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Working Bibliography
K, Stephanie. โReligion through the Eyes of Lady Gaga and Madonna.โ Medium, Medium, 15 Oct. 2016, https://medium.com/@stephanie.karp/religion-through-the-eyes-of-lady-gaga-and-madonna-b9327da95d3.
Freitas, Donna. โMadonna’s Cross Raises Thorny Questions.โ NPR, NPR, 16 Aug. 2006, https://www.npr.org/2006/08/16/5658956/madonnas-cross-raises-thorny-questions.
The New York Times. โ60 Times Madonna Changed Our Culture.โ The New York Times, The New York Times, 16 Aug. 2018, https://www.nytimes.com/interactive/2018/08/16/arts/music/madonna-birthday-impact.html.
Walters, Barry. โAs Much as I Can, as Black as I Am: The Queer History of Grace Jones.โ Pitchfork, Pitchfork, 25 Aug. 2015, https://pitchfork.com/features/from-the-pitchfork-review/9708-as-much-as-i-can-as-black-as-i-am-the-queer-history-of-grace-jones/.
โWhy Grace Jones Was the Most Pioneering Queen of Pop.โ BBC Culture, BBC, 22 June 2020, https://www.bbc.com/culture/article/20200619-why-grace-jones-was-the-most-pioneering-queen-of-pop.
Jabbar, Sumayra. โ12 Amazing Facts About Grace Jones.โ Mentalfloss, Mentalfloss, 7 Jun. 2019, https://www.mentalfloss.com/article/581140/grace-jones-facts.
According to Heller, โdesigners for mainstream advertising companies, weaned on alternative approaches, have folded the underground into the mainstream and call it โcool.โโ Commercial artists constantly take what was born as โcultural resistance to mainstream power structuresโ (1), they โadd an ornament here and there to make it palatable for the consumer class, andโvoila!โinstant allure and immediate salesโ. A nowadays example is the new collection by Louis Vuitton which embraces the old-school streetwear. Embracing might not be the right word (they literally steal it) if you take a look at the Louis Vuitton new collection of sweatshirts, denim shirt, suits and blazers which wear oversize and perfectly resemble the hoodies, t-shirts and baggies of 90s with the only difference of the applied monogram pattern.ย ย
As โโstreetwear styleโ which were born as rebellious form of counterculture has been appropriated and integrated into everyday and luxury fashionโ, the Constructivist style has been expropriated and applied on 2000 Franz Ferdinand album covers by Matthew Cooper. The main reason of this choice by Cooper and the band was because their music reflected Constructivism characteristics, โthe geometric style really suited the sound, those sharp corners and edgesโ. Their goal was since the beginning to stands out from other rock bands, so they created catch songs to make the girls dance and they wanted visually to do the same. Their outfit is unique as their album covers. Matthew Cooper made sure that every cover of the band had a different logo, because the band embraces the idea of evolution, and the logo has to reflect it. In opposition to the Russian movement which wanted to give a meaning to art, Franz Ferdinand as all the commercial artists decided to use art just for an aesthetic reason. ย None of the Franz Ferdinand had a background in graphic design, but they admitted being strongly influenced by art and everything that surrounds them is in their music. Their intention was of โquestioning the standards and defying the norms of contemporary cultureโ . In some way Franz Ferdinand entered the mainstream field with an underground spirit.ย
Sources:
1. Concepts and Practices of the Underground
Christoph Lindner and Andrew Hussey
pp. 13-20 (8 pages)
Stable URL
https://www.jstor.org/stable/j.ctt6wp6td.5
2. ‘Loaded’: Indie Guitar Rock, Canonism, White Masculinities
Matthew Bannister
Popular Music
Vol. 25, No. 1, Special Issue on Canonisation (Jan., 2006), pp. 77-95 (19 pages)
Stable URL
https://www.jstor.org/stable/3877544
3. https://www.printmag.com/culturally-related-design/punk-aesthetic-graphic-design/ย
4. https://cnaluxury.channelnewsasia.com/obsessions/louis-vuitton-nigo-capsule-collection-179641ย
5. https://www.bandlogojukebox.com/blog/2020/5/20/f2-franz-ferdinandย
Your poster/slide deck and your bibliography are due on May 11. If you have any questions concerning expectations, requirements, guidelines, etc. please just let me know.
