous conduit à mieux entrer dans le mystère. Dans cette nouvelle saison, Brunor nous invite à remonter aux sources de la foi chrétienne.

Avril

La Tentation d'Eugénie, lL'humanité face à son destin, Pierre Giogini, Éditions Bayard, collection société (janvier 2018) - 21.90€ Pierre Giorgini, recteur de l'Université catholique de Lille et ancien ingénieur, aborde la question du transhumanisme, qui vise à transformer les caractéristiques physiques et mentales des êtres humains grâce aux avancées technologiques. Il propose une nouvelle voie où la révolution techno-scientifique inéluctable entrerait en harmonie avec l‘éthique chrétienne, le bien commun, naturel et socioculturel.

Prenez soin de votre âme : petit traité d'écologie intérieure, Jean-Guilhem Xerri, Éditions Cerf - 20.00 € Dès les premiers siècles du christianisme, les Pères du désert ont développé une véritable « pharmacie de l'âme » dont la vertu est de contribuer à la santé spirituelle. Leur médecine est faite de sobriété, de pratiques méditatives et d'hospitalité. Elle apparaît d'une urgente actualité et d'une étonnante pertinence.À l'école des Pères du désert, J.-G. Xerri, auteur du très remarqué « À quoi sert un chrétien ? », nous apprend à mieux vivre tout simplement et à faire fructifier nos vies. Une lecture incontournable !

Estime de soi, estime de l'autre, s'épanouir dans le respect réciproque, Anselm Grün, Éditions Jouvence, coll. les clefs de la spiritualité (août 2017), 8.90 € Regarder l'autre, lui parler, l'écouter d'une oreille intéressée… sont autant de signes qui n'ont l'air de rien, mais qui montrent votre attention et vous ouvrent à autrui. Que cet autre soit votre conjoint(e), votre collègue ou votre ami(e), tous seront réceptifs à ces petites attentions qui ont le pouvoir de créer un nouveau climat de bien-être et de bien vivre. Pour faire preuve d'estime à l'égard d'autrui, il est tout d'abord nécessaire d'apprendre à vous accepter tel que vous êtes, avec vos forces et vos faiblesses, et de vous montrer capable d'empathie envers tout un chacun.Ce livre vous aidera à mettre en pratique cette sagesse : vous réfléchirez à ce que vous appréciez chez vous, vous vous exercerez à rencontrer chaque individu sans idée préconçue, à vous réjouir de ses valeurs et à adopter une parole sincère. Vous verrez que l'estime s'apparentera alors à une véritable bénédiction

Mars

Préparer Pâques avec les enfants , Gaëlle Tertrais et Jean-François Kieffer, Éditions Mame (janvier 2018), 12.95€ Ce calendrier est une montée vers Pâques en quinze étapes. Ses quinze fenêtres, à ouvrir entre le dimanche des Rameaux et le jour de Pâques, correspondent chacune à une étape importante de la Passion ou de la résurrection de Jésus.

Une autre vision du monde, François Huguenin, Éditions Tallandier (janvier 2018), 16.90 € Comment être chrétien dans notre société qui ne l'est plus ?Cet essai vigoureux a pour ambition de proposer aux chrétiens un nouveau rapport au monde, cohérent avec la foi et conscient de l'autonomie du politique à l'égard du religieux. Comment la parole du Christ peut-elle éclairer l'action du chrétien et le débat d'idées ? …

Libres pensées d'un cyber-évêque, Jacques Noyer, Éditions Médiaspaul (octobre 2017) 14.00 €Après avoir été évêque d'Amiens, l'ancien curé du Touquet continue son engagement pastoral avec une joie intacte et un sens amical et fraternel du dialogue avec la société contemporaine.

Février

Vivre le Carême, Charlotte Grossetête et MorganeCarlier, Editions Mame, collection 10 minutes par jour. (janvier 2018) – 7.90 € Dans nos vies qui tournent à 100 à l'heure, plus le temps de se poser. Le travail, les enfants, les amis, les tâches domestiques, les sorties… Et si nous prenions 10 min par jour pour faire de la place à Dieu dans notre vie ?Le Carême est l'occasion parfaite pour commencer à se recentrer sur l'essentiel. Avec ce petit carnet pratique, une activité courte est proposée chaque jour. Entre méditation, création, réflexion, jeux et quizz… il vous aidera à vous ressourcer de manière ludique.

