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More like this: surrealism, film poster and collage.

Art at Design Observer

Illustrated essays about visual culture by Rick Poynor

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Cover of Nadja, published by Gallimard in Le Livre de poche, 1964. Design: Pierre Faucheux. Art: Nadja. From the essay: On My Shelf: André Breton's Nadja

Linder, Untitled, collage, 1977. From the interview: Collage Culture: Nostalgia and Critique

John Stezaker, Tabula Rasa II, collage, 1983. Rubell Collection, Miami. From the essay: John Stezaker: Images from a Lost World