Invention, construction, communication: revues d'avant-garde de la collection Alberto Sartoris
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Parmi les abondantes ressources du fonds Alberto Sartoris conservé aux Archives de la construction moderne, la collection de revues d'art et d'architecture constitue un ensemble capital. Son secteur le plus spectaculaire est celui des "revues d'avant-garde" des années 1920 et 1930. Vitrines de l'identité propre aux différents groupes qui les publient et de la communauté(...)
Invention, construction, communication: revues d'avant-garde de la collection Alberto Sartoris
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Parmi les abondantes ressources du fonds Alberto Sartoris conservé aux Archives de la construction moderne, la collection de revues d'art et d'architecture constitue un ensemble capital. Son secteur le plus spectaculaire est celui des "revues d'avant-garde" des années 1920 et 1930. Vitrines de l'identité propre aux différents groupes qui les publient et de la communauté qui les lie, elles sont le support d'une expérimentation visuelle foisonnante (typographie, construction de l'image). C'est elle qui justifie d'abord la sélection présentée ici, composée de couvertures emblématiques de quelque soixante titres célèbres ou - le plus souvent - méconnus. Mais ces images témoignent également d'un processus caractéristique, où les programmes utopistes et totalisants de l'avant-garde historique s'abîment dans la Crise pour se subordonner aux réalités d'une "architecture moderne" en voie d'institutionnalisation.
Printed Matter
Edward Bawden's London
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Whether he was creating book illustrations, advertising posters, or college murals, Edward Bawden (1903-1989), a one-time Official War Artist who documented WWII in watercolor, found his greatest muse in the city of London. This book, with almost 200 striking images, shows Bawden's unique view of the city in prints, posters, drawings, paintings, murals, and advertising(...)
Edward Bawden's London
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Whether he was creating book illustrations, advertising posters, or college murals, Edward Bawden (1903-1989), a one-time Official War Artist who documented WWII in watercolor, found his greatest muse in the city of London. This book, with almost 200 striking images, shows Bawden's unique view of the city in prints, posters, drawings, paintings, murals, and advertising material. The illustrations include early work executed while a student in the early 1920s; the Morley College murals carried out in partnership with the well-known artist Eric Ravilious; advertising work for London Transport, Fortnum & Mason, Twinings Teas, Shell, and Westminster Bank; Bawden's famous mural for the Lion & Unicorn Pavilion at the 1951 Festival of Britain; and some of his finest series of linocuts including London Monuments and London Markets.
Printed Matter
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The box features 25 original sheet drawings by Danzig Baldaev and 25 photographs by Sergei Vasiliev. Each has a detailed description of the meaning of each tattoo on the reverse. Also included is a postcard of each of the three book covers. The drawings printed on the postcards are facsimiles of Baldaev’s original sheets, reproduced directly from the Russian Criminal Tattoo Archive.
Russian criminal tattoo encyclopaedia postcards
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The box features 25 original sheet drawings by Danzig Baldaev and 25 photographs by Sergei Vasiliev. Each has a detailed description of the meaning of each tattoo on the reverse. Also included is a postcard of each of the three book covers. The drawings printed on the postcards are facsimiles of Baldaev’s original sheets, reproduced directly from the Russian Criminal Tattoo Archive.
Printed Matter
Poster graphics
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This inspirational collection of 300 recent posters from around the world proves that the poster is thriving. Richly illustrated, the selection goes far beyond commercial advertising, straight to the front lines of contemporary design practice, considering the poster as perhaps the most experimental form of graphic work today.
Poster graphics
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This inspirational collection of 300 recent posters from around the world proves that the poster is thriving. Richly illustrated, the selection goes far beyond commercial advertising, straight to the front lines of contemporary design practice, considering the poster as perhaps the most experimental form of graphic work today.
Printed Matter
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From 1928 to 1930, Tokyo publisher Ars issued "The complete commercial artist": a fully illustrated journal of commercial design for both commercial retail spaces and print design. Featuring countless original designs, its 24 volumes were dedicated to topics ranging from posters, packaging, flyers, page layout and typography to neon signage, billboards and shop window(...)
The complete commercial artist: Making modern design in Japan, 1928–1930
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From 1928 to 1930, Tokyo publisher Ars issued "The complete commercial artist": a fully illustrated journal of commercial design for both commercial retail spaces and print design. Featuring countless original designs, its 24 volumes were dedicated to topics ranging from posters, packaging, flyers, page layout and typography to neon signage, billboards and shop window displays. Under the guidance of lead editor and writer Hamada Masuji, a passionate advocate for commercial design, the publication became the most important—and visually dazzling—document of Japanese design in its time.
Printed Matter
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The Russian Revolution has been examined countless times, but never from the perspective of postcards. This book is an extraordinary visual record of the tumultuous events of the 1905, the Menshevik, and Bolshevik Revolutions. The postcards capture the imperial splendour of the royal family in their final years, the mood of revolution as the crowds took to the streets,(...)
