Their dedication to a modernist aesthetic was shared from early on, whether they were designing large public commissions or their still-popular bentwood chairs and stools and undulating Aalto vases, which they created in the 1930s. They married in 1924, and worked closely together until Aino's death from breast cancer in 1949. The Aaltos both studied architecture at the Helsinki University of Technology. In fact, Aino + Alvar Aalto is a love story, enriched not just by personal photographs and images of their modernist designs, but by the couple's letters to each other. Heikki Aalto-Alanen's illustrated biography of his grandparents, the 20th century Finnish architects and designers Aino and Alvar Aalto, makes clear how fundamental Aino was to their integrated vision. Phaidon Artek, first showroom, Helsinki, Finland, 1936, as pictured in Aino + Alvar Aalto. It became a rallying cry after 9/11, and in its nearly 50 year existence, has spawned thousands of variations. But he remains best known for his red-hearted I Love New York logo, created to encourage tourism when his native city was down and out in the late 1970s. To execute all this work, Glaser (1929-2020) designed numerous whimsically named typefaces, including Babycurls, Babyfat, and Babyteeth. Cleopatra's colorful striped headdress and exotic eyeliner evoke Elizabeth Taylor in the 1963 film. Glaser's illustration of Antony and Cleopatra remains a standout, with the ill-fated lovers drawn in closely overlapped silhouettes, like a pair of ice dancers. They're still available, at least online, at $5.95 each. Most were under a dollar each when he created them in 1963. If you went to high school in the last 60 years, chances are that your introduction to Shakespeare was through Signet Classic paperback editions, whose covers feature Glaser's distinctive ink sketches enhanced by pops of color. So, too, were his covers for New York magazine, which he co-founded with Clay Felker in 1968. Glaser's posters, advertisements, record album covers, and book covers were ubiquitous. Flipping through this book, you'll be inclined to agree with the authors that Glaser's "collaborative virtuosity" with artist Seymour Chwast in their Push Pin Studio "did for illustration and graphic design what John Lennon and Paul McCartney did for pop music." It's a period that includes his famous Bob Dylan poster, with the silhouetted singer topped with wavy ribbons of multi-colored hair. Milton Glaser POP, by Steven Heller, Mirko Ilic and Beth Kleber, explores the phenomenally prolific graphic designer's pop era work, which spanned the 1960s and 1970s. Monacelli Press An image made by Milton Glaser, as seen in Milton Gllaser: Pop. Her vibrant celebratory cakes look like something you might find in a book by Maira Kalman. "Anti-Emotional Confuzion," reads another. In "Medicine Helps," the labels on Camille Holvoet's colorful prescription bottles speak volumes: "Helps Me Not Ask for Money or Free Food," reads one. In "Dance Party!" multiple artists capture the exuberance of letting go at the rhythm and movement sessions that mark the end of each work week at the studio. Among the paintings featured in "A Curious Menagerie," there's a beguiling bloodhound and a mythical wild lion cat. Two popular subjects are animals and dancing. Every few chapters, an individual artist is showcased. The work, by about 130 artists and edited by Ann Kappes, is divided into 40 chapters highlighting themes that include superheroes, fears, sex, deafness, patterns, politics, collage art, and flowers. Their mission is to encourage "fearless self-expression." The images, saturated with strong colors and feelings, corroborate the group's outlook: "Art is art, regardless of who makes it." The nonprofit studio and gallery behind it, Creativity Explored, was founded in San Francisco in 1983 to partner with disabled, neurodiverse artists. Chronicle Books An oil pastel by Camille Holvoet as seen in Art Is Art.Īrt is Art is such a spirit lift.
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