Éloge du combat spirituel, Martin Steffens, Editions Points, collection Points. Vivre, n° P4442, (octobre 2016) – 10 €Chacun de nous porte en lui une part d'ombre : le mal que nous ne voudrions pas faire mais que l'on fait quand même, ou encore le bien que nous voudrions faire mais que l'on ne fait pas. Martin Steffens nous guide, pas à pas, dans cette lutte intérieure inhérente à l'homme. S'avouer notre fragilité morale, accepter cette part d'ombre, ce n'est pas sombrer : c'est tomber de haut, certes, mais c'est aussi ouvrir dans l'abîme du mal un abîme plus grand encore, et se relever, plus fort.

Janvier

L'espèce humaine face à son devenir de Pierre Rabhi, Illustrations de Pascal Lemaître, Editions de l'Aube, collection Monde en cours, 10,90 € - novembre 2017Avec ce texte, magnifiquement illustré par Pascal Lemaître, Pierre Rabhi nous fait partager son amour pour la Terre, pour la nature, et nous appelle à en prendre soin à travers une nouvelle éthique de vie pour une sobriété heureuse.

L'enfant du désert, de Pierre Rabhi et Claire Eggemont, Illustrations de Marc N'Guessan, Editions Poil de Carotte, 18,00 € - octobre 2017. De sa naissance en 1938 dans un village du désert algérien à aujourd'hui où il parcourt le monde pour partager ses expériences et son savoir, Pierre Rabhi semble avoir vécu mille vies. Pour la première fois, dans ce récit poétique et engagé, magnifiquement illustré, Pierre Rabhi s'adresse aux enfants pour leur raconter sa vie, ses rencontres et ses idées fortes et généreuses. Parce que, leur dit-il, « il est urgent de recréer le grand cercle de la solidarité entre le ciel, la terre, les végétaux, les animaux et vous-mêmes. »

Rappels :

Décembre 2017

Belle et douce Marie : La Vierge des peintres, de Michaël Lonsdale, Ed. P. Rey, octobre 2017. Comédien de théâtre et de cinéma, écrivain, Michael Lonsdale est un artiste qu'on ne présente plus. Dans cet ouvrage, l'acteur a voulu exprimer son attachement à la Vierge Marie. Pour ce faire, il a réuni une cinquantaine des plus belles représentations de la mère du Christ, du Moyen Âge à l'époque contemporaine avec, en écho, son anthologie célébrant la vie de Marie. Un superbe livre d'art et de foi.

Jésus , L'Encyclopédie, Collectifs d'auteurs, sous la direction de Joseph Doré, aux Editions Albin Michel - octobre 2017. Si Jésus apparaît comme une figure éminente dans l'histoire de l'humanité, sa vie, ses actes et son message réels demeurent paradoxalement assez méconnus. Conçue et dirigée par Joseph Doré, voici la grande synthèse inédite des données établies (ou discutées) par la recherche historique, qui répond sans tabou à toutes les interrogations du public.

Les plus beaux chants de Noël, de Marie Flusin, Bayard jeunesse - octobre 2017. Une sélection de 10 chants pour partager en famille la joie de Noël.

Voir en ligne : La Boutique de RCF CÔTES D'ARMOR

via Communauté pastorale de Dinan https://ift.tt/2FzlkVI

#Dinan #22 #paroisse #Communauté pastorale de Dinan

0 notes

frjafjrd-blog · 7 years ago

Text

The Anti-Aesthetic- an essay

In Newton's’ third law of motion, it’s explained that every action has an opposite and equal reaction. Although seemingly an obscure theory to apply to the world of visual arts, this can explain one of the most sort after and developed aesthetics used globally in the industry; the anti-aesthetic. A term coined in 1980 by Hal Foster, the anti-aesthetic describes a movement that flips current aesthetic trends on its head, often with a socio-political agenda. In this, every action the industry deems pleasing and beautiful, has an opposite and equal reaction in the anti-aesthetic movement. From what began as a movement against the art world has grown in a movement against everything from film, music and fashion to advertising, graphics and culture. The idea of joining a collective of people worldwide who preach the anti-aesthetic is often the main reason artists join the visual arts world- to fight against conformity and challenge ideas of so called beautiful things in the industry.

