Chapter 17: The Modern Movement in America; American Kitsch

This was another chapter I enjoyed reading. I think the designs are becoming so much more interesting as the years progress. America originally rejected modern art. When it was first introduced, they did not accept the European designs because of the typography and graphics integrated in the posters. Americans were used to only seeing illustrations. New fonts were used, like Futura, Kabel, Caledonia, Electra, and Metro. Dadaist and Cubist elements were applied to the works of some interesting designers at this time, including William Addison Dwiggins and Lester Beall. Four other designers were known to have very coincidental circumstances. Erte, Dr. Mehemed Fehmy Agha, Alexey Brodovitch, and Alexander Liberman were all born in Europe, taught in France and helped with the development of modern art in America. Joseph Binder was interesting, for he use an airbrush technique and incorporates cubism and realism into his designs. The WPA was started, along with the WPA Federal Art Project—allowing artists to continue their careers. Many immigrants began coming to America, including: artists, designers, architects, scientists. Modern art was being dispersed throughout the world ever the Nazis caused the closing of the Bauhaus school. During the years of the war, specific posters were made. They were comprised of informational material and cartoons that looked unprofessional. Propaganda posters were also being made. Because of huge historical events, such as Hitler, Pearl Harbor and the world wars, many designers created powerful posters. John Atherton was one who created posters because of gossip/careless talk about the movement of the troops. Ben Shahn composed posters having to do with the cruelty of the Nazis; many people became aware of the brutality. Bayer, the designer mentioned in chapter sixteen with the Bauhaus school of design, was mentioned to have changed his style of design; he eventually made illustrations and type by hand-painting, instead of using photography.

After reading on American Kitsch, I realized how interesting it is that people have so many different views on it. It was said to be an art movement, a lifestyle, and a literature. While people find it to be tacky, it is also seen as being fun and a piece of artwork. I have never heard of the word ‘kitsch’ before, but I have seen the artwork. I have porcelain snowman at my house that my mom bought years ago. I’ve always looked at it and thought how gaudy it looked with the bright colors and the bulkiness; yet I always enjoyed putting it out for decoration. It was weird that I felt disgusted and excited about it all at once, and after reading the different responses people have on kitsch, it’s kind of funny how that happens.

The most interesting thing I learned from this chapter was how designers were incorporating Cubism and Dadaism into their work. Joseph Binder’s coffee poster was interesting, for you could definitely see elements of cubism. There is a woman standing, and her figure is comprised of defined shapes. You can see how geometric and abstract-like the forms are throughout the poster. I think it is so cool how past modern movements are incorporated into later movements—even up until now. New ideas are mixed with the original ideas, bringing forth interesting ideas and designs.

Why did the Nazis want to close down the Bauhaus school?
What makes kitsch so tacky, yet pleasant? I cannot figure it out.