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The visual language that has emerged from the Golden State continues to rewrite the rules of design through the unrestrained use of color, stylistic hybridity and the juxtaposition of high and low culture.
In California, a Legacy of Political Protest Through Graphic Design Lives On
The flowering of grassroots social movements in California in the 1960s and '70s led to concurrent flourishing of graphic innovation as a form of collective action. Designers today continue this legacy, using their practices to inspire change and raise up global fights for justice.
Issues of accessibility have long been woven through all facets of graphic design and can especially be seen in Los Angeles during the late 1960s and early '70s.
What started as a monthly paper in 1969 geared towards Asian American students at UCLA soon expanded to the greater Los Angeles community.
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John Van Hamersveld takes us through the design and effect of his "Endless Summer" poster.
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This episode follows Emory Douglas and the visual imagery of protest in the country.
From the socially progressive prints of Sister Corita to the first major gay publication in the U.S., Los Angeles has a rich history of diverse visual expressions that are an intersection of graphic design and social activism.
Christopher Myers' "The Art of Taming Horses" sculptures subvert the accepted narrative of monuments to tell the story of two fictional ranchers of color.
With its enormous letters in the Hollywood sign typeface, "INDIAN LAND" references the roots of this country's colonial genocide and racism and reveal the rawness of a wound that has yet to heal.
Kim Stringfellow's Desert X installation is an endemic artwork disguised as a micro home that speaks to a slower, more sustainable lifestyle in the modern world.
Eduardo Sarabia's "The Passenger" speaks to the journey of the modern immigrant to the U.S. as one of fragility and resilience.
Saudi Arabian artist Zarah Alghamdi’s Desert X 2021 installation begs the question of what lies beyond walls, both material and immaterial.