This essay will answer several questions through a series of chapters in the chosen format of an extended essay. Chapter one will be describing how the anti-aesthetic movement began across the visual arts industry by exploring how the leading figures of anti-aesthetic utilise their medium to create chaos and because of this, the criticism they have faced. In this chapter, key artists that are featured are Marcel Duchamp and Allen Jones who helped pioneer Pop Art in the UK; John Waters and Andy Warhol as filmmakers, whose work shocked and upset audiences with a refusal to settle in a beautiful and accepted aesthetic and finally, discussing how the punk movement, with designers such as Jamie Reid, allowed amateurs to break into the graphic design industry and became a big influence to future underground subcultures.

Chapter two will discuss how this has affected the graphic design industry specifically and how outside factors such as protest art, feminist groups and political turmoil have shaped contemporary graphics under the question; How the anti-aesthetic movement has impacted upon the visual arts industry? Within this, following from the first chapter, will explore punk further, discussing how punk helped curate a graphic and visual language for movements against political injustice.

‘How do large companies use the anti-aesthetic in their advertising and how can this be harmful to the political side of the movement’ is the question in the third chapter. By looking at advertising campaigns and brand identities, this essay will discuss whether the anti-aesthetic is used appropriately or whether advertising is saturating and commercialising the anti-aesthetic and stripping it of its’ integrity.

Chapter One- How did the anti-aesthetic movement began across the visual arts industry?

This chapter will cover how the history of the anti-aesthetic movement began and how 20th century art movements became part of it. Also in this chapter, film, fashion, subculture and other elements of the visual arts industry will be explored. This will later to be applied to the graphic design industry specifically in the next chapter.

One of the first examples of the anti-aesthetic was the Dada movement which, in 1916 Switzerland, a group of artists came together to rebel against the pretentious and highbrow sensibilities of the art world and to reflect the anger, bitterness and unjust society that was the aftermath of the First World War. Feeling oppressed under bourgeois nationalist and colonialist values, the Dada artists wanted to reject conformity and mock those who suffocated under the modern world, which they felt lacked integrity and meaning. Thus born was ‘anti-art’. Perhaps one of the first movements to tear away from classic oil painting and other fine art materials, the artists of Dada used wood, sand, newspaper clippings, photographs and wool to create temporary and perishable art forms that went against everything the art world had held true.

One of the most famous pieces include Fountain (1917) by Marcel Duchamp, in which the artist turned a urinal upside down and placed it out of context to stand in a gallery with the irreverent title ‘Fountain’. Crude, chaotic and illogical by the practices of the time, this piece has held a record of influence, inspiring artists such as Damien Hirst and Jeff Koons. The Dada movement opened a floodgate for rebellion in the art world and the prevalent and political ripples are still felt today. The ‘anti-art’ or anti-aesthetic became a tool for underground, amateur, bored, lonely, angry artists to utilise and make their voices heard above the mainstream.

Fuelled by the Dadaists fighting against the mainstream, rebellion exploded into the art world. What followed would be an influx of experimental and challenging art movements throughout the early 20th century. Although Dadaism seemed to end around 1922, it briefly resurfaced as ‘Neo-Dada’ in the early 60’s. Artists such as Jasper Johns and Robert Rauschenberg- whose most famous works included Johns’ ‘Land’s End’ (1963) and Rauschenbergs’ ‘Retroactive l’ (1963) - used the legacy of Dada’s unconventional objects as art and were met with much criticism in which they took delight, for example John’s work being described by one American critic as, “Only further de-aestheticised looking” (citation unknown, Brockes, 2016, The Guardian) Even Marcel Duchamp, forty years after he first began, revelled in the resurgence and continued to create notorious and novelty works as before, including ‘Etant Donnes’ (1966) , considered his second greatest work.

