Milton Glaser teamed with celebrated photographer Duane Michals in 1972 to create this metaphysical album cover for bluesy folkie Chris Smither.
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Tony Palladino, along with Chermayeff & Geismar, was enlisted by Mobil to design the poster for Cotton Bowl advertisements in the late-80s and 90s. We don’t actually have this poster in our collection, though we have two others (which will follow shortly); only this slide of it. The others also make use of the visual appearance of a crowd as a way to play with perception of figure and ground. This slide didn’t go through properly the first time so I don’t have a good image of it, but if you click through I’ve included a smaller picture for reference.
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Seymour Chwast’s series of irrational fears for Strathmore Paper.
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The BFA Fine Arts department has long shown film or video art in the SVA Amphitheatre. These rough posters, spanning three decades, announce screenings of milestone works.
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Ivan Chermayeff uses collage and collections to create texture and dimensionality, continually exploring modernist ideas about bringing process to the forefront.
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Milton Glaser created this album cover in 1972 for legendary guitarist and folk singer Doc Watson.
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Panel discussions and talks sponsored by the Fine Arts Department in the heady conceptual late-70s and early-80s often adopted a DIY or punk aesthetic in their announcements.
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I especially like identity systems when they are applied to things that might seem outside of the purview of corporate promotions. So with this SVA check designed by George Tscherny, circa 1956.
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Next on deck in our Design and Illustration Study Collection is the work of designer and art director Gail Anderson.
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A tribute to the singular artist and designer.
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Chermayeff and Geismar published a spiral-bound portfolio of their trademarks in 1979, a precursor to the 2000 volume TM, published by Princeton Architectural Press.
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Milton Glaser explored an undersea terrain for Sports Illustrated in 1961.
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A brochure for Richard Serra’s first solo show, from 1966, surfaced recently in the archives. Though often excised from his oeuvre, Serra, then on a Fullbright in affiliation with Academie Belles Artes in Florence, showed live and stuffed animals along with sculptural collages or Rauschenbergian “combines” at Gallery La Salita in Rome.
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SVA’s subway posters established the school’s graphic presence by using abstract concepts to convey a deeply pragmatic message.
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In the grand tradition of magazine quizzes comes “The Whatchamacallit Game” from Esquire.
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Eileen Boxer created sublime conceptual mail art to promote exhibitions at Ubu Gallery.
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These Perfectos cigarette ads, designed by Tony Palladino in 1965, caught my attention because they’re so markedly different in style from the typical tobacco ads of the 1960s.
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James McMullan is paired with Jane Jacobs for a 1966 issue of the Push Pin Graphic.
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Next in our Design and Illustration Study Collection is the work of environmental design pioneer Deborah Sussman.
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An exhibition of Navajo Weaving at the Visual Arts Gallery in 1972 described a loom made of cosmic forces, and blankets rendered in “cannel-coal, turquoise, abalone, and white bead” but developed during a “devastating acculturation process.”
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SVA Publications and Institutional Records
Gail Anderson Collection
Ed Benguiat Collection
Chermayeff & Geismar Collection
Seymour Chwast Collection
Stephen Doyle Collection
Heinz Edelmann Collection
Roger Ferriter Collection
Louise Fili Collection
Cris Gianakos Collection
Milton Glaser Collection
Keith Godard Collection (depricated)
Steven Heller Collection
David Mazzucchelli Collection
Ed McCabe Collection
James McMullan Collection
Tony Palladino Collection
Stefan Sagmeister Collection
Paul Sahre Collection
Deborah Sussman Collection
Fred Troller Collection
George Tscherny Collection
Henry Wolf Collection