Eye Magazine

Insular, egocentric, tongue-tied – and over. Yet if there is more visual communication than ever before, why do educationists insist on lamenting graphic design’s imminent demise? Rick Poynor responds to some perplexing findings at the ‘New Views 2’ conference held at the London College of Communication. Read Rick’s Monitor article ‘It’s the end of graphic design as we know it’ in the latest issue of Eye, no. 69 vol. 18.

Top: Altar for the Temple of the Spirit (Sketch for the creation of an altar at the Institute of Kinetics) 1969-70 by Lev Nussberg and Natalia Prokuratov. Image courtesy of Jane Voorhees Zimmerli Art Museum, the State University of New Jersey.

British artist Leo Fitzmaurice [whose work you can see right now in Deptford High St., above and bottom] has created an aesthetic of what might be called ‘visible absence’, writes David Crowley, in the latest issue of Eye. 

In the early days of Eye, we ran an article about the New Horizons series of illustrated introductions to the arts, culture and science published by Thames & Hudson.

Guardian (and Observer) readers have been getting a daily dose of Martin O’Neill’s collages in the seven-part ‘How to write’ series of booklets.

The Spin exhibition is small, free, easy to find (if you’re in or near London) and won’t take up too much of your time, writes John L. Walters.

Icon, the London-based architecture and design title labels its October edition ‘the redesign issue’,   writes Simon Esterson.

With the internet hailed as an effective force for political change, writes Liz Farrelly, as news, campaigns and petitions   circulate paper-free, does it follow that old-school paper manifestoes are dead as the dodo?

Two Lines Align is the catalogue for the exhibition of that name curated by Michael Worthington for REDCAT in LA.

Last night it said ‘KAJAL’. The other night it said ‘DRUNK MAN’, and before that it was ‘SPUNK MAN’ (below).