Inspired by this piece, a group named Situationist International (SI) began creating art that reflected their anti-capitalist ideology. Naming Dada, Surrealism and Marxism as their sources of inspiration, SI wanted to break down the divide between art and consumer and make cultural production a part of everyday life. The group wrote many essays and published artists books based on their manifesto, a good example of this being ‘Mémories’ (1959) by Asger Jorn and Guy Debord. Sharing this idea of consumer based art, Pop-Art started to gain attention, both in the US and the UK. Described as, “Popular, Transient, Expendable (easily forgotten), Low cost, Mass produced, Young, Witty, Sexy, Gimmicky, Glamorous and Big business” by artist Richard Hamilton in 1957, Pop Art in the UK was more political than its US counterpart and relied more on irony and parody. Allen Jones used sculpture and lithography in his work, for example his 1969 piece ‘Chair’ (Fig.1) was described as “so blatantly fetishistic that to say it objectifies women is a tautology” ( Jones, 2013, The Guardian). Tackling subjects such as sexuality, fetish and male gaze. Jones’ work is a good example of how postmodernism and the anti-aesthetic work hand in hand. Jones’ work questioned the ideas and morals of society at the time and created a clear divide between art and popular culture. In the US, many underground artists were using postmodernism in their own way. Most famously, Andy Warhol was taking popular culture and subverting it, commenting on consumerism and the irony of the ‘American Dream’, for example Warhol’s ‘Campbell's Tomato Juice Box’ (1964) is described as “Appropriating and reproducing Campbell’s packaging outright, Warhol shifts the viewer’s focus from “original” artistic idea to the meaning evoked by a ubiquitous American food brand.” (MOMA, date unknown). A clear example of early anti-aestheticism; Warhol’s work was criticised and seen as vapid, shallow and going against the long established beliefs of what art should contain.

However, Warhol’s art pieces were not the only medium he used to rebel against the art world. Perhaps less popular, Warhol created over 500 short films, dubbed ‘screen tests’, which were often silent, non-linear and had little or no plot lines. The content of the films themselves were often pornographic and featured close celebrity friends of Warhol, such as Lou Reed, Edie Sedgwick and Nico. Warhol also created three experimental films which he named ‘anti-films’ titled ‘Kiss’, ‘Eat’ and ‘Sleep’. These films were met with heavy criticism at the time, mostly due to the fact they were gratuitously long, with their running time between five and eight hours long. However, retrospectively, these films are seen as a turning point in the crossover between art and film. “Warhol is the most dramatic example of an artist misunderstood and slighted in the 20th century but now, at the beginning of the 21st century, loved and valued.” (Jones, 2001, Candid Camera, The Guardian). Pop Art can be included in early anti-aesthetic movements because it is the most popular contemporary example of art being created for the artist’s own moral and political agenda rather than tailored to the taste of the critics. This, in itself, became anti-art by the standard of the conventional art industry.

Inspired by Warhol, a young artist named John Waters was creating films in Baltimore that both disgusted and delighted the underground cinema world. Starting with silent shorts and collage style films such as Mondo Trasho (1969) (Fig.2), Waters ignored critics to create bizarre, experimental and very controversial films. Scenes that included chickens being crushed during intercourse and drag queens eating fresh dog faeces made Waters’ films infamous and still referenced today.

However, it wasn't content alone that made Waters’ films part of the anti-aesthetic. Stylistically, Waters’ films rebelled against the norm by having a ‘home video’ and cheap aesthetic. Against the polished and high budget films that the 1970’s film industry were beginning to produce, Waters’ films stood out. Like Warhol, Water’s films varied in length, rarely had linear plot and were extremely low budget. “I didn’t even know there was editing...My first choice was always writing a concept that people would want to see, even if I didn’t sell it very well.” (Waters, 2014, The Dissolve Magazine). The idea of using the anti-aesthetic in films makes the concept more accessible to the mass audience. Warhol and Waters both utilised this and also established the anti-aesthetic so that it’s still as relevant today as it was in the 1970s. The socio-political agenda of creating art and film for the people inspired generations of artists who may never have had the exposure without accessible cinema.

