PRINT September 2010

Peter Saville

THE AUDIENCE I PERCEIVED and was part of in the 1970s was the milieu of pop—music, fashion, art, design. It was an audience for art delivered by print. I was curatorial for my pop generation. We were the participants in a postwar cultural reset. I proffered the timely import of readymades through channels of cool dissemination. The works were quotations of styles and, as such, rapid indicators of hipness.

Aspiration, association, and acquisition led to a situation in which stylistic turnover became entertainment, ultimately resulting in a tedium of predictability as a constant stylistic churn made demands beyond probability. The visual language of culture is now international, and as it is increasingly globally dispersed, it is increasingly disposable.

The logical notions of progress that were the hallmarks of the analog past seem simplistic and rudimentary in comparison with the atomized

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