PHOTOGRAPHER MONOGRAPHS

PUBLISHER
Reel Art Press

BOOK FORMAT
Hardcover, 6.75 x 9.25 in. / 128 pgs / 120 bw.

PUBLISHING STATUS
Pub Date
Forthcoming

DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2017 p. 13   

PRODUCT DETAILS
ISBN 9781909526488 TRADE
List Price: $29.95 CDN $37.50

AVAILABILITY
Awaiting stock

BOOKSELLER TRADE ANNOTATION

Give the gift of PEACE with this AFFORDABLE, $29.95, small-format (6 3/4 x 9 1/4 in) GIFT book celebrating one of the most simple but also most powerful symbols in the world: the PEACE sign
  • Photos made between 1961-1968 all across America of the peace symbol in street graffiti, on the walls and trains of the New York subway, on buttons pinned to hippies and students, on posters at peace rallies
  • While nostalgic, these photos also feel timely in our current age of protest marches, with a new generation of home-made signs.
  • The book is a reminder of the power of people's protests to change the course of history.
  • Foreword by JOAN BAEZ, the American folk singer and activist
  • Afterword by SHEPARD FAIREY, the street artist, graphic designer, activist, illustrator and founder of OBEY Clothing who became widely known for his Barack Obama "Hope" poster.
  • Photographer Jim Marshall (1936-2010) is best known as a photographer of rock stars, and he was chief photographer at Woodstock. His iconic portraits include Janis Joplin with her bottle of Southern Comfort, Jimi Hendrix setting his guitar on fire onstage at Monterey, Johnny Cash flipping the bird onstage in Folsom Prison.
  • Jim Marshall's previous books include Jazz Festival (RAP 2016) and The Rolling Stones 1972 (Chronicle 2012).
  • 2018 will be the 50th Anniversary of the Peace symbol. It was designed in 1958 by Gerald Holtom for the British Campaign for Nuclear Disarmament.
  • Expect coverage by CNN, TIME Magazine, New Yorker, USA Today, Rolling Stone, Mother Jones, and The Guardian -- among many outlets.

Photographing across America, Jim Marshall charted the life of a symbol, documenting how the peace sign went from holding a specific anti-nuclear meaning to serving as an internationally recognized symbol for peace.

‘Jim Marshall was very organized as a photographer,’ explains Amelia Davis, who now handles his estate. ‘This was something he learned from photographer Jerry Stoll. He would fill out an index card for every person and every subject he photographed, and then write down the number of each roll of film on which they appeared. If a magazine like 'Rolling Stone' phoned him up and asked him for a shot of Jimi Hendrix, he could pull out the index card and identify them right away.’ The peace symbol showed up so often in his work... It was close to his heart,’ Amelia Davis says. ‘That symbol was always on his mind, whenever and wherever he was working. He took these peace photographs very seriously. He was always thinking about doing something more substantial with them, but he never quite got around to it. So it’s gratifying to be able to complete this project for Jim.’

  

REEL ART PRESS

Jim Marshall: Peace

Foreword by Joan Baez. Text by Peter Doggett. Afterword by Shepard Fairey.

Featured image is reproduced from 'Jim Marshall: Peace.'

The life of a symbol, in the streets and on the subway—a plea for a peaceful world

Jim Marshall: Peace collects the beloved photographer’s previously unseen “peace” photographs, taken mainly between 1961 and 1968. Photographing across America, Marshall charted the life of a symbol, documenting how the peace sign went from holding a specific anti-nuclear meaning to serving as a broad, internationally recognized symbol for peace. Marshall captured street graffiti in the New York subway, buttons pinned to hippies and students, and West Coast peace rallies held by a generation who believed, for a brief moment, they could make a difference.

The Campaign for Nuclear Disarmament (CND) symbol, also known as the peace sign, was designed in 1958 by Gerald Holtom for the British Campaign for Nuclear Disarmament. When the design spread from the UK to the American anti-war campaign, it caught the eye of Marshall, who saw himself as an anthropologist and journalist documenting the changing times of the 1960s. In between official assignments, Marshall started photographing the symbol and peace rallies as a personal project. He tabled these images on an index card in his archives labeled “Peace,” where they remained, until now.

