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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.
This collection of nearly two dozen detachable, frameable, propaganda posters offer an outstanding selection of examples from East Germany, Russia, Southeast Asia, and China. Reproduced in startling color and printed on high-quality paper, they offer fascinating historical insight, as well as sublime examples of how graphic art can be both highly effective as well as visually stunning. The Russian October Revolution of 1917 marked the beginning of decades of communist rule that spanned large parts of the world. For many years and in many countries, the most reliable means of spreading state propaganda was through posters like the ones included in this beautiful collection. Distinguished by their bold, bright colors, and generally featuring one or two main figures or a single forceful image, they were ubiquitously plastered on the walls of factories, farms, office buildings, transportation centers, and public squares. They exhorted citizens to proclaim their patriotism through hard work, exercise, and loyalty, and celebrated technological advances in science, space travel, and architecture. Representing an impressive array of styles, cultures, and historical eras this collection is suitable for walls and coffee tables alike.
This massive book of Soviet propaganda posters, many rare and never before published, is at once a revealing historical document and a sublime example of graphic art at its best. Dating from 1917 to the beginning of the Cold War, the posters in this book feature the work of such major Russian ground-breaking avant-garde designers as El Lissitzky and Alexander Rodchenko as well as extraordinary works by anonymous artists. Presented in full color, the 250 posters gathered here range in themes from warnings about the dangers of alcohol abuse and the creeping Nazi menace to illustrations of utopian harmony and the Soviet industrial machine. A brief illustrated introduction offers a chronological overview of the period that produced such eloquent art, which has long been a major source of inspiration to artists and designers.
Introduction -- People, poverty, politics, and posters -- Nature and transformation -- Production and mechanization -- Women hold up half the sky -- Serve the people -- Solidarity -- Politics in command -- After the cultural revolution.
From 1929 until 1953, Iosif Stalin’s image became a central symbol in Soviet propaganda. Touched up images of an omniscient Stalin appeared everywhere: emblazoned across buildings and lining the streets; carried in parades and woven into carpets; and saturating the media of socialist realist painting, statuary, monumental architecture, friezes, banners, and posters. From the beginning of the Soviet regime, posters were seen as a vitally important medium for communicating with the population of the vast territories of the USSR. Stalin’s image became a symbol of Bolshevik values and the personification of a revolutionary new type of society. The persona created for Stalin in propaganda posters reflects how the state saw itself or, at the very least, how it wished to appear in the eyes of the people. The ‘Stalin’ who was celebrated in posters bore but scant resemblance to the man Iosif Vissarionovich Dzhugashvili, whose humble origins, criminal past, penchant for violent solutions and unprepossessing appearance made him an unlikely recipient of uncritical charismatic adulation. The Bolsheviks needed a wise, nurturing and authoritative figure to embody their revolutionary vision and to legitimate their hold on power. This leader would come to embody the sacred and archetypal qualities of the wise Teacher, the Father of the nation, the great Warrior and military strategist, and the Saviour of first the Russian land, and then the whole world. This book is the first dedicated study on the marketing of Stalin in Soviet propaganda posters. Drawing on the archives of libraries and museums throughout Russia, hundreds of previously unpublished posters are examined, with more than 130 reproduced in full colour. The personality cult of Stalin in Soviet posters, 1929–1953 is a unique and valuable contribution to the discourse in Stalinist studies across a number of disciplines.
"Red Scared! offers valuable lessons from the vault on how to identify Communists, media reports on the jolly side of Stalin, guidelines for bomb shelter chic, and much more. As they did in their other lively pop-culture histories, Teenage Confidential and Wedding Bell Blues, Michael Barson and Steven Heller once again bring the nearly forgotten details of American culture into full relief with Red Scared!"--BOOK JACKET.
The poster was the popular art form in Cuba following the Cuban Revolution, when the government sponsored some 10,000 public posters on a fascinating range of cultural, social, and political themes. Revolucin!, produced with unprecedented access to Cuban national archives, assembles nearly 150 of these powerful but little—seen works of popular art. From the 1960s through the 1980s, the posters rallied the Cuban people to the huge task of building a new society, promoting massive sugar harvests and national literacy campaigns; opposing the U.S. war in Vietnam; celebrating films, music, dance, and baseball with a unique graphic wit and exuberant colorful style. With an introduction illuminating the rich social and artistic history of the posters, and rare biographical information on the artists themselves, this striking volume offers a window into the story of Cuba—and a truly revolutionary chapter in graphic design.
Includes two essays by Alexei Plutser-Sarno.
In the last thirty years of the Soviet Communist project, Viktor Koretsky's art struggled to solve an enduring riddle: how to ensure or restore Communism's moral health through the production of a distinctively Communist vision. In this sense Koretsky's art demonstrates what an “avant-garde late Communist art” would have looked like if we had ever seen it mature. Most striking of all, Koretsky was pioneering the visual languages of Benetton and MTV at a time when the iconography of interracial togetherness was still only a vague rumor on Madison Avenue. Vision and Communism presents a series of interconnected essays devoted to Viktor Koretsky's art and the social worlds that it hoped to transform. Produced collectively by its five editors, this writing also considers the visual art, film, and music included in the exhibition Vision and Communism, opening at the Smart Museum of Art in September 2011.