Author: Rick Poynor
Published: September 17, 2007
Publisher: Birkhäuser Architecture.
Upon researching the book I read the blurb which basically explained that the book's purpose is to expose the reality of contemporary visual culture through design, photography, publishing, advertising and art. It is a collection of interesting essays that challenge key issues and trends. Since more and more people are becoming aware of the coercive power of commercial culture, Obey the Giant demonstrates how designers both resist and collude with control of the image world.
The title is open to interpretation as the first page says, you could take it ironically - 'obey' the giant, or the imperative and literal meaning of obeying our society and giant corporations.
Who is the Theorist/Author/Editor/Publisher?
The author and theorist is acclaimed design writer Rick Poynor, who is a writer on His other publications include; Design Without Boundaries, Designing Pornotopia, Typografica, No More Boundaries: Graphic Design and Postmodernism. A lot of his work is all about challenging and questioning design choices. His publications often surround cultural criticism and design history.
The publisher is Birkauser, and it is the 2nd edition.
I feel like the purpose is to get the reader questioning ideologies regarding the image usage in our everyday lives, plastered all over advertisements and used by mega corporations. For example, a quote on the back of the book explains this well;
"A terrific book, essential. After you've read it you really can't look at the world in the same way... which is also one definition of art"
- Douglas Coupland
Essentially the book is heavily brand-based, as the title may insinuate. It is to expose the power that these corporations have and exercise through use of imagery, in other words, visual culture. It offers inspirational evidence of alternative ways of engaging with design, and it will appeal to any reader with a questioning interest in design, advertising, cultural studies, media studies, and the visual arts.
The context is educational and informative, aiming to offer critical insights into the changing dialogue between advertising and design. Other essays address the topics of visual journalism; brands as religion; the new solipsism; graphic memes; the pleasures of imperfect design; and the poverty of cool. The worldwide dominance of huge corporations is invariably expressed by visual means.
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