Review: August 2016

 
Riding the concrete

Riding the concrete

Jez Owen

Arriving like a solid slab of Brutalism, Long Live Southbank is a celebration of 40…
 
A message for modernity

A message for modernity

Richard Hollis

In the late 1950s I had tea in London with László Moholy-Nagy’s former secretary…
 
Poland’s graphic pioneers

Poland’s graphic pioneers

Sébastien Morlighem

Publications attempting a comprehensive overview of a country’s graphic design history…
 
The museum man

The museum man

Jim Northover

This confidently displayed show draws a line in the sand. It secures the De La Warr…
 
Scissor action

Scissor action

John L. Walters

John Heartfield: Laughter is a Devastating Weapon (David King and Ernst Volland, Tate…
 
Fighting back with pictures

Fighting back with pictures

David Crowley

This is the third book which Liz McQuiston has written on graphic protest in the past…
 
Tightly cropped critique

Tightly cropped critique

John L. Walters

The subtitle of James Clough’s generously illustrated Signs of Italy: Outdoor…
 
Dreaming in Colors

Dreaming in Colors

Steven Heller

In the ‘about’ section on the Colors website, you can see a sepia-tone photograph of…
 
Weimar volumes

Weimar volumes

Richard Hollis

The musical Cabaret gave a popular view of Berlin between the two world wars; the…
 
Nested narratives

Nested narratives

John L. Walters

The Grand Budapest Hotel (Abrams, $35, £21.99) – the book of the film – comes in the…
 
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