Eye Magazine

If Andy Warhol had lived to see the proliferation of cheap, flat screens that makes an exhibition like ‘Andy Warhol: Other Voices, Other Rooms’ possible . . . well he would have been a very happy 80-year-old.

Above: Signage for Wiels Contemporary Art Centre, Brussels, made using traditional road sign printing techniques. Design: Sara De Bondt, 2008. Read our Eye 68 Q&A with Sara De Bondt on the Eye site.

Insular, egocentric, tongue-tied – and over. Yet if there is more visual communication than ever before, why do educationists insist on lamenting graphic design’s imminent demise? Rick Poynor responds to some perplexing findings at the ‘New Views 2’ conference held at the London College of Communication. Read Rick’s Monitor article ‘It’s the end of graphic design as we know it’ in the latest issue of Eye, no. 69 vol. 18.

Top: Altar for the Temple of the Spirit (Sketch for the creation of an altar at the Institute of Kinetics) 1969-70 by Lev Nussberg and Natalia Prokuratov. Image courtesy of Jane Voorhees Zimmerli Art Museum, the State University of New Jersey.

British artist Leo Fitzmaurice [whose work you can see right now in Deptford High St., above and bottom] has created an aesthetic of what might be called ‘visible absence’, writes David Crowley, in the latest issue of Eye. 

Now see this! Read our Eye 68 Q&A with Adrien Pelletier on the Eye site.

Fresh content! Read our Eye 68 Q&A with Fraser Muggeridge on the Eye site.

In the early days of Eye, we ran an article about the New Horizons series of illustrated introductions to the arts, culture and science published by Thames & Hudson.

Guardian (and Observer) readers have been getting a daily dose of Martin O’Neill’s collages in the seven-part ‘How to write’ series of booklets.

The Spin exhibition is small, free, easy to find (if you’re in or near London) and won’t take up too much of your time, writes John L. Walters.