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A collage featuring bold red and blue geometric shapes layered over expressive, black calligraphic scribbles. The abstract forms and fluid lines are set against a plain white background.

Dazzling first UK show featuring leading designer Ivan Chermayeff opens

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Date
22 July 2014

It’s not a flawless guide, but you can often tell how significant the subject of an exhibition is based on who writes the foreword in the show’s catalogue. That Milton Glaser contributed an essay for Ivan Chermayeff: Cut and Paste at The De La Warr Pavilion is a good guide that if you’re interested in graphic design, he’s a name with which you should be familiar.

This is though Ivan’s first ever UK solo exhibition, bringing together his collages, illustrations, posters, publications and identity work – the Chermayeff & Geismar & Haviv studio he co-founded produced work for the likes of Chase Manhattan bank, MoMA and the Smithsonian. His book watching words move became an important resource for graphic designers interested in playing with traditional type formats and his sense of fun (allied with technical brilliance) shines through across the work on display.

The setting is particularly relevant as Ivan’s dad Serge designed the modernist masterpiece down on the south coast of England where the show takes place. In a nice extra touch, Ivan’s son Sam has designed this exhibition along with his partner Johanna Meyer-Grohbrugge.

Ivan Chermayeff: Cut and Paste at The De La Warr Pavilion, Bexhill, runs until 14 September.

Two framed posters hang side by side on a white wall. The first is a black and white typographic poster for “New York Nights” featuring a city skyline made of small yellow rectangles. The second is a green poster showing a silhouette of a person’s head, with a sunset forest scene visible inside the profile.
Above

Ivan Chermayeff: Cut and Paste (Photo by Nigel Green)

An illustration of a figure with yellow curly hair wearing a yellow two-piece outfit. They hold their arms up, framing a semi-circle of seven red dots above their head.
Above

Ivan Chermayeff: Cut and Paste (Photo by Nigel Green)

An illustration of a blue, polka-dotted figure standing on its head. A black jagged starburst shape covers the figure's face, featuring a white exclamation mark.
Above

Ivan Chermayeff: Cut and Paste (Photo by Nigel Green)

An illustration of a clown with a black bowler hat and a red nose. They wear a red and white striped outfit with blue boots and black gloves, standing with arms outstretched.
Above

Ivan Chermayeff: Cut and Paste (Photo by Nigel Green)

A collage featuring a white envelope at the top with a blue and red circular logo and the word “SLOVIT”. Below, abstract shapes in brown, orange and blue form a tall, arched figure.
Above

Ivan Chermayeff: Cut and Paste (Photo by Nigel Green)

A collage of bold, colourful geometric shapes that form the letters “E”, “O” and “H” stacked vertically. The letters are composed of red, yellow, blue, orange and dark brown paper cut-outs.
Above

Ivan Chermayeff: Cut and Paste (Photo by Nigel Green)

An illustration of a figure wearing a black bowler hat and a tie, their face obscured by a chaotic scribble of white lines. Below them, text reads “Winston Churchill: The Wilderness Years”, followed by a summary of the plot and cast. The poster is set against a solid blue background with a Mobil logo in the bottom left.
Above

Ivan Chermayeff: Cut and Paste (Photo by Nigel Green)

An abstract collage of bold, geometric shapes in red, orange, blue and pink. Hand-written text at the bottom reads “Li Lo Walking” and is signed by Ivan Courunay, dated 2003.
Above

Ivan Chermayeff: Cut and Paste (Photo by Nigel Green)

A collage of red, white and blue paper letters on a black background reads “Post American Style”. Below the text, a pair of scissors and scattered paper scraps lie on a torn white surface.
Above

Ivan Chermayeff: Cut and Paste (Photo by Nigel Green)

A collage featuring a cropped image of a person’s eyes peering over a yellow strip with a bold red “Z”. Below this, a torn piece of brown paper shows the large black letters “FRA” and the word “kraut.”. A bright red tomato with a green leaf sits at the bottom.
Above

Ivan Chermayeff: Cut and Paste (Photo by Nigel Green)

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About the Author

Rob Alderson

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Rob Alderson is a freelance writer, editor and strategist. He was previously editor-in-chief of It’s Nice That and WePresent, and editor of Design Week. He publishes the newsletter Undo, which tries to make sense of how AI is changing design work, the design process and the design industry.

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