All entries tagged ‘push pin studios’
10 Apr 2013

Push Pin & Pop

Some ephemeral points of comparison between the work of Seymour Chwast and Andy Warhol.

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20 Feb 2013

Cameo gallery

Seymour Chwast Collection: Series 5, Item E33. Photograph by Carl Fischer.

In 1995, the Cooper Union celebrated the 40th anniversary of Pushpin Studios with an exhibition and special sale of drawings and paintings by the three founders, pictured above: Seymour Chwast, Edward Sorel, and Milton Glaser; along with works by John Alcorn, Sam Antupit, Michael Aron, Vincent Ceci, Paul Davis, George Leavitt, Tim Lewis, Jim McMullan, Reynold Ruffins, Jerold Smokler, Richard Mantel, “and others.” This reminded me of another similar device that captured a group that is also heavily represented by the Archive.

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20 Feb 2013

Love is a sign

Vernacular signage from the first year of the Push Pin Graphic.

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03 Jan 2013

Push Pin and the P-Head

From the Push Pin Slide Collection: what appears to be a study for an alphabet based on the 1971 PBS identity designed by Lubalin Studio.

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06 Nov 2012

Red letter days

SVA Event 17. America Today lecture series, 1971-1972.

In light of the goings-on today in the US, here’s a quick snapshot of the poster for the School of Visual Arts’ America Today lecture series, from November 1971 to April 1972. Designed by Bill Naegels and Push Pin Studios, it enlists the studio’s characteristic use of variation within iterations of a larger structure (here, a simple grid).

Speakers included the expected art critics (“Miss” Barbara Rose) and philosophers (William Irwin Thompson), along with neurobiologist George Wald (who was a recipient of the 1967 Nobel prize for his work on the mechanics of vision), director Dusan Makavejev (who showed what would be his most famous film, WR: Mysteries of the Organism, in Cannes the previous year), and, finally, on 13 April 1972, one Lieutenant John Kerry: “veteran and anti-war spokesman; full-time political activist.”

Slightly more legible version of the snapshot available on our Flickr.

27 Sep 2012

Metropolitan Printing in Push Pin Graphic

One regular advertiser in the Push Pin Graphic was Metropolitan Printing.

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17 Aug 2012

Type cast

Some type-based design from Milton Glaser and Seymour Chwast.

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09 Jul 2012

Master strokes

Seymour Chwast’s intricate composition of his illustrations.

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30 Mar 2012

For the pleasure and edification of all

Before Push Pin Studios, before the Push Pin Graphic, there was the Push Pin Almanack.

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14 Sep 2011

Fifteen years of heartache and aggravation

In 1969, the Mead Library of Ideas presented an exhibition of the work of Push Pin Studios, sharing the design and illustration of its many current and former members.

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06 Sep 2011

Bob + Joan

Bob Dylan and Joan Baez, 1964. Image courtesy of the SVA Picture Collection

Bob Dylan’s brief relationship with Joan Baez was exhaustively documented, but we get interested when that affair highlighted the work of Push Pin Studios. In 1964, Dylan and Baez were photographed at Newark Airport in front of Seymour Chwast’s poster for Booth’s Gin: an incongruous, but not surprising, image of two icons flanking a countercultural message from a corporate advertiser.

12 Apr 2011

They might be giants

Icons of culture and folklore are interpreted by the artists of Push Pin.

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07 Jan 2011

Foot fetish

The transfigured shoes of Push Pin Studios.

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12 Aug 2010

Concrete Poetry

Milton Glaser Collection Box 112 Folder 24. Push Pin Graphic No. 11, December 1957.

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

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04 Jun 2010

Subscribe to Push Pin Graphic

Detail from an advertisement in Print, May/June 1979.

The thing that fascinates me most about Push Pin Graphic is how unpredictable they manage to be all the time. Even apart from the contents of each issue, every promotion contains — no matter how generic the thing as a whole may be — some off-kilter element that has a defamiliarizing effect on the whole endeavor. The Cherie Currie-esque figure here has no other reference anywhere on the page, she’s just hanging out in the margin of the tearaway.

14 May 2010

107 graphic designers

The most recent addition to the Chermayeff & Geismar Collection is twelve boxes of old and rare art books, ranging from annuals to architecture; Switzerland to Japan. As always, there were plenty of surprises: one was the catalog for an AGI exhibition from 1976, which featured, alongside reproductions of their work, dramatic photos of the designers.

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05 May 2010

Esquire’s Gift Catalog

Milton Glaser Collection: Esquire’s Christmas Gift Catalog, n.d.

Push Pin’s nutty and sweet Christmas Gift Catalog for Esquire exemplifies the eclectic spirit of that studio.

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22 Dec 2009

Candies by Seymour Chwast

In the early 1970s, Push Pin Studios produced a line of candies under the name “Pushpinoff Sweets.”

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04 Aug 2009

Produce as land mass

We recently received a wonderful donation from James McMullan, and while I was looking for a few things to feature in a sneak peek, I came across this illustration he did for Push Pin of Long Island as a potato.

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26 Jun 2009

The Push Pin corporate identity

Milton Glaser Collection: Drawer 20, Folders 10. Seymour Chwast, logo label for Push Pin; on the reverse of item P16 in his recent donation to the Archives

Seymour: The Obsessive Images of Seymour Chwast, with an introduction by Steve Heller and an essay by Paula Scher, came out last April. A lively conversation around the book and the work it included built up in a comments thread at Design Observer last week, which brought in Scher and Heller, along with Michael Bierut, Armin Vit, Lorraine Wild, and others. Some unhappy commenters questioned the significance of his work, and this lead to a pretty interesting consideration of the concept of “dated” art (my favorite writing on this subject is I. A. Richards’ essay “Permanence as a Criterion,” which finds both “dated” and “timeless” problematic from the start).

This label, stuck authoritatively on the back of a mounted board as a bit of corporate identity — complete with the overrule, grotesk “Group Incorporated,” and high-contrast logotype — exploits its context to achieve a kind of reflexive wit, a kind of acknowledgment of what is being put over, that gives it a unifying effect (it is at once more than, and no more than, a “bit of corporate identity”). This is achieved with an unusually unaffected air — a combination that I think has always characterized Chwast’s work.

01 Jun 2009

Dada, explained

Milton Glaser Collection, Box 112 Folder 24. Push Pin Graphic, undated.

Here’s an ironic instructional piece from early Push Pin Studios member John Alcorn. A highly accomplished designer and illustrator, Alcorn also designed the opening titles for several Fellini films. Click here for the full image.

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14 Apr 2009

First Look: Seymour Chwast Collection

Seymour Chwast Collection: Posters.

We recently received a wonderful donation from illustrator and designer Seymour Chwast. He was a founding partner of Push Pin Studios in 1954, along with Milton Glaser, Edward Sorel and Reynold Ruffins. The studio’s name was changed to the Pushpin Group in 1985 and Chwast remains as its director. Here’s a sampling of the 80 posters we received; future posts will highlight original artwork and other printed materials that offer a comprehensive view of Chwast’s influential career.

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