Close

The Container List Blog

February 16, 2014

Outside the box

Everything that enlarges the sphere of human powers, that shows man he can do what he thought he could not do, is valuable. – Samuel Johnson

Outside the box Continue Reading Read more
February 12, 2014

Significant figures

Milton Glaser’s menagerie of figures for the School of Visual Arts, 1971.

Significant figures Continue Reading Read more
February 09, 2014

Dim sum

The Nom Wah Tea Parlor, the venerable Chinatown dim sum purveyor that uses Milton Glaser’s illustrations on its menu, reopened in time for the Chinese New Year.

Dim sum Continue Reading Read more
January 25, 2014

Milton Glaser’s menus for the World Trade Center

One curious feature about the Glaser collection is its organizational style, which was based on the way the materials were donated by the designer. Subseries G of his Printed Materials contains many of the menus he did for businesses at the World Trade Center.

Milton Glaser’s menus for the World Trade Center Continue Reading Read more
January 08, 2014

Justine & Balthazar

While McMullan’s work from the early 1960s is close in spirit to the evocative illustration of his colleagues Robert Weaver and Jerome Martin, Glaser’s late 1960s take shows a pop/psych style then at its height. The art is very much in keeping with other work that Glaser was doing at the time, with its flowing curvilinear lines and high contrast colors, which also, intentional or not, indicate some churning emotional content.

Justine & Balthazar Continue Reading Read more
December 13, 2013

Life Underground

Milton Glaser and Jerome Snyder ate their way through NYC so you didn’t have to.

Life Underground Continue Reading Read more
November 20, 2013

Working drawings

Milton Glaser’s sketch for the Working drawings and other visible things on paper not necessarily meant to be viewed as art poster became a part of the artwork.

Working drawings Continue Reading Read more
October 28, 2013

A brief tour of Milton Glaser’s typography

Glaser’s typefaces combine Pushpin-era Deco motifs with conventions adapted from hand-painted signs, but share a tendency to imbue generic letterforms with geometric dimension.

A brief tour of Milton Glaser’s typography Continue Reading Read more
October 21, 2013

Colorvision!

In what essentially looks like a lost issue of the Push Pin Graphic, Colorvision (“an entirely new concept of color in clothing!”) describes the magic of a Blendescent.

Colorvision! Continue Reading Read more
October 15, 2013

Exploding coffee table

While we’re on the subject of the Memphis Group, better take cover; that table’s gonna blow.

Exploding coffee table Continue Reading Read more
October 06, 2013

A Grand Union

In the mid-1970s, Milton Glaser was approached by Sir James Goldsmith to take on a dramatic redesign of the supermarket chain Grand Union.

A Grand Union Continue Reading Read more
August 31, 2013

Milton Glaser’s SVA: A Legacy of Graphic Design

A retrospective of Milton’s Glaser’s design work for SVA opens today at SVA’s Visual Arts Gallery (601 W. 26th Street, NYC).

Milton Glaser’s SVA: A Legacy of Graphic Design Continue Reading Read more
August 24, 2013

Department of the newly uncovered

We just stumbled across a long-lost poster for the seminal conceptual art exhibit, Working drawings and other visible things on paper not necessarily meant to be viewed as art (Visual Arts Gallery, December 2 – December 23, 1966). Initially asked by gallery director Shirley Glaser to organize a Christmas show of drawings, Mel Bochner collected notes, sketches, and diagrams from artist friends (as well as mathematicians, biologists, choreographers, and engineers). He ultimately photocopied the working drawings (using SVA’s brand new Xerox machine), placed them into four identical binders, and mounted them on pedestals in the gallery.

Department of the newly uncovered Continue Reading Read more
August 12, 2013

Concrete Poetry

Milton Glaser tips his hat to French poet, playwright, and critic Guillaume Apollinaire.

Concrete Poetry Continue Reading Read more
July 29, 2013

Tea for two

Milton Glaser for the Russian Tea Room.

Tea for two Continue Reading Read more
July 22, 2013

Layer cake

One of the central features of the Push Pin generation of designers — mainly Seymour Chwast and Milton Glaser — was a continued inspiration from, and reliance upon, physically layered compositions (using e.g., cello-tak) and photographic compositing.

Layer cake Continue Reading Read more
July 20, 2013

Hot potato

Milton Glaser plays with fire for Poppy Records.

Hot potato Continue Reading Read more
July 20, 2013

Inside the Big Apple

One of the main attractions of the archive as a research tool is as a document of artistic process. (The effect of the overwriting of drafts by computers is a subject I have written about elsewhere.) There were several stages to Milton Glaser’s development of a poster for the Visual Arts Gallery exhibition “Inside the Big Apple” (1968) — the above shows his collage of different versions of the figuration, which arrangement ended up contributing the composition that he used in the final version (other versions and the final poster follow).

Inside the Big Apple Continue Reading Read more
July 16, 2013

Milton Glaser’s geometries

Milton Glaser is closely associated with a visual style emphasizing expressive illustrations and resonant cultural symbols, but revisiting different periods in his career one is reminded that he was constantly developing new approaches, and in the Glaser Collection one can find an astonishingly wide range of approaches to design problems.

Milton Glaser’s geometries Continue Reading Read more
July 12, 2013

Man in the shadows

He wanted to live in a world in which one could find “Gershwin playing all night in penthouses, while George Kaufman fired one-liners into the guests and Harpo scrambled eggs in their hats.” Milton Glaser’s cover, with its punchy color combined with austere but evocative line, seems neatly suited to such a world.

Man in the shadows Continue Reading Read more
All names, logos, trademarks and/or copyrighted images are the property of their respective owners and their appearance on this site is merely intended to illustrate certain of the content available for educational purposes in the Milton Glaser Design Study Center and Archives of the Visual Arts Foundation and is not intended in any way to imply or suggest that the respective owners of these names, logos, trademarks and/or copyrighted images consent to, approve, endorse, sponsor, or intend to associate with the Visual Arts Foundation or any of its affiliates.