Now that the world has finally focused its resources on combating the Ebola plague, medical science can turn its attention to the second most fearsome epidemic threatening civilization: artists who use mechanical circles for heads.
The Ebola epidemic was centered in West Africa, and the circle head epidemic seems to be centered at The New Yorker
magazine, which apparently finds this style charming:
Fortunately, some areas appear immune to the virus. Ivan Brunetti applied for the job of artist on the simple minded comic strip Nancy
but did not draw well enough, so he had to become a New Yorker cover artist instead.
Doctors have discovered a clue to the origins of this epidemic in the excellent reference work, Graphic Style
by Steven Heller and Seymour Chwast. The authors write that a style called "information graphics" was developed by artists such as Nigel Holmes in order to present simplified information to popular audiences.
The authors described the information graphics style as:
graphic design working toward the goal of clarifying simple and complex data. The key difference between information design and general graphic design is transparency. Ornament and decoration are unacceptable if they hinder perception. Information graphics have, by virtue of a common visual language, become a sort of style.
Information graphics began as a method for "quantitative visualization," useful for conveying information but lacking the sensitivity or complexity or range necessary to convey weighty ideas. Yet today this style has become a popular vehicle for acute social observation and "deep" content. Why?
|Is this the latest dazzling display of genius by Chris Ware? No, it's from an airline information card created by some underpaid staff artist.|
For starters, cultural awards (and New Yorker covers) are often bestowed by people who specialize in concepts but seem to have little appreciation for the qualities of line, color or design. (A good example would be the confused Dave Eggers
, who embarrassed himself by asserting that "The most versatile and innovative artist the medium has ever known" is Chris Ware.)
But more importantly I suspect our ambitions for the graphic arts (and consequently our priorities and taste) may be evolving in the information age. The insightful Karrie Jacobs wrote,
Computers have seduced us into thinking about ideas--the intangible stuff that comprises our culture, our meta universe, our homegrown organic realities-- as information.
The perfect visual style for such a society is "information graphics." The following drawing by Brunetti conveys the fact
of sex, the information
that the characters are engaging in sex, but conveys nothing worth knowing about the idea
This seems to be a weakness common to the circle head artists (as well as other graphic novelists who draw square or oval shaped heads using the same monotonous line, insisting that good draftsmanship would only impede the flow of their words.)
Visual art once prided itself in challenging our perceptions, but information graphics do the opposite: as
Heller and Chwast note, information graphics purge any details that might
"hinder perception." If there is anything oblique or profound to
communicate, it will be done with words.
So why does the epidemic of circle heads matter? The drawings above are pleasant enough to fill a blank space. Besides, travel agents and telephone booths were rendered obsolete by the information revolution, so why shouldn't the inefficiencies of art also be stripped away, so readers don't linger too long over the drawing in any one panel? What is lost if the efficient processing of information dumbs down our appreciation for visual form?
Here's my personal answer: It's great that images can be harnessed to convey information, such as the motion of a character raising a glass. But art-- good
art-- has the potential to do more, to provide us with
the shades of meaning necessary to communicate love and pain on a higher level. It can strengthen our sense of aesthetic form that we need in order to fend off entropy. It gives us a language more subtle and profound than words to flesh out concepts of joy or sadness or humor or introspection.
Art enables us to express a range of moods, feelings and beliefs that transcend mere information and thus are conspicuously absent from most information graphics-- even when such graphics are lionized as "brilliant" or "profound."