$99.99 Buy It Now or Best Offer
free,30-Day Returns
Seller Store modernism101
(9247) 100.0%,
Location: Shreveport, Louisiana
Ships to: US,
Item: 315701837025
All returns accepted:ReturnsNotAccepted
THE PUSH PIN STYLE 1970 First Edition Exhibition Catalog in Die-Cut Slipcase 451 studio work examples in black and white and color Henry Wolf [Forword] and Jerome Snyder [Introduction]: THE PUSH PIN STYLE. Palo Alto: Communication Arts, 1970. First edition. Text in French and English. Square quarto. Decorated fabricoid boards in matching die-cut Publishers slipcase. [200] pp. 451 studio work examples in black and white and color. Slipcase lightly rubbed with minimal wear to each corner. White fabricoid cloth lightly dust spotted in a parallel line to the color decoration. Interior unmarked and very clean. Out-of-print. A very good copy in a very good slipcase. A very cool production — but that’s hardly surprising, isn’t it? 8.25 x 9.25 book with approximately 200 pages and 451 work examples illustrated with black and white and color from this legendary design studio. A catalogue of the comprehensive exhibition of design and illustration by present and former members of Push Pin Studios for the Musee Des Arts Decoratifs Exhibit – March 18 to May 18, 1970. Includes work by John Alcorn, Sam Antupit, Vincent Ceci, Seymour Chwast, Paul Davis, Loring Eutemy, Norman Green, Milton Glaser, Jerry Joyner, George Leavitt, Herb Levitt, Tim Lewis, James McMullan, Jason McWhorter, Reynold Ruffins, Cosmos Sarchiapone, Isadore Seltzer, Jerry Smokler, Edward Sorel and Barry Zaid. Contents include: Poster Design Advertising/Promotion Design Editorial Design Record Jacket Design Book Design Book Jacket Design Type Face Design Architectural Design Advertising/Promotion Illustrations Book/Magazine Illustrations Unpublished Illustration Push Pin Graphic Push Pin Studio Biographies “In the 1950s, no one aspired to be young. On the contrary. Baby-faced adolescents wore traditional blazers, white shirts and ties in order to look more grown-up. Artists and creative types, always suspected of being immature, sported expensive tweed jackets and smoked pipes in an attempt to cut an authoritative figure. Back then, even rebels were older people. In 1955, Salvador Dali was 51, Buckminster Fuller was 60, Le Corbusier was 68 and Picasso was 78. Emblematic of the period was president Dwight Eisenhower, a man in his mid-sixties. “It is in this conservative climate that the Push Pin “style” came into existence—ten years before the youth phenomenon it eventually helped define. The group burst on the scene as a virtual entity at first. Before the studio was officially incorporated, the members of the Push Pin group were already known to graphic cognoscenti for their clever self-promotion—a witty publication called The Push Pin Almanack. A compilation of “the choicest morsels of essential information gathered for those persons in the graphic arts,” it was mailed to 1,500 art directors on a bi-monthly basis. It generated enough phone calls and assignments to keep its authors, all Cooper Union art students, from taking dead end jobs in art studios.” — Véronique Vienne From Pushpin’s web site: “Seymour Chwast, Milton Glaser and Edward Sorel founded Push Pin Studios in 1954. The studio rapidly gained an international reputation for innovative design and illustration. Push Pin’s visual language [which referenced culture and literature] arose from its passion for historical design movements and helped revolutionize the way people look at design.” From the Seymour Chwast AIGA Medallion citation: “By the middle of the 1950s, as the Norman Rockwell epoch drew to a close, Chwast was already known for his unique style of illustration. His playful, expressive approach to type and layout was the point of a new design wave based on revivalism—a radical alternative to the Swiss formalism of the time. For over 30 years he has continued to ride above the twists and turns of fashion; today his art is even more energized and varied than when it originally altered a generation’s perceptions. Chwast’s work is widely recognized