In posters, logos, advertisements and book covers, Glaser's ideas
captured the spirit of the 1960s with a few simple colors and shapes. He was
the designer on the team that founded New York magazine with Clay Felker in the
late '60s.
"Around our office, of course, he will forever be one of the
small team of men and women that, in the late sixties, yanked New York out of
the newspaper morgue and turned it into a great American magazine," the
magazine's obituary of Glaser said.
Soon city magazines everywhere were sprouting and aping its simple,
witty design style. When publishing titan Rupert Murdoch forced Felker and
Glaser out of New York magazine in a hostile takeover in 1977, the staff walked
out in solidarity with their departing editors, leaving an incomplete issue
three days before it was due on newsstands.
"We have brought about — however small — a change in the
visual habits of people," he told The Washington Post in 1969.
"Television conditions people to demand imagination."
His pictorial sense was so profound, and his designs so
influential, that his works in later years were preserved by collectors and
studied as fine art. But he preferred not to use the term
"art" at all. "What I'm suggesting is we eliminate the term art
and call everything work," Glaser said in an Associated Press interview in
2000, when the Philadelphia Museum of Art hosted an exhibit on his career.
"When it's really extraordinary and moves it in a certain way, we call it
great work. We call it good when it accomplishes a task, and we call it bad
when it misses a target."
The bold "I (HEART) NY" logo —
cleverly using typewriter-style letters as the typeface — was dreamed up as
part of an ad campaign begun in 1977 to boost the state's image when crime and
budget troubles dominated the headlines. Glaser did the design free of charge.
Glass mugs with the "I love New
York" logo are seen in a souvenir shop in Manhattan on November 04, 2014
in New York.
MLADEN ANTONOV/AFP VIA GETTY IMAGES
Nearly a quarter-century later, just days
after the September 11 terror attacks, he revised it, adding a dark scar to the
red heart and "more than ever" to the message.
"I woke up Wednesday morning and said,
'God, I have to do something to respond to this,'" he told The New York
Times. "When you have a heart attack, part of your heart dies. When you
recover, part of your heart is gone, but the people in your life become much
more important, and there is a greater awareness of the value of things."
His 1966 illustration of Dylan, his face a
simple black silhouette but his hair sprouting in a riot of colors in
curvilinear fashion, put in graphic form the 1960s philosophy that letting your
hair fly free was a way to free your mind.
bob-dylan-poster-for-columbia-records-milton-glaser-620.jpg
A 1967 Bob Dylan
poster for Columbia Records.
MILTON GLASER
The poster was inserted in Dylan's "Greatest Hits" album,
and made its way into the hands of millions of fans.
"It was a new use of the poster — a giveaway that was supposed
to encourage people to buy the album," Glaser told The New York Times in
2001. "Then it took on a life of its own, showing up in films, magazines,
whatever. It did not die, as such forms of ephemera usually do."
Among Glaser's other noteworthy projects were cover illustrations
on Signet paperback editions of Shakespeare; type designs such as Baby Teeth,
first used on the Dylan poster; and a poster for the Mostly Mozart Festival
featuring a colorful Mozart sneezing. His designs also inspired the playbill
for Tony Kushner's "Angels in America."
Glaser was born in 1929 in the Bronx and
studied at New York's Cooper Union art school and in Italy.
In 1954, he co-founded the innovative graphic
design firm Push Pin Studios with Seymour Chwast and others. He stayed with it 20
years before founding his own firm.
The Cooper-Hewitt, Smithsonian Design Museum
awarded him a lifetime achievement award in 2004. In 2009, he was awarded the
National Medal of Arts.
"I just like to do everything, and I was
always interested in seeing how far I could go in stretching the
boundaries," he said.
No hay comentarios:
Publicar un comentario