Design practices of the second half of the 20th century: Novi Sad cultural poster

Abstract

In the past few decades poster has imposed itself as a significant means of communicating messages, views and thoughts on current social and cultural life issues of the environment it originates in. It has tried to confirm by its rhetoric the engaged content in its own logical interrelation of the media: character/speech-sign-thought/message, placing emphasis on its genre feature: cultural poster. As the issue here is the means of development of ideas, critical thinking and social consciousness, in other words, the mediation of cultural values, I will try to shed some light on the phenomenon of cultural poster and to pinpoint its position among contemporary theoretical practices, as well as to point the ranges of design which have been created at the intersection of its artistic orientation and new commercial reality. One of the interesting and worthy prac­tices, Novi Sad Cultural Poster, originated in the sixties and reached its stellar status in the seventies and eighties, and in the past few decades its long tradition has yielded new names and exemplary works of world class. Novi Sad Cultural Poster can be viewed as a stylistically unique practice regardless of the diversity of artistic and design prin­ciples of its practitioners, their age or ways of thinking. Despite the attempts of some designers and professional circles, it still lacks appropriate methodological research and evaluation.

Keywords

• graphic design
• poster
• cultural poster
• aesthetic reception
• design practice
• Novi Sad Cultural Poster