Some background (and forgotten drafts?) of Milton Glaser’s poster for Antonioni’s Zabriskie Point.
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In honor of summer wedding season we bring you Tony Palladino’s poster for “The Wedding Party.”
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Tony Palladino created this indelible image for an SVA poster in 1989.
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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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Chermayeff & Geismar designed a series of exhibition posters for the Howard Wise Gallery in the 1960s, highlighting the artists’ works. Wise exhibited abstract expressionists including Milton Resnick and Edward Dugmore, and later specialized in kinetic art and light sculputure.
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In the 1970s, the Mead Library of Ideas held exhibitions showcasing the best contemporary graphic design; they commissioned announcement posters from designers including Tony Palladino, Chermayeff & Geismar, and Seymour Chwast.
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While we’re on the subject of the Memphis Group, better take cover; that table’s gonna blow.
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We’re continuing to receive great stuff from George Tscherny, and here’s the latest.
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We looked at some of Edelmann’s political posters for the West German radio station WDR back in June. But there was also a lighter side to his collaboration with the broadcaster.
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In 1967, Milton Glaser, Seymour Chwast, and James McMullan produced psychedelic “travel” posters for an issue of The Push Pin Graphic.
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While preparing for a class visit a couple of weeks ago, I rediscovered these gorgeous posters Heinz Edelmann did for Theater der Welt (Theater of the World) in 1981.
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George Tscherny was one of the heraldic “here comes modernism” designers of the ’60s and ’70s: along with Chermayeff & Geismar, his name seemed to be high on the shortlist when design became a hot item in the boardroom—though the bigwigs did not necessarily always follow through with a whole, or lasting, campaign.
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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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SVA’s early subway posters helped raise the school to a new plane of artistic and intellectual pursuits.
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For large patches of his later career Heinz Edelmann focused on quickly producing posters for arts events and series productions: these typically made use of a fairly regularized typographic template for information, and wild, allusive but enigmatic illustrations. For one season in the mid-1980s, he worked with the Düsseldorfer Schauspielhaus theater, playing off the plays’ angsty plotlines with evocatively deformed bodies.
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Enjoy a few of the acclaimed posters he produced for Germany’s Westdeutscher Rundfunk radio station after the jump. And click here for a characteristically witty and illuminating interview with Edelmann in Graphis.
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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.
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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).
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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.
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In 1970, Milton Glaser did a series of three posters for RCA’s Computer Division entitled Memory Unbound. They express the abstract promise of technology that was at least a decade away for most people.
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SVA Publications and Institutional Records
Gail Anderson Collection
Ed Benguiat Collection
Chermayeff & Geismar Collection
Seymour Chwast Collection
Heinz Edelmann 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