In the V&A’s upcoming ‘Memory Palace’, twenty illustrators and designers will give graphic form to Hari Kunzru’s post-apocalyptic narrative.
The idea for the Memory Palace exhibition, which opens this summer at the V&A, came from a desire to find different ways of showing contemporary graphics and illustration in a museum context, write Ligaya Salazarand Laurie Britton Newell.
Read Rick Poynor’s latest Photo Critique – on the third edition of Redheaded Peckerwood
Rick Poynor’s Web-only Photo Critique ‘Cold-blooded runaways’ is now published on the Eye website. The article looks at the third edition of Christian Patterson’s award-winning photobook Redheaded Peckerwood as an ongoing project.
The 25th Anniversary edition of the Redstone diary assembles visual and verbal ephemera on the subject of ‘language’, from doctors’ private slang to erotic hand gestures.
The annual spiral-bound desk diary from Julian Rothenstein’s Redstone Press usually delivers a quirky collection of literary and graphic ephemera based around a single theme, such as ‘Daring!’ (2003), ‘The Artist’s World’ (2011) and ‘The Senses (2012).
A new book by Marion Deuchars inspires children to get stuck in and make marks that are truly digital
Marion Deuchars’ Let’s make some great fingerprint art is the latest in her series of books that inspire children to explore artistic practice. The book has the appeal of a half-finished sketchbook, begging for inky fingers and paint-covered hands to fill its pages, writes Sarah Snaith.
The children’s books produced by Isotype combined child-centred focus with technical accuracy, writes Sue Walker
The Max Parrish Colour Books – described as ‘simple and vivid in colour’ in the publisher’s 1961 catalogue – were designed by Marie Neurath and her team of Isotype designers and artists in the 1950s and 1960s, including Kenneth James, Evelyn Worboys, John Ellis and Barbara Young, writes Sue Walker.
Next month, Birmingham’s Ikon Gallery will exhibit a survey of Tony Arefin’s graphic design
Tony Arefin’s art catalogues made him one of the most important figures in the British art scene of the late 1980s and early 1990s, writes James Langdon. Yet the exhibition I am curating for Ikon Gallery in Birmingham is the first to survey his influential graphic design work.