- - - - - Every Every great city has its Paris in decade: in London the the twenties, six be to had decade that , for especially and York, New For ties. unprecedent of period a experiencing was America Postwar 1950s. the ed economic growth, fueled by pent-up energy and resources released by victories in Europe and the Pacific,and marked by a boundless en more that was nowhere and time, boom a was It optimism. and thusiasm obvious than in New They City. York called it the Big Apple; everybody bite. a wanted was This boom. the from profited clearly advertising and design Graphic a of of in period in design, new advances communica thinking graphic and of tions reinterpretations technology, prevailing idioms. Modernism design, American in root taken since long had style International the and School, York New the called has Meggs Phillip what into evolved had and pragmatism. American and ethos Modernist the of combination a his with along Chwast, Seymour that 1954, in environment, this in was It colleagues Reynolds Ruffins, , and , estab lished what would become . This event launched one Push the years: sixty last the of movements design influential most the of style. Pin Many design see scholars Push Pin as an a abrupt departure, hard left turn away from the of in formal structure and Modernism, revolutionary its impact. That may be true, but Chwast and Push Pin share with the represented clutter banal ridden, cliché the of rejection a school Modern now. as then design, communications for passes what of most by , New York New York, New 1931, Bronx, New York York New Bronx, 1931, Born in Born in Resides BY CLIVE COCHRANESSAY

IN THE WORDS OF THE DESIGNERS WHO PARTICIPATED IN UP AGAINST THE WALL: POSTERS OF SOCIAL PROTEST Push Pin and the Modernists both insist on the importance of the idea, A good example is Seymour’s famous anti-war poster, End Bad Breath. the underlying concept behind the image. But the methods are very His Uncle Sam is a contrary echo of ’s famous different. Chwast and his colleagues rejected the idea of cookie-cutter recruiting poster. Both faces are in-your-face, but whereas Flagg uses solutions, of what some detractors might deem the Modernist formu- foreshortening and perspective to achieve impact, Seymour relies on the la: establish a grid, slap down some Helvetica, set the text in flush left, power of the flat surface; a hard edged linocut with deliberate imperfec- random right, create a hard-edge metaphorical image to illustrate the tions and bold color that will not be ignored. The title itself is a not-so- headline. For Chwast, every design problem is different, and calls for subtle comment on consumerism: we are more concerned with halitosis a different approach. If Push Pin had a prevailing aesthetic it would be than mass destruction. That poster was made forty years ago, and just eclecticism, and a commitment to relentless curiosity about culture, im- like Flagg’s I Want You, it has never gone out of print. In the interval, age, and ideas. And there is something else: the Push Pin style relies has continued to make drawings in his studio every day, heavily on . 11 to 12 hours a day. After all, you never know when someone will need a drawing in the middle of the night. Both Chwast and Glaser refer to themselves as designers. Yet each in- sists on the importance of drawing. In fact, when Seymour was asked why he wanted to live close to his studio, he replied, “you never know when someone might need a drawing in the middle of the night”. Ac- cording to his wife, the designer , he adheres to a demanding work schedule, although he probably doesn’t think of it as work: 11 to 12 hours a day, of drawing and thinking about drawing, for over 55 years. Scher says, “If there is a day that he doesn’t have any drawings to make, he comes up with ideas for things that will demand he make more draw- ings anyway… the act of making drawings is so ingrained in his being it has become equivalent to breathing, and if he doesn’t do it he will die.”

Despite his prodigious output, Seymour Chwast never seems to run out of ideas, although in his recent book, Seymour, the Obsessive Images of Seymour Chwast, he admits to a fear of repeating himself: “My fear of failure persuades me to work overtime to improve the work… I just slug it out until something appears that I like.”

One strategy is simply to exhaust the creative possibilities of a subject. This was the operating motive of the Push Pin Graphic, the promotional house organ of Push Pin studios. For example, issue no. 63 from 1976 was The Chicken Issue, in which the various Push Pin artists would each provide their individual interpretation of America’s favorite fowl. Seymour still applies this technique. In his recent book many of the images are obsessive; he seems to be asking himself, how many different ways can you draw a monkey, or a Mexican wrestler, or a car? He loves cars, but they are all vintage cars, rendered in paint, or ink, or woodcut, or painted cut sheet metal. Many seem to be two-dimensional replicas of cheap, tin, wind-up toys, complete with side, front, and rear views of the driver and passenger.

His constant experimentation with different media and surface materials is a hallmark of Seymour’s work, as is the insistent two-dimensionality. The art is flat, there is rarely a hint of perspective, or foreshortening, or Chiaroscuro, as though he is saying, "look, it’s a picture, focus on the idea!" There is also a certain muscularity about his drawing, perhaps even pug- nacity, usually combined with an incisive wit that owes more to slapstick than irony. It’s like the Marx Brothers meet Picasso meets Mohamed Ali.