How does the category “queer” and the critical practice of “queering” translate, as it travels from its historical specificity in the US to other global, postcolonial contexts? Does the postcolonial get elided within discussions of Queer transnational and globalization studies? The conference showcases work that asks these questions, among others, and invites discussion on the possible complicity of the postcolonial and the queer with the normative.
Postcolonial, Queer, and the
Threat of the Normative
University of Minnesota, Twin Cities
November 16-16, 2010
A poster developed for a friend who is involved in organizing the conference.
Tools Used : Photo ink washes,
with a simple structural graphic overlay on corel and photoshop.
The design sensibility is greatly inspired from
the famous and influential school of avant-garde art -
Use of geometry, patterning, imagery, and lettering
to create simple, direct graphics
that reflect the overall aesthetic message of clarity and boldness
play a pivotal role in arriving at the end result.
The Bauhaus (1919 - 1933)
firmly established industrial design
and with it stripped away the decoration,
and left clean lines of function.
To some it represented the removal of all that is human,
but a personal bent towards those very exact human errors
made me choose a background that is created with photo ink washes.
Thus what is arrived at is an amalgamation of both the hand made
and the industrial.