I wish I could fly to New York to see this exhibit more than is possible to describe here. I’ve been a fan of World War 3 Illustrated since I first landed in NYC in the summer of 1988. It wasn’t more than a week before I had seen a striking hand-drawn poster plastered to an abandoned building in Alphabet City showing proletariat fists rising in defiance of police-like figures holding back barking dogs. I remember thinking that I had to meet the person who made this poster. Well, I did. His name was Seth Tobocman and he was an illustrator/artists living in the East Village who was highly involved in social and political movements, something that came through clearly in his art. I was a big fan of Frans Masereel and immediately saw a resemblance in Seth’s work in both style and motivation. I tracked him down after having recognized his bold, graphic style in a local comic/art/zine called World War 3, which I soon found out was published by Seth and his friend and fellow illustrator, Peter Kuper.
Peruse the portfolio of this New Orleans-based designer and try not to feel lazy! In addition to his commercial work, which is quite excellent, Mr. Kiesewetter has been busy working and collaborating on projects ranging from post/medium, an online artist/gallery portfolio management system for New Orleans artists, a screen-printed poster series for the historic 2nd-lining Nine Times Social & Pleasure Club and the Neighborhood Story Project, a book-making project based in New Orleans whose mission states “‘Our stories told by us,’ we work with writers in neighborhoods around New Orleans to create books about their communities.” Honestly, it’s difficult to tell which of Mr. Kiesewetter’s work is commercial or pro-bono as the level of quality and creativity remains consistently high. I recently purchased the first two issues of Constance, an art and literary magazine produced in New Orleans, which Mr. Kiesewetter collaborates on and is how I stumbled upon his work. You should take a look, yourself.
Talk about “visual junk.” If your notion of Dada is no more than a Duchamp urinal then please click on over to UbuWeb (with your French-English dictionary) and peruse their Dada Magazine archive. Founded by Tristan Tzara in an attempt to broaden the reach of Dada’s core ideas throughout Europe, Dada (the magazine) published works of art, prose and poetry and survives as a wonderful example of early DIY subculture publishing both in content and form. Of the three issues available online, Dada 3, published in December of 1918, is the most striking of the titles sporting some innovative page layouts and a terrific cover design (inset). Notable contributors over the years included Giorgio de Chirico, Robert Delaunay, and Wassily Kandinsky just to name a few.
By now you’ve surely been handed one of those sleek, satin-finished mini-cards with full-bleed photos or graphics on one side and contact info on the other. And, surely, you’ve wondered where they come from and have yet to attempt to Google “narrow business cards” for fear of the 600,000 search results you would receive. Well, here’s the skinny on those slim biz cards: Moo. I’ve made a slew of these for NoRelevance.com and was pleased by the idiot-proof step-by-step process it took to produce 100 cards from a Flickr set. Oh, did I mention that? You can access your photos and sets from such popular sites as Flickr, Facebook, LiveJournal and more. All this for $19.99 plus shipping. Surely there’s a better deal on the web, no? Perhaps, but the ability to spread those 100 cards over several different photos was the hook for me. I upload ten different photos and get ten cards each. You can only have one version of the flip-side, but that’s hardly a down-side.