Born in Chicago, Jim Marshall (1936–2010) grew up in San Francisco, teaching himself photography by portraying musicians in the coffeehouses of North Beach. After a brief stint in New York, Marshall returned to San Francisco, where he continued to cement his reputation as a formidably talented music photographer. Marshall holds the distinction of being the only photographer ever honored by the Grammys with a Trustees Award for his life’s work.


Featured image is reproduced from 'Jim Marshall: Peace.'

Jim Marshall: Peace

STATUS: Forthcoming | 9/26/2017

This title is not yet published in the U.S. To pre-order or receive notice when the book is available, please email orders @ artbook.com

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FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 5/25/2017

Join ARTBOOK | D.A.P. at Book Expo 2017!

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Join us Thursday, June 1 and Friday, June 2 in Booth #2556 at the Javits Center, New York. Preview new titles on art in the age of Black power, cars and photography 1900-now, Frankenstein, Eames furniture and more. New monographs include Stephen Shore, Philip Guston, Jasper Johns, Alice Neel and Louise Bourgeois, among many others. New publishers include Standards Manual and Spector Books. Come on by for all that and ... our 2017 giveaway: OG peace pins, in honor of the forthcoming Reel Art Press title, Jim Marshall: Peace!
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FROM THE BOOK
Peter Doggett on Jim Marshall's Photographs

No wonder, then, that early in its adoption as an emblem of anti-nuclear sentiment in America, [the peace symbol] should capture and hold the attention of photographer Jim Marshall. He recognized its cultural significance, and was intrigued by the symbol’s ability to morph between causes, and evade strict definition. Regardless of the ostensible subject of his photographic assignments, he documented the symbol’s appearance on subway walls and street posters, on political banners and in hippie collages. At one moment, it might be the central motif of a protest march or campus demonstration; at another, it acted almost as a secret code for those with the same political leanings. As these pages illustrate, it could be found at jazz or folk festivals; in urban squalor or festive display; linking anti-war and anti-nuclear campaigners with those who simply refused to belong to LBJ’s ‘Great Society’.

The juxtaposition of individual photographs and contact sheets in this book reflect the breadth of Jim Marshall’s interest, the keenness of his eye, and the way in which diverse cultural strands merged into one turbulent landscape in 1960s America of the 1960s. Amelia Davis, herself an award- winning photographer, worked closely with Marshall, and now curates and controls his archive. ‘He had immense curiosity’, she recalls. ‘You can see it in these contact sheets. He was always looking beyond. Another photographer who was on assignment to shoot the Newport Folk Festival would have concentrated solely on that task. But Jim always had his eyes open, to see what else was happening around him.’ She compares his contact sheets to a writer’s notebooks: an opportunity to see the fertile mind of an artist in the art of creation.

Under Marshall’s gaze fell legendary musicians such as Ray Charles and Bob Dylan; homeless refugees from 1960s consumerism; and, never far from hand, the peace symbol, and those who carried it with pride. ‘Jim is still under-appreciated as a photo-journalist,’ Amelia Davis says. ‘His philosophy was that he was a historian with a camera. His success as a photographer of jazz and rock’ n’ roll musicians means people always assume that was the only thing he did. But he was a master of his art. It astonishes me that he took these photographs using a completely manual Leica. That was a difficult camera to use, and yet he was brilliant at capturing a moment in time – whether that was a live performance, or simply something he saw on the streets or in the subway.’ The Peace project is a testament to his vision and his technical genius; and also a vivid evocation of a symbol, and a sensibility, that survived the turmoil of a remarkable decade.

The social and political advances that resulted from that decade, hardwon by those who took to the streets with banners and peace symbols aloft, seemed to be set in stone. For those who participated, it must have seemed impossible that the campaigns against militarism, imperialist adventurism, racism, sexual discrimination and the madness of nuclear proliferation would ever have to be fought again. But in these increasingly unsettled and alarming times, all the old certainties are under question and threat. Even the ultimate horror of a nuclear apocalypse is once again shadowing our world, while freedoms that have been accepted as natural for decades are being overturned and undermined.

Once again, it is time to speak truth to power; to stand up and be counted against prejudice and injustice; to challenge authoritarianism; to choose peace and love over war and hate. Jim Marshall’s photographs do not merely capture a momentous era in our collective history: they demonstrate what needs to be done, and what can be done, to ensure freedom for ourselves and those who follow us. As the sticker on the guitar case says: ‘Peace is the only shelter’. - Peter Doggett

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