A new exhibition at New York’s Poster House explores the civil rights militant group’s ingenious branding strategies.
A new exhibition at Manhattan’s Center for Italian Modern Art looks at the cross-pollination between avant-garde art and commercial posters in post-WWII Italy.
From exhibition catalogue pages marketed as original prints to brazenly fake “authorized” copies of Harings and Warhols, we’re living in a golden age of art piracy.
Some 500 satirical guerilla billboard ads posted across Europe featured texts such as “#SayYesToTheEndOfTheWorld” and “Low Fares to Plastic island.”
Hundreds of copies of the LA-based guerrilla poster artist Robbie Conal’s latest work, “Supreme Injustices,” were pasted up from Venice to Los Feliz.
Colin Salter surveys the “world’s most memorable, provocative, best-selling and groundbreaking posters.”
Over 60 artists have contributed to Project 270, an initiative by Mana Urban Arts Project, to engage young, disenfranchised voters nationwide.
“There’s a story behind every poster,” says Carol Wells, a former medievalist who abandoned her dissertation to devote her life to posters.
The “Recreate Responsibly” campaign draws inspiration from classic 1930s park promotions.
Formerly incarcerated women and artists across the US are collaborating on prints and other works to help free jailed moms and caregivers by Mother’s Day.
What sets Stehrenberger’s posters apart is her commitment to integrating illustration, and her work is most compelling when it’s seemingly at its simplest.
More easily lost to trash bins than the annals of history, these posters form the basis for a book cataloguing student work at CalArts over the last 40 years.