Review
Tints and tones at the dawn of film
Legend has it that audiences for the Lumière brothers’ film The Arrival of a Train…
Riding the concrete
Arriving like a solid slab of Brutalism, Long Live Southbank is a celebration of 4…
A message for modernity
In the late 1950s I had tea in London with László Moholy-Nagy’s former secretary, surrounded…
The museum man
This confidently displayed show draws a line in the sand. It secures the De La…
Poland’s graphic pioneers
Publications attempting a comprehensive overview of a country’s graphic design history have appeared on a…
Scissor action
John Heartfield: Laughter is a Devastating Weapon (David King and Ernst Volland, Tate Publishing, £29.9…
Tightly cropped critique
The subtitle of James Clough’s generously illustrated Signs of Italy: Outdoor Lettering Up and Down…
Weimar volumes
The musical Cabaret gave a popular view of Berlin between the two world wars; the…
Fighting back with pictures
This is the third book which Liz McQuiston has written on graphic protest in the…
Dreaming in Colors
In the ‘about’ section on the Colors website, you can see a sepia-tone photograph of…