Review: Reviews

 
When the camera nearly always lies

When the camera nearly always lies

The Tate Modern’s ‘Performing for the Camera’ began with Yves Klein’s famous Leap…
 
Making sense of a complex ideal

Making sense of a complex ideal

Simplification is an ideal we think we aspire to, whether we are talking about the…
 
Unpicking the design process

Unpicking the design process

How do things in the design world actually get done? All too often the process by…
 
Tints and tones at the dawn of film

Tints and tones at the dawn of film

Legend has it that audiences for the Lumière brothers’ film The Arrival of a Train at…
 
Riding the concrete

Riding the concrete

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

A message for modernity

In the late 1950s I had tea in London with László Moholy-Nagy’s former secretary…
 
The museum man

The museum man

This confidently displayed show draws a line in the sand. It secures the De La Warr…
 
Poland’s graphic pioneers

Poland’s graphic pioneers

Publications attempting a comprehensive overview of a country’s graphic design…
 
Tightly cropped critique

Tightly cropped critique

The subtitle of James Clough’s generously illustrated Signs of Italy: Outdoor…
 
Scissor action

Scissor action

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