Also within the industry, it's been said that artist filmmakers such as Warhol and Waters were early pioneers of the punk movement; often seen as the ultimate expression of the anti-aesthetic. “I identified with that community...Pink Flamingos was a punk film but we didn't have a name for it.” (Waters, 2015, East Bay Express). Debatably, punk began in the early 1970’s in the UK and with it brought a tidal wave of innovative visual art. Punk dominated the creative underground world, from music and fashion to film and graphic design- which will be explored in the next chapter. Revolutionaries such as Jamie Reid, who coined the ‘ransom note’ punk staple (fig.3) and paved the way for the amateurs to step forward and leave their mark on the punk scene. Reid famously designed the covers for most of The Sex Pistols albums and created posters influenced by pop culture. “These were raucous, vitality-filled transmissions from a turbulent graphic universe totally different in intention and effect from the smooth, orderly, design history-conscious parallel universe of professional design aesthetics, purposes and training.” (Poynor, 2016, Design Observer) Away from the overexposure of punks money makers such as Vivienne Westwood and The Sex Pistols, the creative individuals, finding solace in the punk message, got creative and designed their way into fame. This began with the rise of DIY punk zines, that were often fanzines created by teenagers in their bedrooms. Using xerox, collage and handwritten type, zines went against any type of magazine aesthetic and in turn created their own, now iconic, anti aesthetic.

The next chapter will investigate how the influences of the visual arts industry have impacted upon graphic design and vice versa.

Chapter Two- How has the anti-aesthetic movement has impacted the graphic design industry?

Despite its roots in the marginalised, underground circles of the visual arts industry, the concept of the anti-aesthetic continues to leave a prominent mark in graphic design. From revolutionising the power of the poster to making protest and political art more accessible, anti-aesthetic is still seen everywhere. This chapter will explore how punk-inspired poster art became popular while also discussing how this worked in partnership with protest art and design. It will also review how political design has developed its own design codes and influences and how this is still used today.

With the art nouveau-resurgence psychedelic posters of the 1960’s, poster art became more than just an advertising tool and became an art form in its own right- but it wasn’t until the punk movement when poster art became more accessible. An art degree was no longer required and amatuer artists saw an oppotunity to create their own interpretations. Hand in hand with the music industry, a rise in DIY aesthetic made way for artists such as Mark Perry, whose works include Sniffin’ Glue punk zine (1976-77) and Linder Sterling, who co-created the infamous ‘Orgasm Addict’ (1977) (fig.4) album cover, to cross mediums by being musicians and artists, combining their passions to create raw and innovative design.

“...DIY projects represent an attempt by people to resist corporate culture saturating the Western world, oppressively narrowing design choices and restricting personal expression.” (Lupton, 2006)

Punk was always political but artists such as Sterling used their political stand-points as inspiration for their work. In an age where women's magazines were domestic in content and sports and porn dominated men’s magazines, Sterling used collage in her posters to subvert this sexist ideal. "So, guess the common denominator – the female body. I took the female form from both sets of magazines and made these peculiar jigsaws highlighting these various cultural monstrosities that I felt there were at the time." (Sterling, undated, quoted The DIY movement in music, art and publishing, 2016). This style of work became the early stages of protest art as the industry knows it today.

The late 1970s/early 80’s were a time of political turmoil, with gratuitous police brutality and violence on the streets which culminated with the Miners’ Strike of 1984-1985. The injustice and unrest that people felt was cause to create a visual identity of the angry working class. The miners’ strike influenced graphic design by giving a platform to regular people who created art out of frustration and anger, in a similar way to the punk explosion in the music industry. Where it differs from punk, the protest art of the strike was not against the aesthetic but instead it rejected any sort of aesthetic because the art was not to be appreciated or admired. It was created out of a sense of urgency to make a point. “These images are important and have value because they are the spontaneous, authentic and urgent expression of political ideas and demands and of the motivations of the strikers”. (Rick Poyner, 2015, In loving memory of work) However, punk proved to be influential among the protest artwork, with the anti-government rhetoric of punk being applied to current political unrest. The anger at the figureheads of austerity, that was a foundation for punk, was echoed in the miners’ artwork, such as the ‘God Save the Queen’ (1977) (fig.5) poster by Jamie Reid, inspired campaigns across the protest, especially the ‘Victory to the Miners’ (fig.6) posters by Paul Morton which had the slogan across an image of Margaret Thatcher. “The majority of the work from that time had an instant design feel to it reminiscent of a (past) punk culture.” (Ian Anderson, 2015, In loving memory of work).

