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.
Craig & Karl, Oliver Jeffers, Chris Silas Neal, Ben Newman and Kate Moross take the stage. Pam Bowman reports on her final day in Dublin.
The last day of the conference began with the design pair Craig and Karl. writes Pam Bowman, in the third and final report from Offset 2013.
Gag-happy Vaughan Oliver recalls ‘holding a comma on the end of my scalpel.’ Pam Bowman continues her coverage of the Dublin conference.
Saturday began with Irish Children’s Laureate Niamh Sharkey, writes Pam Bowman, in the second of three reports from Offset 2013.
Bob Gill, Louise Fili and Ben Bos explain why design is ‘not a profession but a way of life.’ Pam Bowman reports from the Dublin conference.
Starting at 10am on Friday 5 April and finishing at 7pm the following Sunday, Offset 2013 had a demanding, exhausting programme, writes Pam Bowman. However it was hugely inspirational, with parties to boot!
Rich in reproductions and spanning a wide range of musical genres, Classic Rock Posters is eye candy for anyone interested in music poster design, writes Holly Harris.
The first thing you think on flipping through Characters is: Wow, I wouldn’t mind living in Melbourne, writes Robert Hanks.
‘Goodvertising’ is one of those hard to love, cut’n’shut words that the advertising industry seems to specialise in constructing. The kind of word that you’d have to steel yourself to employ without the protection of a sturdy pair of inverted commas, writes Andrew Missingham.
Designers have been engaged in sex since neolithic times. Well, maybe those neolithics were not designers per se, but they were designing sexual representations, such as Venus (9500-8700BC), found in Lake Bracciano in Italy, writes Steven Heller.
During his lifetime, the prickly, uproarious brilliance of Tom Lubbock’s writing on art was a frustratingly well kept secret, writes Robert Hanks, hoarded by a few artists and fellow journalists, and the ever-diminishing fraternity of readers of the Independent newspaper (where we were colleagues for many years).
The Edinburgh exhibition ‘From Death to Death’ looks at mortality, the body, dolls, guilt and other shadows of the mind.
The exhibition ‘From Death to Death and Other Small Tales’ hangs contemporary and historically significant works side by side to force ‘confrontations between past and present’ (in the words of the exhibition’s curators) in a variety of media, writes Sarah Snaith.