Eye Magazine

In March this year, the Australian government’s ‘de-branded’ cigarette packaging design was one of fourteen nominated entries – in the Graphics category – in the Design Museum’s ‘Designs of the Year 2013’ awards / exhibition, writes Alex Cameron.

‘Hind Land’ is a photographic collaboration by Nick Rochowski and Tim Bowditch and is the winner of the Troika Editions / FORMAT13 Award, writes Alex Cameron.

Conference themes are often loosely interpreted by speakers and the themes themselves leave space for interpretation, writes Sarah Snaith in the second of two reports from the conference (see John O’Reilly’s ‘Talking about the A-word’ on the Eye blog).

When French art director / photographer Rémi Noël goes to the States, he uses road maps rather than relying on a GPS device. And he prefers silver film to digital photography.

Thomas E. Rinaldi’s New York Neon documents a cityscape sprawling with the remnants of illuminated signage. Rinaldi shies away from ‘spectaculars’ in familiar places such as Times Square in favour of the ‘open-air museum’ of on-premise storefronts across Manhattan, the Bronx, Brooklyn, Queens and Staten Island, writes Sarah Snaith.

Unable to find a map of Asmara prior to my trip to Eritrea, apart from the page-sized version in a Lonely Planet guidebook, I made several screen grabs of Google maps in progessive levels of detail and saved them as images on an iPad, writes Steven McCarthy in his second report from Eritrea.

A few awards, books and images that caught our attention in recent weeks.

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.

Upon Paper is a publication made so vast in format that I had to make special travel arrangements to get it home, writes John Ridpath.

The Tate Modern’s exhibition ‘William Klein + Daido Moriyama’ is introduced with projections of primary coloured New York city street signs, writes Sarah Snaith.