Gary Anderson (right): creator of the recycling symbol
1970

Anderson was a 23-year-old USC Architecture graduate when he entered the Container Corporation of America’s design contest to create what would become the universal symbol for recycling. From Wikipedia: The 500 entries to the competition were judged by designers recognized as world leaders in graphics and industrial art, including Saul Bass, Herbert Bayer, James Miho, Herbert Pinzke and Eliot Noyes. According to Anderson: “Angela Davis had just shot up the courthouse and the Manson murders had just happened. I wanted to move away from that, from the Haight-Ashbury poster art with its amorphous organic shapes to create something simpler and cleaner.”

via waxinandmilkin.

pencil art by Dalton Ghetti.

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music lovers,
art aficionados and
shoe whores,

I hope you can come out to play thursday night. I’ll be playing my music during an opening for our dear friend Wendy MacNaughton (of 7×7 magazine fame. yes, THE 7×7 magazine). The show was curated by our own lovely ms. irene duller. Come have a bevie and show the love.

1939-1943 farm security administration : the depression in full color.

Bound for Glory: America in Color is the first major exhibition of the little known color images taken by photographers of the Farm Security Administration/Office of War Information (FSA/OWI). Comprised of seventy digital prints made from color transparencies taken between 1939 and 1943, this exhibition reveals a surprisingly vibrant world that has typically been viewed only through black-and-white images. These vivid scenes and portraits capture the effects of the Depression on America’s rural and small town populations, the nation’s subsequent economic recovery and industrial growth, and the country’s great mobilization for World War II.

The photographs in Bound for Glory, many by famed photographers such as John Vachon, Jack Delano, Russell Lee, and Marion Post Wolcott, document not only the subjects in the pictures, but also the dawn of a new era — the Kodachrome era. These colorful images mark a historic divide in visual presentation between the monochrome world of the pre-modern age and the brilliant hues of the present. They change the way we look — and think about — our past.

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