Hammers and sickles
One of the earliest exhibitions of Andy Warhol’s provocative “Sickle and Hammer” series was an exhibition of the pencil-and-watercolor drawings of 1976 at the Visual Arts Museum.

One of the earliest exhibitions of Andy Warhol’s provocative “Sickle and Hammer” series was an exhibition of the pencil-and-watercolor drawings of 1976 at the Visual Arts Museum.
Icons of culture and folklore are interpreted by the artists of Push Pin.
Tony Palladino collaborated with R.O. Blechman in the 1960s. One of the best examples of their combined sensibilities appeared on their covers for Architectural & Engineering News.
Herb Lubalin was among the many designers and illustrators who contributed to the United States Information Agency’s 1962 graphic arts exhibition that toured the USSR.
And now, the companion piece to the Pushpin beers post. “Any port in a storm.”
In the late-1960s Henry Wolf produced a number of advertisements for Olivetti, which touched on two of his favorite devices: the use of celebrity and the distortions of scale and context used to dreamlike effect.
From the James McMullan Collection, a look at some of the best illustrators who got their start the 1950s and 60s.
Before Push Pin Studios, before the Push Pin Graphic, there was the Push Pin Almanack.
Russell Hoban’s portrait of Joan Baez on the cover of Time, 1962.
A special guest appearance by Gartenschönheit, a magazine that pre-dates our collections.
The United States Information Agency deploys its secret weapon in the Cold War: designers and illustrators.
In 1958 Henry Wolf, newly appointed art director for Harper’s Bazaar, was tapped by the Advertising Typographers Association to write an essay on magazine typography for their bulletin.
Descending into Series II, Subseries G, we take another look at some of Milton Glaser’s logos and menus for restaurants.
In 1970, Childcraft Education Corp. turned to Milton Glaser to design their flagship store at 150 E. 58th Street.
One of George Tscherny’s graphic hobbyhorses was the jumbled appearance of type on an undulating surface.
Milton Glaser created this 1965 book jacket for The Cook, a satirical horror novel about a mysterious chef, Conrad Venn, who seduces and manipulates the wealthy Hill and Vail families with food.
A symposium of “provocative visual material” inspired Milton Glaser to come up with some of his own.
Fashion illustration was a popular pursuit at SVA in the 1960s.
Some remarkable art and writing from the corporate zine.
Andrew Sarris, film critic for the Village Voice and screenwriting lecturer at the School of Visual Arts, delivered a special free lecture in 1968.