on posters, in books for children and adults, magazines and advertisements. His strength is not in rendering, like so many of the “sentimentalists” before him, but in concept and design. A beguiling sense of humor underpins his illustration, and a keen understanding of traditional design governs his method. Chwast and his Push Pin colleagues helped reintroduce the long divorced principles of illustration and design. Moreover, he helped formulate a new graphic lexicon based on knowledge, appreciation and reapplication of past styles and forms—one that has had long term effects on graphic design. Born in 1931 in The Bronx, New York, Chwast began drawing in earnest at the age of seven, and soon attended WPA-sponsored art classes. He became profoundly aware of the difference between museum and street art and seemed to instinctively prefer the allure of billboards and advertisements to Picassos and Mondrians. Influenced by Walt Disney, the Sunday funnies and serial movies, he gave life to his own cartoon heroes, including “Jim Lightning” and “Lucky Day.” His family moved to Coney Island, where he was enrolled in Abraham Lincoln High School. On the outside this was an ordinary New York City public school, but inside it was a hotbed of graphic design education. Chwast was accepted as a member of the elite “Art Squad.” This roving band of sign and poster artists was a spin-off of a graphic design class taught by Leon Friend, teacher of such design notables as Gene Federico and Alex Steinweiss. It was at Lincoln that Chwast learned to appreciate type, graphic images and the possibilities of commercial art. Friend believed that there was no greater glory for an artist than to have his work printed, and demanded that his students enter all competitions open to them. Chwast entered many. At sixteen, his first illustration was published in a reader’s column in Seventeen magazine, art directed by Cipe Pineles. This early indoctrination in the applied arts was total and unalterable. In 1948 Chwast entered New York’s Cooper Union, matriculating with Edward Sorel and Milton Glaser, with whom he would found the Push Pin studio. During the Cooper years Chwast was influenced by the graphic work of Ben Shahn, Georg Grosz, Georges Rouault and Honoré Daumier. The conceptual strength of these stylistically diverse but like-spirited critical commentators was reflected in his own penchant for expressive woodcuts. One of Chwast’s earliest, and still provocative, works in entitled The Book of Battle, a handprinted, handbound and handcolored anti-war statement. The social commitment shown in this book became a recurring theme. As for his comic bent, Chwast’s most direct antecedents were André François and Saul Steinberg, masters of paradox and irony. A direct link between their brand of cartoon/illustration and Chwast’s surreal comedy is still evident. Because Cooper Union was tied to a fashionable abstract dogma at that time, Chwast’s education was as much one of rejection as of acceptance. The realization that he couldn’t paint—specifically in the proscribed manner—and that he had no interest in creating illusion for its own sake pushed him into more accessible artistic realms. In their second school year, Chwast, Glaser and Reynold Ruffins formed a studio called Design Plus. After completing two jobs together (a flyer for a theatrical event and a children’s book) they went out of business. If it would have been impossible to predict the eventual fruits of the Design Plus collaboration, it would have been equally hard to believe that Chwast would continue in graphic design after the results of his first five jobs. Upon graduating from Cooper Union he worked for a year in The New York Times promotion department where, under the tutelage of art director George Krikorian, Chwast learned the principles of typography and was given design and illustration assignments. Subsequent jobs, however, weren’t as satisfactory. A string of failures began with a bullpen post at Esquire magazine (fired because he couldn’t do comps). Finally, during a stint in Condé Nast’s art department Chwast began to solicit