I visited Poster house located at 119 W 23rd St, New York, NY 10011 a 14 minute walk from baruch making it very accessible for students who would like to visit. The exhibit has heavy environment/smoking and car/plane themed pieces on display and is created for viewers to walk through and see the chronological development of Art Deco.

Brief History 
Art Deco finds its roots in a captivating blend of influences that shaped a design language with enduring appeal that is an influential style of impressionism that influences everything from fine art to film and fashion. This exhibition guides us through the genesis, zenith, and eventual decline of Art Deco, showcasing its evolution from regional modernism to the first truly international design movement. Before the term “Art Deco” was fully established in the 1960s, the style existed under various names, reflecting regional nuances of Modernism. Influences from the Ballets Russes in Paris and the discovery of Tutankhamun’s tomb in 1922, post World War I, technological advancements jazz age, etc. triggered the emergence of Art Deco, with the 1925 Paris Exhibition solidifying its identity. France, aiming to reclaim its artistic reputation post World War I it set the stage for a new era, establishing space for only the new and modern to be displayed. The Paris Exhibition of 1925 drawing over 16 million visitors, marked the glamorization of industry and postwar reconstruction. This event resonated globally, inspiring subsequent international exhibitions and establishing Art Deco as a truly global design style. The 1930s saw the decline of Art Deco amid the Great Depression and rising global tensions. Fascist regimes notably Mussolni in Italy  criticized it and found it to be degenerate, and its last major showcase was at the 1939 World’s Fair in New York symbolizing a optimism post world war II. 

Larrañaga, 1929 by Jean Carlu

Carlu’s transformation of a cigar into a monocled admiral in the Larrañaga poster is a masterful blend of commercial intent and artistic ingenuity. Originally crafted for the French tobacco monopoly, service d’exploitation industrielle des tabacs (SEIT), the poster showcases how Art Deco seamlessly merged with commerce and advertisement. The use of a monocled admiral conveys a sense of sophistication, appealing to a consumer base that associated smoking with a certain refined lifestyle; it also communicates a sense of authority and strength tapping into the cultural zeitgeist of the times.. It was rejected by SEIT and later presented to the British importer of Larranaga, a prestigious cigar brand. This rejection by SEIT and subsequent adoption by a British importer adds layers to its significance; having crossed cultural boundaries it underscores the international nature and appeal of Art Deco. The global appeal of the Larrañaga poster demonstrates how Art Deco transcended national borders, “In the wake of the paris exhibition, art deco became the first truly international style” (Arnold Schwartzman). In contemporary context, the piece prompts reflections on societal attitudes toward smoking, health implications, and the economic interests tied to the tobacco industry highlighting how marketing strategies can transcend cultural boundaries. In the present day, this resonates with discussions about the promotion of products that may have adverse health effects, and the potential for misleading advertising.

XVe Salon de L’Aviation, 1936 by Dolbeau

Dolbeau’s poster for the Paris Air Show in 1936 is a testament to the evolving aesthetic of Art Deco in the 1930s. The increasing minimalism in the design reflects the era’s embrace of streamlined forms and simplicity. This aligns with Art Deco’s shift from the elaborate ornamentation of the 1920s towards cleaner, more modern aesthetics.  The incorporation of avant-garde elements like Orphism, offshoot of Cubism that focused on pure abstraction and bright colors,  and Futurism highlights the poster’s connection to the prevailing cultural and political sentiments of the time. The focus on promoting national strength and innovation through aviation resonates with the era’s fascination with commitment to technological progress and the anticipation of wartime developments. The merging of art and advertisement in this work aligns with  A.M. Cassandre’s quote “the poster is not a painting but a machine to advertise”. And so Dolbeau’s aviation poster not only reflects the aesthetics of Art Deco but also provides a lens into the societal values and political climate of the 1930s. In a contemporary context, this artwork resonates with discussions surrounding the military-industrial complex. The poster’s emphasis on aviation as a symbol of national strength raises questions about the modern-day implications of the military-industrial complex, with discussions on the technological advancements in military capabilities and pursuit of military strength this dual nature also makes us contemplate the consequences of war when thinking about current day conflicts.