Art at Design Observer

Illustrated essays about visual culture by Rick Poynor


Art at Design Observer

  • 54 Pins

Illustration by Bohumil Štěpán for Praštěné pohádky (Crazy Fairy Tales), published by SNDK, Prague, 1965. From the essay: designobserver.co...

Illustrations by Bohumil Štěpán for Crazy Fairy Tales

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Cover of Man Modified, published by Paladin, London, 1971, showing "The Human Factory" by Fritz Kahn, 1926. From the essay: The Body as Factory: Anatomy of an Image. observatory.desig...

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Purgatory: Canto XIX — The Covetous, 2010, from A Typographic Dante, a piece of typewriter art by Barrie Tullett. From the essay: Rediscovering the Lost Art of the Typewriter. observatory.desig...

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Google search results for Tatlin at Home, a photomontage by Raoul Hausmann. From the essay: Why Tatlin Can Never Go Home Again. observatory.desig...

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Cover of Surrealism: Permanent Revelation, published by Studio Vista, 1970. Book design: Gillian Greenwood. From the essay: On My Shelf: Surrealism: Permanent Revelation

On My Shelf: Surrealism Permanent Revelation

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Drawings of Russian criminal tattoos by Danzig Baldaev. Collection: Fuel, London. From the essay: Danzig Baldaev's Prison House of Flesh

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Eduardo Paolozzi, The Silken World of Michelangelo, from the series Moonstrips Empire News, screen print, 1967. From the essay: Eduardo Paolozzi, 20th-century Image-Maker

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Cover of Magritte A to Z, Tate Publishing, 2011, showing Magritte's Time Transfixed, 1938. Design: Tony Waddingham. From the essay: The Dictionary as Art Concept

The Dictionary as Art Concept: Observatory: Design Observer

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Cover of Richard Hamilton catalogue, Paintings etc. ’56-64 at Hanover Gallery, London, 1964. From the essay: Richard Hamilton, the Great Decipherer

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Richard Fremund, Reality, poster for a Polish film, Czechoslovakia, 1961. From the essay: In Praise of the East European Film Poster

In Praise of the East European Film Poster

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Cover of The Age of Wire and String, published by Granta, 2013. Illustration: Catrin Morgan. Design: Julia. From the essay: The Age of Wire and String Rebooted

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Catalogue for an exhibition of video art at the Stedelijk Museum, Amsterdam, 1984. The cover shows a work by Brian Eno. From the essay: Brian Eno, Artist of Light

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Cover of The Eater of Darkness, published by Putnam Capricorn, 1959. Design by Milton Glaser. From the essay: On the Trail of the Eater of Darkness

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Cover design by Martin Sharp, Ure Smith, 1968. From the essay: Martin Sharp: People, Politics and Pop

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Martin Sharp, Oz no. 16, page from “The Magic Theatre” issue. From the essay: Martin Sharp: From Satire to Psychedelia

Martin Sharp: From Satire to Psychedelia

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Playpower illustrated and designed by Martin Sharp, Jonathan Cape, 1970. From the essay: On My Shelf: Richard Neville's Playpower

On My Shelf: Richard Neville’s Playpower

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Peter Chmela, book cover competition entry, 2011. From the essay: How to Cover an Impossible Book

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Postcard from Babylon: Surreal Babies, Dewi Lewis Publishing. From the essay: Surrealism in the Pre-School Years

Surrealism in the Pre-School Years

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Page from The Metallization of a Dream, showing Eduardo Paolozzi’s Automobile Head screen print, 1954. From the essay: On My Shelf: The Metallization of a Dream

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Cover of A History of the Machine by Robert Soulard, Leisure Arts Publishers (third British edition), first published 1962. Designed by Erik Nitsche. From the essay: On My Shelf: A History of the Machine

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Peter Klasen, Les Bruits de la Ville (The Noises of the City), acryllic on canvas, 1966. From the essay: What Does J.G. Ballard Look Like? Part 2

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Spectro-heliograph of the sun (October 7, 1908). From the visual essay: J.G. Ballard's Terminal Documents

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Illustration by Phoebe Gloeckner for The Atrocity Exhibition, Re/Search, 1990. From the essay: What Does J.G. Ballard Look Like?

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England Swings SF, edited by Judith Merril, Doubleday, 1968. Jacket by Richard Merkin. From the essay: Speculative Fiction, Speculative Design

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Chris Foss, Second Stage Lensman by E. E. “Doc” Smith, published by Panther, 1973. From the essay: Chris Foss and the Technological Sublime

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