freelance work. Together with Ruffins and Sorel, Chwast produced a promotional piece designed to show prospective clients that ideas were as central to design and illustration as was rendering. The result was a semi-regular publication called the Push Pin Almanack. Based on the Farmer’s Almanac, each issue included drawing, text and trivia with a specific theme. At the time there were a few other “continuity” promotions, but none so ambitious or inventive as the Almanack. It brought in enough freelance work that Chwast and Sorel (who had recently returned from studies in Italy) decided to form a studio which they christened Push Pin. Chwast credits Glaser for realizing that a studio would offer greater long range possibilities for the individuals involved. In 1954 it was possible to start a business with very little capital. Push Pin’s rent was low, and a pay phone served their business needs. Illustration assignments for educational slide shows and rendering for package design proposals provided a respectable cash flow. After salaries were paid to the assistant and secretary, each studio member took home $25 a week. The Push Pin approach took time to evolve. While studio members would work together on design projects, editorial illustration was individual. A collective impulse to broaden the boundaries of accepted methods and to unify design and illustration was the impetus to rename and expand the Almanack into the Push Pin Graphic. From the outset this visually exuberant periodical caused a stir in the design community. It was not only an effective means of showing off the studio’s talents, but proved to be a major influence on the design and art direction of the late Fifties and early Sixties, specifically in the convergence of illustration and design. A minor, yet interesting, graphic development which attests to the impact of the Graphic occurred when Chwast and Glaser placed all the art in one issue in boxes with rounded corners. Within weeks rounded corners were adopted by others as a motif in magazines and ads. Because of its eclecticism, which was influenced by venerable design styles including Victoriana and Art Nouveau, some critics accused Push Pin of contributing to the demise of modernism. Push Pin was, in fact, creating contemporary contexts for once viable forms, foreshadowing the Post-Modernism of the Eighties but not purposefully reacting to current practices or theories. Chwast recalls that he gave up woodcuts in the Sixties because the expressionistic vocabulary had lost its vitality. Clients were asking for certain looks and moods, and Chwast saw his role as fulfilling this need. For example, Victoriana was associated with the Push Pin look, but it was just one of those styles coming into vogue. Chwast’s “roxy” look (which was what he called Art Deco before he knew that it had a real name) derived from Steinberg’s graphic musings. Rather than mimicking the past, Chwast was more interested in adapting, integrating and making it contemporary. What became known as the Push Pin Style—the distinctive, eclectic union of illustration and design—derived, according to Chwast, not from premeditation but from the requisites of the assignments themselves. It was a desire to state the client’s message in as personal yet as accessible a vocabulary as possible. Although Chwast says that both he and the studio were swept along with the “pop thing” of the Sixties—bright colors and stylized outline drawings—such a statement tends to diminish the significance of his innovative instincts and savvy applications. Push Pin was on the cutting edge of popular art. The studio’s approach was consistent with other changes in the culture, and often served to visually represent them. This was manifest in the highly visible, mass media jobs, including book jackets, record covers, posters, advertisements and magazine covers. Despite this intense visibility, Push Pin was more influential than it was wealthy. Unlike large corporate design firms servicing ongoing and lucrative identity programs, Push Pin was working on an assignment-to-assignment basis. One reason was that