There are 2 items to include in this Weekโs Post:
(1) a PDF of your presentation. This should be the same document that you will use for your presentation, exported from PowerPoint, InDesign, or whatever application you used to design it.
(2) your bibliography. This should be a separate document, also saved as a PDF. Remember, in addition to class readings, you must include 10 sources from library databases.
Both of these items should be uploaded as a single Post.
If you would like to pre-record your presentation, please also include a link to your recording in that post. Note: this must be submitted in addition to the PDF of your presentation.
It sounds like we’ll have some very interesting presentations in the next couple of weeks. Please be ready to start promptly at 2:30 on the 11th!
Citations
Plagens, Peter, and Ray Sawhill. โThe Font of Youth.โ Newsweek, vol. 127, no. 9, Feb. 1996, p. 64. EBSCOhost, citytech.ezproxy.cuny.edu:2048/login?url=https://https://search.ebscohost.com/login.aspx?direct=true&db=mth&AN=9602207799&site=ehost-live&scope=site.
“Typeout!: They may love him or hate him but graphic designers are rarely indifferent on the subject of David Carson. A former surfer and sociology teacher, Carson is best known for his work on the American music magazine Ray Gun, where he tore up the rulebook, followed his instincts and kicked design into the future.” Observer [London, England] 12 Nov. 1995: 46. Business Insights: Global. Web. 23 Apr. 2022.
URL
http://bi.gale.com.citytech.ezproxy.cuny.edu/global/article/GALE%7CA171367299/8574315b18632bc0b53bbc6abb397cf2?u=cuny_nytc
Partly explains Carsonโs process.
Laurel Harper Hyper Critical Review of Carsonโs Fotografiks.
Sources:
Design as Art.ย translated by Patrick Creagh, Penguin Classics, 2008. pp. 25-33, 37-40.
Design Writing Research: Writing on Graphic Design. Kiosk Books, 1996. pp. 24-32, 41-45.
Marinetti: Selected Writings. Edited by R.W. Flint, translated by Arthur A. Coppotelli. Farrar, Straus & Giroux, 1972.
Painting Photography Film. Translated by Janet Seligman. MIT Press, 1973. pp. 38-40. Reproduced in Graphic Design Theory, pp. 32-34
herbert bayer: painter, designer, architect. Rheinhold, 1967. pp. 75-77. Reproduced in Graphic Design Theory, pp. 44-49
Josef Mรผller-Brockmann,ย Grid and Design Philosophyย (1981):ย
The Medium is the Massage: An Inventory of Effect, co-created by McLuhan and Quentin Fiore in 1967
Steven Heller, from 2008, entitledย The Underground Mainstream
Jessica Helfand,ย Dematerialization of Screen Spaceย (2001)
Brower, Steven. โHow the Rolling Stone Logo Evolved from an Incredible Mistake.โ Eye on Design, 3 Oct. 2018, https://eyeondesign.aiga.org/design-history-101-how-the-rolling-stone-logo-evolved-from-an-incredible-mistake/.
A Reference for sketches 
A working bibliography…..
Los Angeles Times. (2018, September 4). ‘just do it’: The surprising and morbid origin story of Nike’s slogan. Los Angeles Times. Retrieved May 4, 2022, from https://www.latimes.com/business/la-fi-nike-colin-kaepernick-20180904-story.html
Wilson, J. (2020, May 3). The last dance: How a spike Lee and Michael Jordan commercial came to be. The Last Dance: How a Spike Lee, Michael Jordan commercial came to be. Retrieved May 2, 2022, from https://hoopshabit.com/2020/05/03/last-dance-spike-lee-michael-jordan-commercial/amp/
Laliberte, M. (2021, April 2). The surprising origin of Nike’s “Just do it” slogan. Reader’s Digest. Retrieved May 2, 2022, from https://www.rd.com/article/nike-just-do-it-origin/
Wilson, J. (2020, May 3). The last dance: How a spike Lee and Michael Jordan commercial came to be. Hoops Habit. Retrieved May 2, 2022, from https://hoopshabit.com/2020/05/03/last-dance-spike-lee-michael-jordan-commercial/
Ahla. (2020, November 14). Ahla. Kickzon. Retrieved May 2, 2022, from https://kickzon.com/the-air-jordan-spizike-and-spike-lees-importance-to-jordan-brand/
References:
- Cassegard, Carl. “Activism Beyond the Pleasure Principle? Homelessness and Art in the Shinjuku Underground”. Third Text. Sep2013, Vol. 27 Issue 5, p620-633. 14p. 5 Color Photographs. DOI: 10.1080/09528822.2013.830446.
