Images, Quotes and References

http://recordmecca.com/item-archives/woodstock-festival-1st-printing-concert-poster/

(accessed 04.02.15)

Fig.1, Skolnick, A. (1969) "1st Printing Concert Poster" [poster] U.S.A, RecordMecca.

http://www.gigposters.com/poster/168262_Arctic_Monkeys.html

(accessed 22.10.14)

Fig.1, Stiles, D. (2014) "Artpark Outdoor Ampitheatre Poster" [poster] U.S.A, Gigposters.com

http://www.gigposters.com/poster/169025_Ok_Go.html

(accessed 04.02.15)

Fig.1, Todaro, A. "Lincoln Hall Chicago Poster" [poster] U.S.A, Gigposters.com

http://www.gigposters.com/poster/157564_Ben_Folds_Five.html

(accessed 07.12.14)

Fig.1, Millward, D. "02 Academy Leeds" [poster] U.K., Gigposters.com

Quotes and Sources

• "You get the satisfaction of a good painting, but you can afford a more frequent fix." 
• "The beautiful psychedelic gig posters that helped define the 1960s San Francisco rock scene are no longer a lost, joss-stick-scented tradition... just as in the old days, the artists silk-screen print by hand in batches of a few hundred."
• "It's meant to be street-level, accessible art. Some of the more popular artists do evolve into other areas and exhibit in high-end places, ultimately. But the gig poster scene will always stay affordable."
• "The posters let people of modest means put something on their wall that represents a part of themselves."
• "Bands don't have a 12-inch gatefold sleeve now; they have a 600 x 600 pixel picture on iTunes. Posters give them an outlet."
• "Iconography is visual. You could sensibly connect the poster scene and the rise of vinyl, which are both going through the roof in America."
• "The poster scene has been a way of bringing something beautiful back to a digital world."

Hasted, N (2012)  "Ultimate Pop Art; Why Gig Posters are a Sound Investment" [internet] U.K., The Independent

(http://www.independent.co.uk/arts-entertainment/art/features/ultimate-pop-art--why-gig-posters-are-a-sound-investment-7827640.html)

• "A poster must be able to universally communicate, connect and deliver its message to anyone in any country."

Lewis, A. (2012) "What is Social Poster Design?" [internet] Athens, Greece, Graphic Art News.

(http://www.graphicart-news.com/what-social-poster-design-is-7-significant-poster-designers-advice/#.VH7_8FbN7fU)

• "The digital revolution has consigned many of our once-cherished artefacts to the dustbin of history".
• "It values the hand-made, the detailed and the patiently skilful over the instantly upgradeable and the disposable."
• "Today, our lives are so taken up with tweeting, blogging, browsing and networking that the time it takes to master a trade or a musical instrument, is time many of us think we can no longer afford."
• "In 1936, philosopher Walter Benjamin published his influential essay "The Work of Art in the Age of Mechanical Reproduction", in which he suggested that a painting possessed a certain "aura" which a photograph or a film did not. The aura was to do with its uniqueness, its originality and, thus, its authenticity."

O'Hagan, S. (2011) "Analogue Artists Defying the Digital Age" [internet] U.K., The Guardian.

(http://www.theguardian.com/culture/2011/apr/24/mavericks-defying-digital-age)

• "Ready access to broadband and mobile communications and to digital production technologies has expanded the poster's role well beyond the limitations of the printed surface."
• "The poster, with its mix of both low-tech and high-tech, of old and new, has become a cornerstone of 21st century advocacy."
• "With the steady growth of broadband connection, a full-color poster can be created as a digital file small enough either to send by email or to download from a website set up for the purpose, and printed by the recipient in as many copies as necessary or simply passed on digitally."

Reznick, E. (2013) "How Posters Survive and Thrive in a Digital Age" [internet] U.S.A, Phaidon.

(http://uk.phaidon.com/agenda/design/articles/2013/july/15/how-posters-survive-and-thrive-in-a-digital-age/)

• "The authenticity of a thing is the essence of all that is transmissible from it's beginning, ranging from it's substantive duration to it's testimony to the history it has experienced. Authenticity is jeopardized by reproduction when substantive duration ceases to matter."
• "The technique of reproduction detaches the reproduced object from the domain of tradition."
• "To an ever greater degree the work of art reproduced becomes the work of art designated for reproducibility."

Benjamin, W. (1999) "Illuminations; The Work of Art in an Age of Mechanical Reproduction", 2nd Ed., London, Pimlico. 

(pg.215, 218)