Alan Peckolick has enjoyed a 35-year career as an internationally recognized graphic designer. Peckolick’s projects have
included logo designs, posters, packaging, annual reports, corporate identity and annual reports for such non-profit organizations as Channel 13, New York University, Baruch
University, The City College of New York, as well as for Fortune 500 companies like AT&T, Revlon and General Motors. His designs have earned him over 500 graphic design
awards from around the world, including six gold medals from The Art Directors Club of New York. Peckolick’s poster for Mobil Oil hangs in the permanent collection of
the Guttenberg Museum in Mainz, Germany. He has lectured in Hamburg, Stuttgart, Helsinki, Tokyo, London, Toronto, and Bergen (Norway). A graduate of Pratt Institute, Peckolick
was closely associated with designer Herb Lubalin throughout his career, and in 1982 co-founded Pushpin Lubalin Peckolick. Peckolick’s design works have been featured in
Graphis Magazine, Art Direction Magazine, Idea Magazine and Graphics Today. Since 1988, he has been listed in Who’s Who in America and since 1991, in Who’s Who in
Graphic Design. In 2002, Peckolick was invited to donate his archives to New York University’s Fales Collection, housed in the Bobst Library. He was the subject of a
career retrospective show at NYU’s Tracey/Barry Gallery in Fall 2005. Peckolick has been painting professionally since 1998.
“Art in Review”
THE NEW YORK TIMES
FRIDAY MARCH 22, 2002
The faded, weathered old
advertisements that sometimes reveal themselves when buildings are razed or renovated have long fascinated Alan Peckolick, a graphic designer who dotes on the embellished
letters and ornate designs they contain. He paints the signs as they appear on the walls, ravaged by time and often partly erased by grit, bird droppings and other city
In “Griggon on Seventh” Griffo appears in a bold white script, with the partial word “shea” below it and a pair of wide-open
scissors cutting into the space of the lettering. A whitish crud drips down over the whole. Occasionally Mr. Peckolick paints windows with figures in them adjacent to the
signs; in “The Astor Catch,” a man leans out to catch a ball near a vertical sign that reads Astor in Art Deco lettering.
Signage has been covered so often
by photography that as a subject it is commonplace, but Mr. Peckolick, good at the colors and textures of erosion, nicely captures the sense of time that gives these brief
messages their nostalgic appeal.
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