Publisher Note:
It is usually the media which are responsible for carrying out communications, but graphic design sometimes exceeds the conventional definitions and boundaries of a communications medium and achieves and establishes a state of dialog and common language with its addresses. The sustainability and artistic value of graphic design depends mainly on the successful establishment of this common language and dialog.
If we consider graphic design merely as an instrument or communications medium, then we have stripped it of all artistic creativity and have downgraded its status to a sole technical and professional skill. Yet, it goes without saying that establishing dialog and a common language comes in a hierarchy.
The majority of graphic works deal with political, social, economic and cultural issues. Yet, in some rare occasions, we witness works of graphic which open a window to a window to a broader scope of humanity and the human existence, uplift the addressee from his usual daily routine, remind him of his historical background and Para-natural side, urge him to deep observation and spiritual contemplations, and awaken a strange yet familiar sensation deep down inside his soul. By producing works of such nature and status, graphic transcends the boundaries of an applied and communicational device and steps into a realm labeled "absolute Art" by western art historians.
Stanley Mason, the critic, historian and instructor in graphic arts and a long-standing member of the editorial staff of "Graphis" contends that "absolute art", in its conventional sense - art which has no applied purpose – has reached the end of the line and has no bright future ahead of it. He believes, such artworks may continue their life cycle in museums and auction houses where they are traded for high prices but they have no effective role in the artistic and cultural life of societies and usually are void of artistic values.
On the other hand, graphic art which has always been sneered at by advocates of absolute art as being applied with certain limited practical applications is now enjoying a status not only as an independent art in its own right with strong historical footing and true values, but also as an art with a recognized social standing that addresses and carries its message across to a wide range of people.
This compilation subscribes to this view of graphic art and addresses its viewers as such.
www.yassavoli.com
Publisher Note:
It is usually the media which are responsible for carrying out communications, but graphic design sometimes exceeds the conventional definitions and boundaries of a communications medium and achieves and establishes a state of dialog and common language with its addresses. The sustainability and artistic value of graphic design depends mainly on the successful establishment of this common language and dialog.
If we consider graphic design merely as an instrument or communications medium, then we have stripped it of all artistic creativity and have downgraded its status to a sole technical and professional skill. Yet, it goes without saying that establishing dialog and a common language comes in a hierarchy.
The majority of graphic works deal with political, social, economic and cultural issues. Yet, in some rare occasions, we witness works of graphic which open a window to a window to a broader scope of humanity and the human existence, uplift the addressee from his usual daily routine, remind him of his historical background and Para-natural side, urge him to deep observation and spiritual contemplations, and awaken a strange yet familiar sensation deep down inside his soul. By producing works of such nature and status, graphic transcends the boundaries of an applied and communicational device and steps into a realm labeled "absolute Art" by western art historians.
Stanley Mason, the critic, historian and instructor in graphic arts and a long-standing member of the editorial staff of "Graphis" contends that "absolute art", in its conventional sense - art which has no applied purpose – has reached the end of the line and has no bright future ahead of it. He believes, such artworks may continue their life cycle in museums and auction houses where they are traded for high prices but they have no effective role in the artistic and cultural life of societies and usually are void of artistic values.
On the other hand, graphic art which has always been sneered at by advocates of absolute art as being applied with certain limited practical applications is now enjoying a status not only as an independent art in its own right with strong historical footing and true values, but also as an art with a recognized social standing that addresses and carries its message across to a wide range of people.
This compilation subscribes to this view of graphic art and addresses its viewers as such.
www.yassavoli.com