the diverse nature of their collective work was anathema to accepted rules of corporate image. Push Pin brokered best in the realm of what might be called editorial ideas. During the mid- to late-Sixties Push Pin was a magnet for designers and illustrators, including James McMullan, Paul Davis, Barry Zaid, Sam Antupit, John Alcorn and George Stavrinos. While decidedly influenced by Push Pin’s strong graphic personality, these members also contributed their own approaches to the studio. This collaborative environment has been a significant model for others. The historic exhibition at the Louvre’s Musée des Arts Decorativs in 1970 underscored the institutionalization of Push Pin. It was the first time an American design studio was honored in this way. Critics applauded Push Pin for its non-conformity, and voiced surprise that “such work would be supported by a capitalist system.” The show traveled throughout Europe and to Brazil and codified the notion of a “Push Pin Style,” which was not a definable style so much as a spirit based on humor, play and surprise. In the light of this attention the studio was more visible to the world than was Chwast as an individual. Though this may have caused him some concern, the studio’s accomplishments were a greater source of pride. Push Pin offered, and continues to offer, variety, challenge and growth. Despite his solitary nature, Chwast thrived on collaboration. Yet it is very easy to pick out his contributions to the studio work of the Sixties and early Seventies, such as his outstanding series of Dostoyevsky paperback covers. Chwast’s approach—regardless of media—was always humorous and aggressive without being crass. His virtuosity has always been demonstrated in his ability to master both elegance and pop. In 1975 Glaser left Push Pin, ending their 20-year collaboration. Chwast, however, felt that he hadn’t exhausted his need for, or interest in, the studio. He continued as Push Pin’s director with Phyllis Flood in charge of managing and marketing the studio. Together they formed a company to develop and market a line of candies called “Pushpinoff.” Keeping with the Push Pin’s tradition, Chwast hired talented designers, many of whom regarded Push Pin Graphic as a magazine, and published it on a regular basis for five years. Thematic issues, including Mothers, the Condensed History of the World, Crime and Food, New Jersey, and Chicken, served as an outlet for Chwast’s creative obsessions as well as being a showcase for other members of the studio. Chwast also began something of a poster renaissance through his assignments from Forbes Magazine and Mobil. During this time Push Pin Press was founded as a means to package books that appealed to Chwast’s playfulness. He designed The Illustrated Cat (the first wave in the tide of feline publications), The Illustrated Flower and Robot, among others. The press was then replaced by Push Pin Editions, for which he was co-author of The Art of New York, Art Against War and Happy Birthday, Bach (which is so stylistically rich and varied with his own illustrations that it will serve the design historian as a complete record of Chwast’s range). Chwast had always been enamored with the conceptual children’s book, exemplified by his Tall City, Wide Country, one of over twenty children’s books he has either written or illustrated. Despite a certain satisfaction with the status quo, Chwast was convinced that Push Pin had to become more catholic in its practice and expand into packaging, corporate and environmental design. In 1981 he joined with Alan Peckolick to found Pushpin Lubalin Peckolick, subsequently renamed The Pushpin Group. He and Peckolick collaborated on projects with a wide range of applications. With Murry Gelberg as environmental designer, for instance, they designed the log, signage, packaging and interiors for Quotes, a new chain of shoe stores. A famous illustrator once said about changing his practice from the applied to fine arts: “Illustration is a young man’s game.” If that is true then Chwast has discovered a fountain of youth. While at times he relies on tried and true