Cross-Dressing in the Park
I can't get enough of the Public's Shakespeare in the Park print campaign in all its 90 degree typography glory! This print campaign is all over NYC for the annual free performances presented by The Public Theater at the Delacorte Theater in Central Park.
This year’s plays include a raucous production of Shakespeare’s Twelfth Night starring Anne Hathaway, opening tonight, and Euripides’s tragedy The Bacchae, with a score by Philip Glass, coming in August.
As usual the two plays are largely unrelated, but one thing they have in common this year is transvestism: lead characters in both plays don drag, hence the campaign tagline “Cross-Dressing in the Park.” The posters feature a Greek sculpture accessorized with a Shakespearean rose and mustachioed with a fine calligraphic line. Designed by Paula Scher and Lisa Kitschenberg, the campaign uses elements of the Public’s refreshed identity and complements our campaign for last summer’s productions of Hamlet and Hair.
This years campaign for Twelfth Night and The Bacchae:
Last years campaign for Hamlet and Hair:
I'm not promoting theft or vandalism in anyway... BUT if someone could get me one of these original posters there would be a nice reward for them!
--sdotg--











The year is 2058 in London, a city under attack. After months of raining things begin to grow to overpower the people below and Turbine Hall at the Tate Modern has housed some 200 metal blue and yellow bunk beds in anticipation of people coming in to seek shelter.
The things growing are a giant reproduction of Louis Bourgeois' spider sculpture jumbled up with an Alexander Calder mobile, Henry Moore's sheep, Claus Oldenburg's apple, and Maurizio Cattelan's cat skeleton in style of a Tyrannosaurus Rex among others all mushrooming out of control while in the background a giant screen projects images from The Last Film made up of excerpts from the experimental films of Chris Marker and Peter Watkins, and the science fiction of George Lucas and Nicolas Roeg. Scenes of shelter and archives are drawn from Richard Fleischer's Soylent Green and Alain Resnais's Toute la mémoire du monde, alongside sequences of urban expectation from Peter Weir's The Last Wave, the apocalyptic explosion of Michelangelo Antonioni's Zabriskie Point and the dystopian vision of a world without books in François Truffaut's adaptation of Fahrenheit 451.
Each of the beds holds a copy of a classic sci-fi novel or some other scary out of world text.