These two movements, punk and the miners’ strikes, paved the way for protest art and allowed amatuer artists to get creative.“I have seen many stimulating images made by ‘amateurs’- we designers should learn from them.” (Ken Garland, 2016) This had a large impact on the graphic design industry, proving that an art degree wasn’t necessary to create iconic imagery. In contemporary culture, this idea is still be utilised during times of political injustice. The ‘Occupy’ movement of 2011 is a prime example of this, where people protested against the social and economic injustice in society.

Once again, a disdain for a conservative government fuelled this movement and drew many parallels to punk and the miners’ strikes when the vandalisation of the figurehead was used (Fig.7). This demonstrates that this imagery has become an unspoken graphic symbol of protest and therefore has greatly impacted on the graphic design industry. Protesters adapted a variety of imagery and slogans from punk and the miners’ strike and applied it to their current situation. What is apparent after protests is that the rushed, amatuer work becomes instantly more iconic than work created by trained graphic designers who spend months on a project, with many more people discussing the artwork and recognising the integrity and passion behind the work.

Towards the end of the 1980’s, protest art was still an influential part of graphic design. Most prominent was the rise of the Guerrilla Girls movement. Initially a group of anonymous protesters, the group fought against the gender and race inequality in the art world. In parallel to the collage work of punk designers, the Guerrilla Girls used clever and subversive collage for their posters. A famous example of this was their poster highlighting the disproportionate number of female artists to nude female paintings in the MET gallery in which they placed a gorilla head over the nude subject of ‘La Grande Odelisque’ (1814) by artist Jean Auguste Dominique Ingres (fig.8). The use of a gorilla head came from a misspelling of Guerrilla in an early meeting, but was later reclaimed by the group as a fitting symbol of aggressive masculinity that juxtaposed with the message of the movement. This subversion of gender roles reflects the political message that Linder Sterling utilised in her work in the 1970’s and can still be seen in contemporary graphic culture.

During the first few weeks of 2017, the ‘Women’s March’ that has been rallying against Donald Trump has become another example of this. Once again, many images of Trump, the figurehead of injustice, have been defaced as an act of defiance. This global demonstration attracted attention owing to the eye-catching and memorable imagery created by protesters (Fig.9). The use of collage, clever slogans and bold colours were seen being widely used across the protests, clearly influenced by the protest work of feminist like Sterling and the Guerrilla Girls, but is also very reminiscent of the protest work of the miners’ strike. (Fig.10) This demonstrates that there is a clear graphic design code within protest art which has it’s roots firmly in the anti-aesthetic ideal.

The graphic language of protest artwork, despite there being no set trend or rule system (as there often is in other graphic design movements,) follows a similar design concept. This shows how greatly anti-aesthetic movements such as punk and protest art have impacted upon the visual arts industry, especially in graphics, allowing for amateurs and non-designers to access a graphic community that may otherwise be unavailable. In a contemporary context, a lot of this can be attributed to the rise of social media, with innovative and stand out designs being globally shared and therefore inspiring other protesters and protest art designers. Before this rise in technology, clever and influential anti-aesthetic design was publicised and distributed through DIY zines and album covers which, in itself, inspired a generation of amatuer designers. Thus proving that anti-aesthetic is more accessible than ‘aesthetic’ current trends within the graphic design industry- trends that may require in depth knowledge of the industry and make reference to popular but previously niche aesthetics that isolate amateurs and people wanting to pursue design from their bedrooms.

Unfortunately, as with most underground and rebellious movements, the anti-aesthetic has been picked up by large corporations and used to advertise and promote products. In the final chapter, this essay will discuss how large companies are using the anti-aesthetic and stripping it of it’s integrity and how it disempowers political protest and saturates the anti-aesthetic as a movement.

Chapter Three- How do large companies use the anti-aesthetic in their advertising and how can this be harmful to the political side of the movement?