methods, he has more sparks of inspiration and longer fires of brilliance than most younger colleagues. No one can argue with his influence on illustration or his breakthroughs in design. His palette and design forms were new wave when most new wavers were still fingerpainting. But Seymour Chwast is anything but fashionable. His commitment to social and political issues has not swayed in the breeze of ideological reaction. And more important, his art for commerce and his creative art are as fresh and uncompromised as when he first put pen to paper. Please visit my Ebay store for an excellent and ever-changing selection of rare and out-of-print design books and periodicals covering all aspects of 20th-century visual culture. I offer shipping discounts for multiple purchases. Please contact me for details. Payment due within 3 days of purchase.
Frequently Asked Questions About 1970 Milton Glaser PUSH PIN Studio STYLE Seymour Chwast Hardcover Ed In Slipcase in My Website
swidnw.com is the best online shopping platform where you can buy 1970 Milton Glaser PUSH PIN Studio STYLE Seymour Chwast Hardcover Ed In Slipcase from renowned brand(s). swidnw.com delivers the most unique and largest selection of products from across the world especially from the US, UK and India at best prices and the fastest delivery time.
What are the best-selling 1970 Milton Glaser PUSH PIN Studio STYLE Seymour Chwast Hardcover Ed In Slipcase on swidnw.com?
swidnw.com helps you to shop online and delivers Moschino to your doorstep. The best-selling Moschino on swidnw.com are: Moschino MOS020/S Womens Large Metal Sunglass DDB3X Gold Copper w Pink 59-16 Love Moschino Purse Borsa Vit Black Genuine Leather Gold Studded Shoulder Bag Moschino Brown Faux Pearl Eyeglasses *FRAMES ONLY* MO084-04 53-16-135 Italy NWOT Moschino Classic Body Powder With Puff New Moschino Women’s 8 Off White Linen Blend Relaxed Pants MOSCHINO COUTURE! Black Classic Shift Dress – Gold Grommets USA 8 GB 10 Moschino by Moschino, 2.5 oz EDT Spray for Women Women’s Moschino Black Tapered Leg Jersey Knit Pants Size 10 Moschino White X Kelloggs Tony The Tiger Graphic Sweatshirt LOVE MOSCHINO Womens Dress Size 46 Size 10 Python Heart Print Logo Long Sleeve Moschino Cheap And Chic Tweed Style 100% Wool Blazer Jacket UK Size 10 Moschino Cheap & Chic Dress Mixed Print Silk Twill Size US 4 Twist-Front Sheath Moschino Cheap & Chic Black Jacket Size 46 IT Moschino Boutique Tweed Jacket Pink Cropped Pearl Buttons Long Sleeves Size 10 M VINTAGE MOSCHINO RARE ESTATE SALE FIND BLACK CAMEO PATCH PULL ON HI LO SKIRT S/M AW20 Moschino Couture Jeremy Scott Shipping Boxes Packaging Materials Overcoat MOSCHINO LEATHER SKIRT Moschino Jeans Women’s Linen Blazer Size 6 Navy Blue Dark Academia Boutique Moschino stretch High Gather Waist skirt Size IT40 USA6 F36 8 Moschino Cheap Chic Eyelet Wiggle Dress White Cotton Italy Boutique Moschino! -Print Ribbon Dress Size 6US -Very chic! Original Price $525 China Airlines x Moschino Business Class Deluxe Travel Amenity Kit French Blue Moschino Cheap And Chick NWT Dress IT 46 Abstract Print Dolman Sleeve Belted BOUTIQUE MOSCHINO Dress Women Sz 6 RARE Designer Branded Signature Novelty Print Moschino Couture Logo Budweiser printed cotton-jersey joggers pants SZ 10 read Moschino MOS508 C9A 53 Women Eyeglasses Moschino Jeans Women Medium IT 42 Jacket Floral Black Button Long Sleeve Moschino Boutique black jacket coat Sz 6 MOSCHINO FOREVER SAILING FOR MEN EDT SPLASH 20×4.5 ML. MINIATURE (PACK OF 20) MOSCHINO Sunglasses (original Retail Price Was $270.00) MOSCHINO BLACK GRAPHIC PRINT LEATHER CLUTCH RETAIL MADE IN ITALY BNWT MOSCHINO Milano Second Bag Pouch Denim Blue Authentic Used Very Good Item Japan Moschino “I Love 70” Watch New Toy 2 Bubble Gum by 3.4 oz EDT for Women Perfume in Box Moschino This Is Not A Moschino Toy Retro Vintage T-Shirt, S-5XL Moschino Pink Signature Tee T-shirt Rare NEW Moschino Vintage Pebbled Leather Lock Travel Handbag Ivory color Rare 90’s Moschino Dress Apricot Sleeveless Fit Flare Bow Hips Sweetheart Neck Cotton 8 Moschino Lettering Logo Calfskin Women’s Belt in Black with Gold