When he felt his output became repetitive, Glaser disbanded the studio. In many of his illustrations, Glaser juxtaposed items of vastly different scales, creating a slightly fantastical effect reminiscent of the work of Rene Magritte. I wanted to do work that people saw.”įrom 1954 to 1974, Glaser ran Push Pin Studios, which, he said “celebrated all the things that the modernists taught us to hate”. I wanted to do work that was on the street. He settled on commercial art because, he said, “I wanted to do work that was public. Returning to New York, Glaser had to decide whether to pursue fine art or commercial art – a distinction he eventually helped erode. “You had this enormous commitment to the idea of human possibility, that you didn’t have to just accept existing conditions, you could change yourself and change society.” He later told the Times that growing up amid that ferment was “like heaven” during the Great Depression. Some residents were labour and civil rights activists who championed racially integrated housing. The son of Jewish immigrants from Hungary who ran a dry cleaning business, Milton Glaser was born 26 June 1929, and was raised in a Bronx housing complex dubbed Little Moscow for its population of leftists. Glaser said the grocery store makeover appealed to him because it was anti-elitist. He then tackled labels, signs and the designs of the stores themselves, placing giant pears in front of some.
Glaser began by giving the chain a new logo: a bright red circle nestled in the letter A.
He also reimagined the struggling Grand Union supermarket chain at the behest of its owner, tycoon James Goldsmith. Glaser designed restaurant logos and menus and even interiors, including that of the Windows on the World restaurant atop the World Trade Centre.
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