02 Jul

Seymour Chwast for Pepsi

Chwast’s can for Diet Pepsi for the Christmas season integrated their 1986-1991 logo into Santa’s spectacles. As you can see in this photo, the rims of the glasses were left unpainted shiny aluminum to highlight the logo—the background behind Santa was also a checkerboard of white and silver. (Click through for full frame.)

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05 Jun

Chwast’s irrational fears

Seymour Chwast’s series of irrational fears for Strathmore Paper.

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16 May

Tony Palladino, 1930-2014

A tribute to the singular artist and designer.

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06 May

Richard Serra in Rome, 1966

A brochure for Richard Serra’s first solo show, from 1966, surfaced recently in the archives. Though often excised from his oeuvre, Serra, then on a Fullbright in affiliation with Academie Belles Artes in Florence, showed live and stuffed animals along with sculptural collages or Rauschenbergian “combines” at Gallery La Salita in Rome.

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24 Apr

Won’t you be my neighbor

James McMullan is paired with Jane Jacobs for a 1966 issue of the Push Pin Graphic.

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27 Mar

Russell Hoban

Russell Hoban’s portrait of Joan Baez on the cover of Time, 1962.

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03 Mar

That New York

Brownjohn, Chermayeff and Geismar’s expressive typography for The Composing Room.

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12 Feb

Significant figures

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

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28 Jan

Barbizon

George Tscherny’s 1967 company profile for lingerie-maker Barbizon.

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08 Jan

Justine & Balthazar

Milton Glaser Collection Box 111 Folder 4. Pocket Books, 1969.

I’m always interested to see how different artists interpret of the same source material. Zach featured James McMullan’s boxed Alexandria Quartet some months ago, but I’d forgotten that Milton Glaser also created book jackets for at least two volumes (Justine and Balthazar) of Lawrence Durrell’s tetrology for Pocket Books in 1969; I can’t determine whether he also designed jackets for Clea and Mountolive.

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.