With the anti-aesthetic gaining momentum and popularity, naturally large corporations jump onto the trend in an attempt to appeal to a certain demographic. Companies such as Nike and Rimmel use imagery from punk, protest and the anti-aesthetic as a whole to promote their products. In this chapter, this essay will explore the different companies who use an ‘anti-aesthetic’ look in their advertising and how a rise in ‘protest style’ advertising may be taking genuinity from real political movements.

In advertising, companies are always looking for new, upcoming and popular trends to utilise and appeal to their own different demographics. Most companies look to appeal to teenage/young adult audiences as, owing to the rise of social media, they have the power to make or break an advertising campaign. Advertising agencies must tread carefully with campaigns in contemporary culture, as one wrong move could cause the company to trend online for the wrong reasons- for example, the company Protein World trended worldwide for their controversial ‘Beach Body Ready’ campaign in 2015.

To avoid this backlash from the target market, companies tend to reference popular fashions and pop culture in their campaigns- hence the anti-aesthetic becoming one of the most used trends in advertising. Resonating with young, rebellious, outsider teens and young adults, the anti-aesthetic is used across advertising for a range of different companies. Nike shifted away from the punk history of the anti-aesthetic and instead, in their most recent campaign, used a anti-aesthetic inspired by film. Created by and starring singer FKA twigs, Nike’s latest advertisements resemble an art house film and use interpretive dance, actors of colour and actors who don’t fit the usual ‘beauty’ aesthetic. (fig.11&12) Opposed to more traditional sportswear campaigns, Nike have subverted this and create an obscure and daring- almost political- video campaign that goes against the normal aesthetic of advertising, therefore utilising the anti-aesthetic in an unusual and innovative way.

However, many advertising companies get this wrong and create a patronising campaign that is obviously pandering to a culturally alternative demographic. Rimmel London, as an example, use the ‘punk’ anti-aesthetic to promote their product, with campaigns set to early punk music and a consistent punk imagery used in their advertisements. The company references the London punk scene of the 70’s, with the Union Jack, leather jackets and D.I.Y text imagery across a large majority of their campaigns (fig.13). Although seemingly harmless, if not a little patronising, this use of the punk anti-aesthetic tends to come across shallow and lacking integrity. Punk rebelled against everything these large, multi-million dollar companies represent and to use their anti-aesthetic seems disingenuous. Rimmel is also guilty of using ‘protest’ as an aesthetic in their campaigns.

Titled ‘A lipstick revolution’, Rimmels campaign of late 2015 used protest imagery, such as rallies of models in sexed up military wear, an ‘R’ in a circle- referencing the anarchist A symbol (fig.14,15 &16)- and the tagline of ‘The Revolution needs you!’. This style of advertising would seem harmless if not for the current political climate, where so many people in today’s society actually go out and protest against injustice and are genuinely attempting to revolt against the unfair powers in the government. “By co-option of a revolutionary and protest aesthetic, the companies are obtaining a ‘new’ look that has not been used before and all the while, redacting any political messages that come with it. The politics are being stripped from the protest ‘look’, which is being repackaged as a consumerist choice.” (Mould, 2015).

This is not the first time fashion and beauty companies have misused and appropriated important protest imagery to advertise their products.

In 2014 Chanel used a staged ‘feminist protest’ to end the SS15 catwalk show, with head designer and notorious misogynist Karl Lagerfeld leading an ‘army’ of models wielding banners that read ‘Free Freedom’ and ‘History is HER story’. This stunt, like the Rimmel campaign, were publicised at a inconsiderate time, considering the Women's rights and the Black Lives Matter protests that were happening in America at the time, and rather than supporting the causes, it took away the integrity and power from the real life protesters.

As discussed in the previous chapter, protesters and people fighting against political injustice need and use this graphic language of protest to make an impact and be taken seriously in what they're protesting against. By companies this anti-aesthetic, the real imagery of protests that should be inspiring and recruiting others to join, is being saturated. Poyner summed this up in 2016 when he stated, ‘They deserve to be preserved and studied because they are part of our social history...conservation and study would apply to the graphic images and messages of any protest on this scale.’ (Poyner, 2016) This issue is especially important for protests regarding gender equality and LGBTQ+ rights, as the Government rarely regards their protests seriously.

