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Wim Crouwel. Claes Oldenburg. Amsterdam: Stedelijk Museum, 1970

“Several different aesthetics coexist within Crouwel's oeuvre, but it would be pointless to try to make each one coincide with the world of the specific artist featured in the posters and publications he designed. Indeed, despite Crouwel’s constant attention to artists' work and to potential relations between their work and his graphic design of titles (relations that remain un-decipherable to anyone ignorant of their genesis), his style retained its own clear autonomy. What is noticeable is his acquaintance with several major trends of the latter half of the twentieth century, such as geometric abstraction. minimal art, and Pop art. The success of the emphatic Oldenburg typeface is due to Crouwel’s special interest in the American artist's work and the larger context in which it emerged. Used on the cover of the catalogue. The letterforms appeared twice: blue on white in the upper part, and then in relief, white on white, in the initials of the museum embossed in the lower part, offering a tactile version of their bulbous lines.”


Catherine de Smet. “The Astronaut.” Neugraphic.


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