Hardware IT 46 Moschino Women’s 189350 One-Piece Patchwork Animal Print Swimsuit Size 1 Love Moschino Dress Womens 4 Black Sweater Dress Long Sleeves Casual Vintage 80’s Franco Moschino Cheap&Chic RARE Happy Things Shirt 16.5 Men NWOT Moschino Couture by Moschino for Women 1.7 oz Deodorant Parfume Natural Spray L’eau Cheap & Chic by Moschino Eau De Toilette Spray 1.7 oz — Love Moschino Black Yellow Dress Club wear Women’s Dress Size US 2 EU 38 NEW Grey Love Moschino Vest Tank Top With Embroidered Print Size GB 10 Moschino Cheap & Chic Wool Beaded Butterfly Collared Sweater Black Sz 8 vintage cheap and chic Moschino Dress Size 6. MOSCHINO x Disney Top Womens Extra Small Short Sleeve Yellow Tee H&M MOSCHINO Moschino 8-Bit ‘This is not a Moschino Toy’ Bear Logo Tee NEW MOSCHINO MOS128/S MVUIR BLUE AUTHENTIC SUNGLASSES W/CASE 57-14 Love Moschino New Solid Red Sheath Sleeveless Fitted Dress 8 NWOT H&MOSCHINO MOSCHINO H&M JACKET PARKA COAT GOLD SIZE XS Moschino baby girl pink cotton teddy bear logo sweatshirt size 12-18 months, 3 Vintage Moschino Cheap Chic Green Large Bow Shift Mini Dress Sz 8 NEW LOVE MOSCHINO BLACK COTTON LOVE & PEACE EMBROIDERY BLOUSE TOP SHIRT,UK 14 MOSCHINO Jeans Vintage Italy Black/White Check Wool Oversized Shirt Size S Vintage 90s y2k Moschino Mare Dress Slinky Embellished US Size 34 Medium MOSCHINO COUTURE Moschino Couture T-shirt Black ZPA0701 Love Moschino Brown Short Sleeve Shirt size L Cheap and Chic Classic by Moschino Eau De Toilette Spray 1.7oz Love Moschino Men’s Airline Logo Short Sleeve T-Shirt NWT Y2K 2000s Love Moschino Pink Silk Lady Bug Mini Dress drop waist ruffles US 8 LOVE MOSCHINO BASEBALL BLACK PANTS STYLE sz IT 42 US 6 NEW RETAIL $354 MOSCHINO CHEAP AND CHIC BOUCLE DRESS 6 CORAL PINK GOLD BUTTONS BOW FRAN FINE Love Moschino Green Ruffle Draped Long Sleeve Shift Dress Size 10 Love Moschino Womens Sequined Tee Shirt Team Moschino Size 6 NWT MOSCHINO WOMEN’S T SHIRT Yellow Flicker Pink Camouflage Logo (U-002) Moschino Cheap & Chic Vintage Mesh Lavender Embroidered Cami Top | IT 44 | UK 12 MOSCHINO COUTURE BLUE JACKET Trompe L’oeil Blazer USA 4 IT38 $2.4K 2021 RUNWAY Vtg Moschino Jeans Mini Dress Cotton Halter Floral Bow Side Zip Black Small Moschino Olive Oyl Silk Scarf Orchard Heart Cottage Designer Italy Vtg MOSCHINO CHEAP & CHIC 90s DA VINCI OLIVE OYL PRINT BLACK DRESS 42 M Moschino Couture Silk Multicolor Watercolor Abstract Floral Peplum Blazer 42 M Moschino Vintage Faux Leather Jacket PVC Blazer Womens US 8 / It 42 MOSCHINO LOVE DRESS SIZE 10 U.K. RARE Love Moschino Love Logo T-Shirt Black Retro Rainbow HTF Size 8 EUC NWT*MOSCHINO Jeans* shirt-blouse*Size 40 (IT)*RED WINE color*Crystals*VINTAGE Moschino Cheap and Chic Sexy White Draped T Shirt 44/10 Moschino H&M DISNEY Daisy Donald Duck Jumper Sweater Dress S MOSCHINO Women’s Beige Tulip Skirt Asymmetric Pencil Skirt Size 8 / 44 / L MOSCHINO Black Calendar Silk Tie ITALY 56”/ 3.5” EC MOSCHINO mens Shirt Vintage 90s All Over Print Made In Italy 2018 MOSCHINO x H&M Hot Pink Disney Minnie Mouse Merino Wool Sweater Dress – S NWT MOSCHINO HOODIE SWEATSHIRT Teddy bears chains cotton white luxury Italy L Boutique Moschino Button Down Sweater Pink 38 BOUTIQUE MOSCHINO PUSSY BOW BLOUSE TOP PINK SIZE 42 NEW WITH TAGS I LOVE LOVE BY MOSCHINO EDT SPRAY 1.0 OZ (WOMEN) NEW IN BOX Boutique Moschino 100% Silk Dress U.K 12 bnwt RARE LOVE MOSCHINO COUTURE CREW NECK SHORT SLEEVE COTTON WHITE DRESS SIZE 4 nwt Moschino MOS130/S 807 BLACK 55/20/140 WOMAN Sunglasses RRP 365$ BNWT Moschino Mare Blue Shirt 52 / L MOSCHINO HEART SHIRT BLOUSE WOMEN’S size 14 Moschino Cheap and Chic Size 8 Strapless Dress Black Cotton Chiffon Overlay Hot! Moschino Toy 2 3pc Set Women Parfum Spy 1.7 oz + Shower Gel + Body Lotion 50% SALE DESIGNER PERFUMES 10 /$19.95 DG M JACOBS MOSCHINO CARTIER+BAG Moschino Jeans Black Tiered Skirt Womens 8 Skirt Belted Short Zipper Moschino Couture Jeremy Scott all over teddy bear policeman pink knit dress US10 Moschino Green Open Toe Floral Detail Shoes Women’s Size 36 1/2 US 5.5 New With Tags Moschino Arm Tape Logo Light Blue Sweatshirt US M (Retail 185$) Mens Pullover Fleece Hoodie