April 04, 2016
First Look, part 2: James McMullan
An incredible array of new material from James McMullan.
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An incredible array of new material from James McMullan.
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The tension between the accidental and the controlled is almost always present in the work of George Tscherny.
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We are thrilled to add the work of Paul Sahre to our Design Study Collection.
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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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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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Eileen Boxer created sublime conceptual mail art to promote exhibitions at Ubu Gallery.
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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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Some remarkable art and writing from the corporate zine.
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James McMullan is best known for his gorgeous posters for Lincoln Center theatrical productions, but he applies the same care to his spot illustrations for The New Yorker theater reviews.
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The continuing story of the Windows On The World restaurant and its satellites in the World Trade Center, designed by Milton Glaser in 1976 and redone in 1996.
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In the early 1990s, Urban Outfitters fully embraced a retro, anti-consumerist consumerism, snarky and winking – alternative style gone mainstream.
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Glaser’s typefaces combine Push Pin-era Deco motifs with conventions adapted from hand-painted signs, but share a tendency to imbue generic letterforms with geometric dimension.
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This detail for a 1956 poster for the Cartoonist & Illustrators School by George Tscherny. Rebranded as the School of Visual Arts later that year, the designer had a long and fruitful relationship with the institution.
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Among the ephemera in the Henry Wolf Collection are five early editions of Pentagram’s Feedback — guidebooks for globetrotting designers. Excerpts from David Hockney, Olivier Morgue and Bob Gill follow.
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Go see James McMullan’s Lincoln Center Theater posters at the New York Public Library for the Performing Arts.
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The P22 Type Foundry, based in Buffalo, New York, packaged a typeface called Toy Box (originally named Child’s Play) with a set of extra glyphs including a collection of animal line-drawings based on children’s drawings. Commissioned by the London Transport Museum for a children’s exhibition in 1996, it was digitized by P22 founder Richard Kegler, with Michael Want, Mariah Kegler, Kevin Kegler, and Jennifer Kirwin-Want. Steven Heller included it in his book as an example of vernacular type.
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SVA Historical Event Recordings
Gail Anderson Collection
SVA COVID Collection
Ed Benguiat Collection
SVA Publications and Institutional Records
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
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