There are, of course, other large companies that use the anti-aesthetic as a marketing tool. Shoe brand Dr Martens is an interesting example. In the 1970’s/80’s, Dr Martens became a staple in the punk, skinhead, two tone and new wave subcultures - supporting the underground and rebellion of the time. They also became synonymous with the working class, selling their comfortable, affordable footwear to milkman, postman and miners. However, after a near bankruptcy in 2003, Dr Martens rebranded and attempted to appeal to a wider audience and collaborated with high fashion designers to customise the shoes. Although they still marketed themselves as an ‘underground’ choice of footwear, the company began to make billions.

Despite their profits soaring, Dr Martens started to lose integrity and quickly became a mainstream brand with shoe prices rising to almost unaffordable prices- all the while peddling the brand as ‘A symbol of self-expression and individuality’ (ODD London on the DM Stand for Something 2013-16 campaign). This campaign told consumers to ‘Stand for Something’ (Fig.17) but failed to maintain the rebellious and ‘stick it to the man’ image and caused controversy with poor references to skinhead culture in a brochure claiming, ‘The boot (was the group's) weapon of choice.’ (2015 Dr Martens’ brochure). With this, Dr Martens follows a similar pattern to Rimmel, as aforementioned - a seemingly disingenuous attempt to commodify and fetishise current protest/anti-aesthetic language and imagery as a way to push product sales.

Commodifying current political trends is an unfortunate yet prevalent marketing tool in advertising, with protest, anti-aesthetic and feminism being the main targets, as contemporary examples. This trend has had a big impact on the graphic design and visual arts industry and has become a relatively lazy go-to design concept for companies to appear ‘edgy’ and keep up with popular culture. The anti-aesthetic, from its conception to present day, has been an important tool for underground and amatuer designers to express themselves and a way to break into the mainstream. With large, profitable companies using this aesthetic, it somewhat takes away from smaller designers who used the concept to stand out and be noticed. As Poyner stated, ‘The power of protest graphics always come from the sense that the people saying these things really do mean it.’ (Poyner, 2016) By saturating and commercialising the anti-aesthetic, there is little left in the way of design concepts and movements , for amateurs to relate and express themselves.

Conclusion

In summary, the anti-aesthetic movement has made the visual arts industry more accessible. It’s given people sitting at home in their bedrooms the opportunity to express how they feel about the world around them and tells the story of the things that have affected and interested them. It has allowed free thinkers to break the bonds of the previously conceived stuffy and formulaic art world of the 19th Century and radically change the artistic landscape. It has given amauter and aspriing designers an opportunity to shock and surprise critics and challenge the social and political norms of the day.

From it’s conception in the fine art world, the anti-aesthetic has weaved its way through all mediums of the visual arts, inspiring filmmakers, fashion designers, musicians and graphic designers alike. Perhaps most surprisingly, the anti-aesthetic has not only had a great impact upon the visual art industry but also changed the language of protest art and has had a political impact. Whilst large advertising campaigns seek to commercialise and normalise protest art, each protest creates a wave of new and innovative artwork, adding to the anti-aesthetic graphic language that has evolved. Exhibitions such as ‘Disobedient Objects’ (2014, V&A Museum, London) are immortalising the best and most powerful of protest art, while books, such as, ‘In Loving Memory of Work’ (2016, Craig Oldham) capture the explosive and poignant imagery from a specific movement.

The anti-aesthetic is more than just temporary trend. The movement has not only impacted the visual arts industry greatly, but has also impacted our culture. Without Dadaism, punk and protest art, our society would not have such variety and opportunities for today’s young artists. The anti-aesthetic teaches that no style, no approach and no voice is wrong and there are no limits on what you can create and achieve. Without the anti-aesthetic, the visual arts industry would be very exclusive and dull . Despite the anti-aesthetic not being as explosive as in it’s heyday, for example in the punk era, the beauty of the anti-aesthetic is that it will never go out of style- there will always be something to stand up for, and to fight- and with that the anti-aesthetic movement will live on forever.

Submitted as a Dissertation

0 notes