George Tscherny was one of the heraldic “here comes modernism” designers of the ’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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More Tony Palladino: a clever concept hiding in plain sight.

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We’ve just received materials from the 2005 exhibition The Design of Dissent donated by designer Mirko Ilić, who, along with Milton Glaser, collected the materials and created a book on the project.

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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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Another lovely artifact appeared in the Archive unexpectedly last week: Allan Kaprow’s Words, from 1962.

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