- Knoblauch, Ann-Marie. “The Mainstream Media and the “Shocking Bad Art” from Cyprus: 1870s New York Reacts to the Cesnola Collections.” Near Eastern Archaeology. Jun2019, Vol. 82 Issue 2, p67-74. 8p. 1 Color Photograph, 5 Black and White Photographs, 2 Diagrams. DOI: 10.1086/703746.
- DI SIA, PAOLO. “DESCRIBING THE CONCEPT OF INFINITE AMONG ART, LITERATURE, PHILOSOPHY AND SCIENCE: A PEDAGOGICAL-DIDACTIC OVERVIEW”. Journal of Education, Culture & Society.2014, Issue 1, p9-19. 11p.
- Kalle Lasn, โThe Future of Designโ(lecture, TYPO Berlin, 11thInternational Design Conference,Berlin, May 2006)
- Kenya Hara, Designing Design,trans. Maggie Kinser Hohle and Yukiko Naito (Baden: LarsMรผller, 2007), 435
- Gioia, T. “Michael Bierut: โThe differences between mass culture and elite culture are getting less meaningfulโ. Its Nice That, 29 September 2017. 14p
According to Heller the concept of mainstream vs underground is relevant in Contemporary design. He speaks on the concept of design being mainstream and that marketers steal ideas from undiscovered or underground artists and bring them to the mainstream media as new media. Heller also speaks on how Underground bands led the way to commercialized mainstream culture. He continues to speak on how there are rarely any underground art that was not introduced into the mainstream culture.
The designer I have chosen is Micheal Beirut. He ties into this dichotomy because he also believes that there are barely any underground art or designs that are not introduced into the mainstream culture. In his writing “Designing under the influence “, he speaks on the mainstream culture. He talks of how his intern created a design that reminded him of Barbara Kruger ‘s designs. He speaks on the similarities between the design in the typeface used, the color palette and combination of the aspects. He then asked his intern if she was inspired by Barbara Kruger and she said that she never heard of her.
He continues on to to speak of how that Krugerโs work, had just become apart of the design atmosphere and become a template for people everywhere. He also speaks on the debate of whether people can “own” a graphic style. Beirut then says legally no. He then speaks on experience in the past where he saw the similarities between the American eagle apparel logo and very logo that Chermayeff and
Geismarโs Bruce Blackburn had designed for the American bicentennial back in 1976. He states that the logo design has hanged but was questioning whether it was due to a lawsuit or due to legal issues.
Cassegard, Carl. “Activism Beyond the Pleasure Principle? Homelessness and Art in the Shinjuku Underground”. Third Text. Sep2013, Vol. 27 Issue 5, p620-633. 14p. 5 Color Photographs. DOI: 10.1080/09528822.2013.830446.\
DI SIA, PAOLO. “DESCRIBING THE CONCEPT OF INFINITE AMONG ART, LITERATURE, PHILOSOPHY AND SCIENCE: A PEDAGOGICAL-DIDACTIC OVERVIEW”. Journal of Education, Culture & Society.
2014, Issue 1, p9-19. 11p.
By: Knoblauch, Ann-Marie. “The Mainstream Media and the “Shocking Bad Art” from Cyprus: 1870s New York Reacts to the Cesnola Collections.” Near Eastern Archaeology. Jun2019, Vol. 82 Issue 2, p67-74. 8p. 1 Color Photograph, 5 Black and White Photographs, 2 Diagrams. DOI: 10.1086/703746.
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