Museum für Gestaltung Zürich, Bettina Richter (eds.)

Niklaus Troxler

Poster Collection 34

As one of the most important poster designers of our time, Swiss graphic designer Niklaus Troxler (*1947) has devoted himself primarily to jazz posters. In 1966, Troxler organized the first jazz concert in his hometown Willisau in the canton of Lucerne. In 1975 he founded a jazz festival there that has since brought both established and innovative artists in Swiss and international jazz to the stage every year. Troxler designed countless posters for the festival as well as for the individual concerts, constantly reinventing himself. If his early jazz posters were still strongly oriented towards an illustrative comprehensibility, he soon emancipated himself from any narration. His virtuoso playing in the plane translates the character of experimental music and takes up ist improvisational gestures. Troxler’s posters are synesthetic experiences and make music physically tangible. He is particularly interested in type, which he always designs in new ways and with different means, exploring the limits of legibility.

As one of the most important poster designers of our time, Swiss graphic designer Niklaus Troxler (*1947) has devoted himself primarily to jazz posters. In 1966, Troxler organized the first jazz concert in his hometown Willisau in the canton of Lucerne. In 1975 he founded a jazz festival there that has since brought both established and innovative artists in Swiss and international jazz to the stage every year. Troxler designed countless posters for the festival as well as for the individual concerts, constantly reinventing himself. If his early jazz posters were still strongly oriented towards an illustrative comprehensibility, he soon emancipated himself from any narration. His virtuoso playing in the plane translates the character of experimental music and takes up ist improvisational gestures. Troxler’s posters are synesthetic experiences and make music physically tangible. He is particularly interested in type, which he always designs in new ways and with different means, exploring the limits of legibility.

This book is part of the Poster Collection series. Get the complete series here

Edited by Museum für Gestaltung Zürich, Bettina Richter

With an essay by Daniel Martin Feige

Design: Integral Lars Müller

16,5 × 24 cm, 6 ½ × 9 ½ in

96 pages, 109 illustrations

paperback

2022, 978-3-03778-687-1, German
English
CHF 25.00

Bettina Richter

Bettina Richter studied art history in Heidelberg, Paris and Zurich and obtained her doctorate in 1996 with a thesis on the antiwar graphics of Théophile-Alexandre Steinlen. From 1997 to 2006, she served as a research associate at the Poster Collection of the Museum für Gestaltung Zürich, and in 2006 became its curator. Bettina Richter lectures at the Zürcher Hochschule der Künste and works as a freelance writer. She is the editor of the publication series "Poster Collection" and has published articles and essays on art history, literature, and the subject of posters.

Museum für Gestaltung Zürich, Bettina Richter (eds.)

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En Vogue

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Museum für Gestaltung Zürich, Bettina Richter (eds.)

Stop Motion

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Self-Promotion

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Herbert Leupin

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The Hand / Die Hand

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Museum für Gestaltung Zürich, Bettina Richter (eds.)

Japan – Nippon

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Museum für Gestaltung Zürich, Bettina Richter (eds.)

In Series / In Serie

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Museum für Gestaltung Zürich, Bettina Richter (eds.)

Help!

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Head to Head

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Kopf an Kopf

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Otto Baumberger

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Museum für Gestaltung Zürich, Bettina Richter (eds.)

Photo Graphics

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Comix!

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Zürich–Milano

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Typo China

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Catherine Zask

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Handmade

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Armin Hofmann

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Donald Brun

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Revue 1926

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