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The anti-smoking posters of Doug Minkler turn elements of familiar packages into grotesque parodies. The political critique expressed in these projects is absent, in most cases, from the irreverent but joyful quotations made in the youth cultures of raves and hip-hop.
Such borrowings of institutional identities treat the symbols of corporate culture as public property open to reuse. National brand images constitute a second alphabet, a vocabulary of visual symbols that people instinctively recognize. By mixing familiar forms with new messages, designers bank on the way this second alphabet has been internalized in the collective psyche of consumers.
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Kids Club |