The early twentieth century saw photography dominated by the influence of painting, with the then popular pictorial style drawing its reference points from the impressionist artists of the period,
writes Wayne Ford. It was in this style, like many of his generation, that the great photographer Edward Weston
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My mother, Margaret, always delighted in funny street signs when we went on road trips, often reading out loud the notices that caught her eye,
writes John L. Walters.
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Adrian Shaughnessy’s article ‘One man brand’ in
Eye 76, the Music design special issue, is about the graphic design and identity of Manfred Eicher’s music label ECM. (Spreads
below –
full article on the Eye website.)
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For our music design special issue (out now),
Eye talked to Hardformat’s Colin Buttimer about the rise and rise of the limited edition release (see ‘
Pack shots’ in
Eye 76). We quoted Buttimer speaking about his sense of regret that the costly special edition ‘militates against the industrialised democracy of popular music, the idea that once can own an original piece of art at an affordable price’. Here’s
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There’s a moral blind spot at the heart of photography,
writes Kerry William Purcell. It is a blind spot that was manifest in the recent outpouring of protestations and demonstrations concerning the possible criminalisation of street photography in London. That lacuna is the very real issue of whether it is ever legitimate to take a picture of another person – whether the individual in control of the camera is the state or a lone photographer – without the acknowledged consent of that person?
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Conventional gallery space has been subverted for The Surreal House, the
Barbican Art Gallery’s current exhibition of
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I learned about two exhibitions on the civil rights movement currently showing in New York through Holland Cotter’s
review in the New York Times,
writes Frederico Duarte.
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Grace Jones may be a face of the 80s, but a new exhibition in London shows her to be both timeless and totally contemporary. The Art Vinyl gallery, a former car park below the Phonica record shop in London, is host to ‘
Stillness at the Speed of Light’, a dazzling array of lenticular images by photographer / artist Chris Levine.
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The commercial landscape in the United States is dominated by national brand name stores and their insistence on consistency and predictability,
writes Mike Kippenhan. This, coupled with cheaper and faster ways of producing signage, namely the use of printed acrylics and computer generated designs, is making roadside signage in the United States more and more visually homogeneous.
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Some tiny, jewel-like translucent toadlets are making a brief appearance at the Royal Institution, in an exhibition called ‘The Case of the Deviant Toad’,
writes Sally Jeffery.
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