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040 _aMAIN
041 _aEng
100 _aMoszkowicz,Julia
_963512
245 _aLost in Translation:
_b The Emergence and Erasure of ‘New Thinking’ within Graphic Design Criticism in the 1990s/
_cJulia Moszkowicz
260 _aOxford:
_bOxford University Press,
_c2011.
300 _aVolume 24, Issue 3, September 2011,(241–254 p.)
310 _aQuarterly
520 _aThis article revisits the early 1990s, identifying examples of critical journalism that introduced the idea of ‘new thinking’ in American graphic design to a British audience. Whilst such thinking is articulated in terms of postmodern and post-structuralist tenets, it will be argued that the distinct visual style of postmodern artefacts belies an eclectic philosophical constitution. In the process of describing emergent American practices at Cranbrook Academy of Art in this period, for example, Ellen Lupton argues for a distinction to be made between intellectual (post-structuralist) and superficial (postmodern) approaches to visual form. This paper indicates, however, that in spite of this initial attention to distinct methodological concerns, there has been a tendency to oversimplify the postmodern story in graphic design writing and to use historical sources in highly selective ways. Indeed, close examination of texts from the period reveals how new thinking in America is underpinned by a complex range of philosophical ideas, with the (seemingly) contradictory impulse of phenomenology, in particular, making a dominant contribution to the mix. This article argues that it is time to reverse these reductive tendencies in British criticism and to reinvigorate its understanding of this transformative period with a return to these postmodern sources.
650 _aDesign Criticism
_y19th Century
_zEurope
_963513
650 _aDesign Juornalism
_963514
650 _aGraphic Design
650 _aPostmodernism
650 _aParagmatic Design
_963515
773 0 _09229
_913522
_dOxford: Oxford University Press, 2011.
_oJ000329
_tJournal of Design History
_x0952-4649
856 _uhttps://doi.org/10.1093/jdh/epr023
942 _cART
999 _c15385
_d15385