chapter 13/14

the postmodernist architect (…) used an energetic, high-spirited geometry of decorative surfaces and tactile patterns

a cultural moment at which modernism’s claims for universal, formal, and autonomous qualities in works of art or design

(…) works of art are meant to appeal to the broad public, often characterized by superficial or sentimental qualities

(…) is a site of production of alternative culture, art and media, produced in quasi-clandestine or low-profile environm

(…) any activity or process that disrupts mainstream cultural practice by altering the message of an image or text

(…) any movement or group that encourages values that conflict with those of the mainstream

super graphics are designs incorporating 3 of these elements:

(…) is the methodology that implies elements of human culture must be understood by the way of their relationship

(…) was an artistic movement that took the objects and icons of commercial and media culture as it’s subject matter

(…) a composition made of parts taken from various sources, or in the style of a particular artist or moment

(…) the act of taking existing images or texts as the basis for a new work

postmodernists discussed images as (…) figures without a connection to a source or context that function as free-floatin

postmodernism sought to question the idea of (…), despite this it bred a cult of celebrity designers who broke the rules

Katherine McCoy’s poster for (…) demonstrated a complexity of form and meaning as she deviated from prevailing notions..

avante-garde, twen, and oz are all examples of (…)

(…) of or pertaining to a nostalgic style that appropriates past motifs or forms, often without regard for historical

(…) type composed by projecting characters through negative film, using lenses to adjust sizes onto photo paper