Hylla: GRAFISK DESIGN - Ifq COM
Förlag: London : Reaktion Books, cop. 2017
Includes bibliographical references (pages 368-394) and index.
Omfång: 407 pages : illustrations (chiefly color) ; 30 cm
One of the common features of communist regimes is the use of art for revolutionary means. Posters in particular have served as beacons of propaganda - vehicles of coercion, instruction, censure and debate - in every communist nation. They have promoted the authority of state and revolution, but have also been used as an effective means of protest. By their nature posters are ephemeral, tied to time and place, but many have had far-reaching, long-lasting impact. They are imbued with both artistic integrity and personal conviction - Bolshevik posters, for example, are among the most vibrant, passionate graphics in art history. This is the first truly global survey of the history and variety of communist poster art. Each chapter is written by an expert in the field, and examines a different region of the world: Russia, China, Mongolia, eastern Europe, North Korea, Vietnam and Cuba. This beautifully illustrated, comprehensive survey examines the broad range of political and visual cultures of communist posters, and will appeal to a wide audience interested in art, history and politics.
From images of Vladimir Lenin promising "Land to the peasants " to those of Mao Zedong declaring the Cultural Revolution, communist regimes have relied on powerful--and often beautifully wrought--artwork to ensure the successes of their revolutions. Because of their ease of distribution, posters in particular have figured as central vehicles of propaganda in nearly every communist nation. In this book, Mary Ginsberg offers the first truly global survey of the history and variety of communist poster art. Enriched with essays by several experts in a variety of regions, this collection showcases an extraordinary variety of communist art coming from the Soviet Union, China, Mongolia, North Korea, Vietnam, Cuba, and several countries in Eastern Europe. Together they show how effectively posters were used as tools of mobilization, instruction, censure, debate, and manipulation of public thought and opinion. As this collection shows, posters were used not only to promote the authority of the state and its revolutionary ideals, they were also used as a means of revolutionary protest and ways of warning against the dangers of other political regimes, such as Nazism. By their nature, these posters are ephemeral, tied to time, place, and specific events, but many have had far-reaching and long-lasting impact, in no small part due to the astonishing craft and beauty they display. In fact, many of these posters have eventually found their way into museums, due to the strength of their designs. Beautifully arrayed, the posters in this collection offer a comprehensive look at the broad range of visual works that have both expressed and fueled one of the most powerful political ideas of the modern era.
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