Postcards from the Russian revolution
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The Russian Revolution has been examined countless times, but never from the perspective of postcards. This book is an extraordinary visual record of the tumultuous events of the 1905, the Menshevik, and Bolshevik Revolutions. The postcards capture the imperial splendour of the royal family in their final years, the mood of revolution as the crowds took to the streets, and the sens of optimism that greeted the new regime. They also reveal a very personal quality: in a cart sent by the Grand Duchess Olga from the house where the royal family was imprisoned shortly before their murder in Ekaterinburg, and a snapshot of Lenin chatting informally with the author H.G. Wells. This book is a unique contribution to the visual history of the Russian Revolution and brings to life one of the defining events of the twentieth century.
Printed Matter
The printed picture
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The Printed Picture traces the changing technology of picture-making from the Renaissance to the present, focusing on the vital role of images in multiple copies. From woodblocks to modern color photographs, from engravings to bar codes, from daguerreotypes to today's digital wonders, the book succinctly examines the full range of pictorial processes. Exploring how(...)
The printed picture
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The Printed Picture traces the changing technology of picture-making from the Renaissance to the present, focusing on the vital role of images in multiple copies. From woodblocks to modern color photographs, from engravings to bar codes, from daguerreotypes to today's digital wonders, the book succinctly examines the full range of pictorial processes. Exploring how pictures look by describing how they are made, author Richard Benson reaches fresh conclusions about what pictures can mean. Presented as a series of one-page essays opposite the pictures they examine, the book retains the engaging, informal style of Benson's celebrated seminars at Yale University.
Printed Matter
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FormContent is a not-for-profit curatorial project space situated under a brick arch on Beck Road, London, UK. This publication is an exhibition on paper, consisting of 9 collected sheets, including contributions by Athanasios Argianas, Adam Avikainen, Kit Craig, Patricia Esquivias, Luca Francesconi, Simon Fujiwara, Ryan Gander, Dora Garcia, Clare Gasson, Rowena Hughes,(...)
August 2008, London
FormContent: rehearsing realities
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FormContent is a not-for-profit curatorial project space situated under a brick arch on Beck Road, London, UK. This publication is an exhibition on paper, consisting of 9 collected sheets, including contributions by Athanasios Argianas, Adam Avikainen, Kit Craig, Patricia Esquivias, Luca Francesconi, Simon Fujiwara, Ryan Gander, Dora Garcia, Clare Gasson, Rowena Hughes, Latitudes with Ignacio Uriarte, Matthieu Laurette, Simone Menegoi, Matt Packer, Luigi Presicce, Riccardo Previdi, Jamie Shovlin, Raymond Taudin Chabot, Sandra Terdjman, Luca Trevisani.
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Risograph is a brand of digital duplicators that are designed mainly for high-volume photocopying and printing. The process creates micro-imperfections in printing, similar to spontaneity, or even comparable to how improvisation in jazz can lead to an unexpected but pleasant result. The result of two years of research by O.OO, a graphic design studio based in Taipei, the(...)
No Magic In Riso, 3rd reprint
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Risograph is a brand of digital duplicators that are designed mainly for high-volume photocopying and printing. The process creates micro-imperfections in printing, similar to spontaneity, or even comparable to how improvisation in jazz can lead to an unexpected but pleasant result. The result of two years of research by O.OO, a graphic design studio based in Taipei, the main focus of this publication is colour separation and experimentation with images. The studio does not claim the colour separation methods described here to be absolute or the “right” way, but offer resources in hopes that they can provide helpful advice in practice while on the path to professionalism in this field.
Printed Matter
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A feminist silkscreen poster collective founded in London in 1974 by three former art students, the See Red Women’s Workshop grew out of a shared desire to combat sexist images of women and to create positive and challenging alternatives. Women from different backgrounds came together to make posters and calendars that tackled issues of sexuality, identity and oppression.(...)
See Red Women's Workshop: feminist posters 1974-1990
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A feminist silkscreen poster collective founded in London in 1974 by three former art students, the See Red Women’s Workshop grew out of a shared desire to combat sexist images of women and to create positive and challenging alternatives. Women from different backgrounds came together to make posters and calendars that tackled issues of sexuality, identity and oppression. With humor and bold, colorful graphics, See Red expressed the personal experiences of women as well as their role in wider struggles for change. Written by See Red members, detailing the group’s history up until the closure of the workshop in 1990, and with a foreword by celebrated feminist historian Sheila Rowbotham, See Red Women’s Workshop features all of the collective’s original screenprints and posters. Confronting negative stereotypes, questioning the role of women in society, and promoting women’s self-determination, the power and energy of these images reflect an important and dynamic era of women’s liberation—with continued relevance for today.
Printed Matter