Eye, Issue 029, Autumn 1998

Eye, Issue 029, Autumn 1998

Information:

Opinion:
Britain at Groucho’s – Agenda, Stephen Bayley
An extract from Labour Camp
Push & pull – Editorial, Max Bruinsma
Graphic design and advertising are two of the great driving forces in today’s visual culture.
We know who you are . . . Screen, Jessica Helfand
Media surveillance, statistics and the modern spectator
Fuzzy logic for furry animals – Reviews, Typography, Max Bruinsma
Reason, sense and high-tech at the FUSE98 conference
Features:
Reputations: George Lois by Steven Heller
‘You can’t research a big idea. The only ideas that truly research well are mediocre ideas. In research, great ideas are always suspect.’
Commercial Art by Judith Williamson
Oliviero Toscani’s monumental and confrontational art direction and photography has provoked many different critiques and gut reactions as he tries to blur the line between fine art and advertising, an approach he has continuted with Colors and Fabrica. Like a Virgin? (David Bernstein); Benetton’s gospel (Max Bruinsma); Fabrica: Heaven, Hell or Purgatory? (Teal Triggs); Business as usual (Judith Williamson)
The work must be read by Russell Holmes
Lawrence Weiner’s art is a kind of sculpture made of language, free from excess or embellishment and strangely familiar from its far-reaching influence on graphic designers
Design is advertising #1: The whispering intruder by Rick Poynor
Advertising soaks into everything. It has become the texture of contemporary life. Graphic design has played a central part in this process. But does it have a viable role of its own?
Design mirror by Max Bruinsma
A reflection of Eye in the winning and commended entries for the 1998 D&AD Student Awards Publishing Design category
(In essence) pre-conceived by Anthony Oliver
A cycle of consumption comes into view. Mute portraits of the hidden landscape by Eye’s regular photographer
The image as evidence by Richard Hollis
The career of Germano Facetti is exceptional in its range. As art director of Penguin Book covers in the 1960s and as a designer, he was a powerful influence on book and information design, throwing a special light on Modern Movement aspirations and on attitudes to illustration. Facetti has maintained the concept of “documentary” and diagrammatic illustration to induce understanding, to express emotion, or to accumulate information in a more memorable way.
Reviews:
Bruce Nauman
Graphic Music
Undark
Monsters from the Deep

Eye, Issue 029, Autumn 1998
Eye, Issue 029, Autumn 1998

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