The modernist drive to split representation from its subject (that is, to open up a space between them, at the very least) included the ransacking of pre-modern art historical conventions, often to excellent effect. Jim Flora’s 1945 Coda cover draws on spot color printing and the use of spatial registers, a la Egyptian art, to deliver a strong graphic narrative with clarity and visual independence from, but knowledge of, its subjects.
Saturday, August 11, 2007
D.B. Dowd (Professor of Visual Communication, Washington University, St.Louis) opines: