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STAFF PICKS | FROM THE SHELVES

AVERY LOZADA | DATE 2/5/2017

POSTERS!

The Propaganda FrontMFA Publications, Museum of Fine Arts, Boston
Poster TownSpector Books
Poster No. 524Valiz
Separate Cinema: The First 100 Years of Black Poster ArtReel Art Press
Max BillFundacion Juan March
Come Alive!: The Spirited Art of Sister CoritaFour Corners Books
In the Good Name of the Company: Artworks and ephemera produced by or in tandem with the Colby Printing CompanyPictureBox/ForYourArt
Lex Reitsma: 196 Posters for De Nederlandse Operanai010 publishers
How Posters WorkCooper Hewitt, Smithsonian Design Museum
X-rated: Adult Movie Posters of the 60s and 70sReel Art Press

The Propaganda FrontThe Propaganda Front

Postcards from the Era of World Wars

Published by MFA Publications, Museum of Fine Arts, Boston.
Text by Anna Jozefacka, Lynda Klich, Juliana Kreinik, Benjamin Weiss.

Persuasion on a postcard: propaganda from all sides of the 20th century's world wars

A socialist worker raises the red flag. Adoring crowds greet Hitler and Mussolini. Uncle Sam orders Americans to enlist. In the first half of the 20th century, these images and many more circulated by the millions on postcards intended to change minds and inspire actions. Whether produced by government propaganda bureaus, opportunistic publishers, aid organizations or resistance movements, postcards conveyed their messages with striking graphics, pithy slogans and biting caricatures—all in a uniquely personal form.

The more than 350 cards reproduced in full color in this book advocate for political causes and celebrate war efforts on all sides of the major conflicts of their time. The accompanying text shows how a ubiquitous form of communication served increasingly sophisticated campaigns in an age of propaganda, and highlights the postcards collected here as both priceless historical documents and masterworks of graphic design.



PUBLISHER
MFA Publications, Museum of Fine Arts, Boston

BOOK FORMAT
Hardcover, 8.5 x 9.5 in. / 320 pgs / 380 color.

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Catalog: FALL 2017 p. 31   

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Poster TownPoster Town

Published by Spector Books.
Edited by Erich Brechbühl, Klaus Fromherz, Martin Geel, Michael Kryenbühl, Simon Rüegg, Raphael Schoen, Ivan Weiss, Megi Zumstein. Text by Bettina Richter, Pirmin Bossart, Martina Kammermann, Marc Schwegler.

Lucerne—Switzerland’s poster town—has a vibrant graphic design scene which has become widely known in recent years for its sophisticated posters. Some of these are designed for big cultural events, but others are more local, designed to advertise little theater performances or local music festivals. But the impact of these local designs can be felt further afield: in 2015 alone, 26 of the 100 best posters from Germany, Austria and Switzerland came from Lucerne and the surrounding area—in other words, more than a quarter of all the award-winning works. What’s behind this? How can such a relatively small city produce so many well-designed posters? The book Poster Town tracks this phenomenon with a wealth of images and texts by curators, art historians and design researchers, and creates a record of Lucerne’s poster designs for posterity.



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Spector Books

BOOK FORMAT
Paperback, 6.5 x 8.75 in. / 784 pgs / 800 color.

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Catalog: SPRING 2018 p. 164   

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Poster No. 524Poster No. 524

The Deconstruction of the Contemporary Poster

Published by Valiz.
Edited by Rianne Petter, Rene Put. Text by Jeroen Boomgaard, Jouke Kleerebezem.

Taking 523 posters found in the streets, graphic designers René Put (1962) and Rianne Petter (1975) carefully studied and deconstructed their composition, investigating and isolating certain elements and reassembling them into a brand new poster. Poster No. 524 presents their researches, revealing how a creative process unfolds, how art operates in public spaces and how one goes about creating a visual identity. Offering a history of poster design since 1900, Poster No. 524 is a how-to manual that will allow even novices to make their way into the world of poster design, giving step-by-step insight into how one makes a poster effectively communicate. This book will be an engaging tool for both students and professionals seeking to analyze and construct the framework and creative space of a poster.

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Valiz

BOOK FORMAT
Flexi, 9 x 12.5 in. / 176 pgs / 120 color / 20 bw.

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Catalog: FALL 2012 p. 141   

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Separate Cinema: The First 100 Years of Black Poster ArtSeparate Cinema: The First 100 Years of Black Poster Art

Published by Reel Art Press.
Edited by John Duke Kisch, Tony Nourmand. Foreword by Henry Louis Gates, Jr. Text by John Duke Kisch, Peter Doggett. Afterword by Spike Lee.

This magnificent volume is a celebration of the first 100 years of black film poster art. A visual feast, these images recount the diverse and historic journey of the black film industry from the earliest days of Hollywood to present day, accompanied by insightful accompanying text, a foreword by black history authority and renowned academic, Henry Louis Gates, Jr., and an afterword by Hollywood director, Spike Lee. These posters have meaning to young and old alike, and possess the power to transcend ethnicity. They capture the spirit and energy of an earlier time, reminding people of the pioneers of the past, those courageous and daring African-American filmmakers, entertainers and artists whose dreams and struggles paved the way for future generations. The wealth of imagery on these pages is taken from The Separate Cinema Archive, maintained by archive director John Kisch. The most extensive private holdings of African-American film memorabilia in the world, it contains over 35,000 authentic movie posters and photographs from over 30 countries. This stunning coffee table book represents some of the archive’s greatest highlights.

PUBLISHER
Reel Art Press

BOOK FORMAT
Hardcover, 9.5 x 11.5 in. / 320 pgs / 270 color / 30 bw.

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Catalog: FALL 2016 p. 177   

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Max BillMax Bill

Published by Fundacion Juan March.
Edited by Manuel Fontán del Junco, María Toledo. Text by Karin Gimmi, Jakob Bill, Manuel Fontán del Junco, Neus Moyano, Fernando Marzá, María Amalia García, Gillermo Zuaznabar.

The definitive illustrated monograph on 20th-century Swiss artist, designer, and architect Max Bill, whose work spanned from graphic design and advertising typography to product and furniture design and from painting to sculpture.

A true Renaissance man with a clear, unified aesthetic vision, the Swiss artist, designer, architect and writer Max Bill combined the virtues of homo faber and homo ludens throughout his intensely productive career, launching the Concrete art movement and establishing himself as the single most decisive influence on postwar Swiss graphic design. This gorgeously designed, hefty volume—the most thorough Bill overview ever published in English, and the only monograph in print—presents Bill’s oeuvre both chronologically and thematically, across every facet of his multifaceted oeuvre: painting, graphic art, sculpture, architecture, book and magazine design, industrial and furniture design, graphic design and advertising typography—from large-format posters to small inserts in periodicals—as well as his designs for exhibition spaces.

Bill stands out for his enormous influence on Latin American geometric art (through his 1951 retrospective at the São Paulo Museum of Modern Art), as well as for his essays, his work as an educator and his political and social concerns. All these aspects of his life and work are covered in this profusely illustrated catalogue, along with essays by scholars and a selection of previously unpublished essays by Bill himself.

Max Bill (1908–94) studied at the Bauhaus from 1927 to 1928 with Wassily Kandinsky, Paul Klee and Oskar Schlemmer, after which he moved to Zurich. He cofounded the Ulm School of Design in Germany in 1951. He had his first US exhibition at the Staempfli Gallery in New York City in 1963 and was the subject of retrospectives at the Albright-Knox Art Gallery in Buffalo and the Los Angeles County Museum of Art in 1974, and the Solomon R. Guggenheim Museum in New York City in 1988.



PUBLISHER
Fundacion Juan March

BOOK FORMAT
Hardcover, 9.5 x 10.5 in. / 352 pgs / 170 color / 40 bw.

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Come Alive!: The Spirited Art of Sister CoritaCome Alive!: The Spirited Art of Sister Corita

Published by Four Corners Books.
Text by Julie Ault, Daniel Berrigan.

At 18, Corita Kent (1918-86) entered the Roman Catholic order of Sisters of the Immaculate Heart of Mary in Los Angeles, where she taught art and eventually ran the art department. After more than 30 years, at the end of the 1960s, she left the order to devote herself to making her own work. Over a 35-year career she made watercolors, posters, books and banners--and most of all, serigraphs--in an accessible and dynamic style that appropriated techniques from advertising, consumerism and graffiti. The earliest, which she began showing in 1951, borrowed phrases and depicted images from the Bible; by the 1960s, she was using song lyrics and publicity slogans as raw material. Eschewing convention, she produced cheap, readily available multiples, including a postage stamp. Her work was popular but largely neglected by the art establishment--though it was always embraced by such design luminaries as Charles and Ray Eames, Buckminster Fuller and Saul Bass. More recently, she has been increasingly recognized as one of the most innovative and unusual Pop artists of the 1960s, battling the political and religious establishments, revolutionizing graphic design and making some of the most striking--and joyful--American art of her era, all while living and practicing as a Catholic nun. This first study of her work, organized by Julie Ault on the 20th anniversary of Kent's death, with essays by Ault and Daniel Berrigan, is the first to examine this important American outsider artist's life and career, and contains more than 90 illustrations, many of which are reproduced for the first time, in vibrant, and occasionally Day-Glo, color.

PUBLISHER

BOOK FORMAT
Paperback, 9.75 x 11.25 in. / 128 pgs / 100 color / 5 bw.

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Catalog: SPRING 2007 p. 62   

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In the Good Name of the Company: Artworks and ephemera produced by or in tandem with the Colby Printing CompanyIn the Good Name of the Company: Artworks and ephemera produced by or in tandem with the Colby Printing Company

Published by PictureBox/ForYourArt.
Edited by Christopher Michlig, Brian Roettinger, Jan Tumlir.

The Los Angeles–based Colby Poster Printing Company has been a friend to local artists ever since Ed Ruscha’s seminal Colby-printed announcement for the 1962 Pasadena Art Museum exhibition New Paintings of Common Objects. Their fluorescent posters have been disseminated on every high-traffic surface in the city, and their collection of over 150 wood and metal typefaces--usually bold and sans serif--are an integral part of Los Angeles’ visual aesthetic. Throughout the years, posters promoting everything from 1980s punk and heavy metal concerts to swap meets, street fairs, gun and bridal shows, local political campaigns and countless artist projects have been printed on Colby’s Heidelberg letterset press. A family-owned and operated union print shop since 1948, the Colby Poster Printing Company closed its doors forever on December 31, 2012. This book documents the print shop’s history and one of its final projects: a series of editioned posters by artists including Ruscha, Kathryn Andrews, Scott Benzel, Peter Coffin, Daniel Eatock, Eve Fowler, Jacob Kassay, Allen Ruppersberg, Andy Spade and Craig Stecyk. Printed in four neon-spot colors, this book is a unique tribute to Colby.

PUBLISHER
PictureBox/ForYourArt

BOOK FORMAT
Paperback, 7.5 x 9.5 in. / 324 pgs / 300 color.

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Catalog: FALL 2013 p. 59   

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Lex Reitsma: 196 Posters for De Nederlandse OperaLex Reitsma: 196 Posters for De Nederlandse Opera

Published by nai010 publishers.

Chronicling the history of the De Nederlandse Opera house, this publication documents the graphic design of Lex Reitsma (born 1958) for operas at the Stedelijk Museum in Amsterdam. Alongside 196 posters, Reitsma's work also includes designs for opera books, season brochures and program folders.

PUBLISHER
nai010 publishers

BOOK FORMAT
Paperback, 8.5 x 11 in. / 56 pgs / 200 color.

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Catalog: SPRING 2015 p. 160   

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How Posters WorkHow Posters Work

Published by Cooper Hewitt, Smithsonian Design Museum.
By Ellen Lupton. Text by Caitlin Condell, Gail Davidson, Ellen Lupton.

With its unique focus on visual language, Ellen Lupton's How Posters Work is more than another poster book. Rather than provide a history of the genre or a compilation of collectibles, the book is organized around active design principles. Concepts such as "Simplify," "Focus the eye," "Exploit the diagonal," "Reverse expectations" and "Say two things at once" are illustrated with a diverse range of posters, from avant-garde classics and rarely seen international works to contemporary pieces by today's leading graphic designers. Illustrated with over 150 works from the collection of Cooper Hewitt, Smithsonian Design Museum, How Posters Work provides a stunning education in seeing and making, demonstrating how some of the world's most creative designers have mobilized principles of layout, composition, psychology and rhetoric to produce powerful acts of visual communication.
Ellen Lupton (born 1963) is an acclaimed writer, curator and graphic designer. She is Director of the Graphic Design MFA program at Maryland Institute College of Art (MICA) in Baltimore, where she also serves as Director of the Center for Design Thinking. As Curator of Contemporary Design at Cooper Hewitt, Smithsonian Design Museum since 1992, she has produced numerous exhibitions and books, including Mechanical Brides: Women and Machines from Home to Office (1993), Mixing Messages: Graphic Design and Contemporary Culture (1996), Letters from the Avant-Garde (1996), Skin: Surface, Substance + Design (2002) and—most recently—Beautiful Users: Designing for People (2014). Lupton is a 2007 recipient of the AIGA Gold Medal, one of the highest honors given to a graphic designer or design educator in the US.

PUBLISHER
Cooper Hewitt, Smithsonian Design Museum

BOOK FORMAT
Hardcover, 9.5 x 9 in. / 208 pgs / 300 color.

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Catalog: SPRING 2015 p. 13   

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X-rated: Adult Movie Posters of the 60s and 70sX-rated: Adult Movie Posters of the 60s and 70s

Published by Reel Art Press.
Edited by Tony Nourmand, Graham Marsh. Introduction by Peter Doggett. Designed by Graham Marsh.

This magnificent book is the new, expanded, complete edition of Nourmand and Marsh’s cult bestseller, with text by renowned writer Peter Doggett. The 1960s and ’70s were the Golden Age of the X-rated movie. For the first time, these films were shown in mainstream cinemas to a fashionable, young crowd. The “porno chic” movement around films like Deep Throat (1972), The Opening of Misty Beethoven (1976) and Debbie Does Dallas (1978) gave skin flicks an air of credibility that had never existed before. Johnny Carson and Bob Hope talked about Deep Throat on TV, and respected artists became involved in promotional campaigns for adult films.
Of all film genres, the X-rated movie is possibly the one that lends itself best to the use of posters as a promotional medium. Screaming taglines, provocative titles and scantily clad bodies are all elements that can be used to great advantage in poster form. Even though many of the adult movies of the ‘60s and ‘70s have faded into cinematic history, their posters remain an inspiration for graphic designers. And today they are wonderful, joyful period pieces that evoke the temptations and taboos of a bygone age of suspender belts, stockings and eye-popping, gravity-defying brassieres. To quote Steve Frankfurt’s iconic ad campaign for the soft core masterpiece Emmanuelle, “X was never like this.”

PUBLISHER
Reel Art Press

BOOK FORMAT
Hardcover, 6.5 x 9 in. / 368 pgs / 350 color.

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Catalog: SPRING 2017 p. 26   

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