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STAFF PICKS | FROM THE SHELVES

AVERY LOZADA | DATE 2/5/2017

POSTERS!

Sam Is Not My UncleRM
Hecho en Cuba: Cinema in the Cuban GraphicsSilvana Editoriale
See Red Women's WorkshopFour Corners Books
Separate Cinema: The First 100 Years of Black Poster ArtReel Art Press
Left Wing Political GraphicsLa Marca Editora
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
Propaganda! Russian and Norwegian Posters 1920-1939Forlaget Press
How Posters WorkCooper Hewitt, Smithsonian Design Museum
X-rated: Adult Movie Posters of the 60s and 70sReel Art Press

Sam Is Not My UncleSam Is Not My Uncle

The USA in Cuban Poster and Billboard Art

Published by RM.
Text by Alfons González.

Uncle Sam with his hands cut off; the head of the Statue of Liberty impaled on a bayonet; a trash can decorated with the Stars and Stripes: these are some of the striking images with which Cuban propaganda has represented the United States over the past half-century and more. Ever since Fidel Castro came to power, hundreds of billboards and posters have alluded to the enemy of the revolution: the US government, with its military might and the CIA at its service.
Sam Is Not My Uncle gathers for the first time a selection of these works, most of which have never before been published in book form. It offers an overview of the images that Cuban propaganda has used to reference different issues and episodes that have marked US-Cuban relations since 1959.

PUBLISHER
RM

BOOK FORMAT
Paperback, 6.25 x 9.25 in. / 120 pgs / 92 color.

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CATALOG: SPRING 2017 p. 143   

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Hecho en Cuba: Cinema in the Cuban GraphicsHecho en Cuba: Cinema in the Cuban Graphics

Published by Silvana Editoriale.
Edited by Luigi Bardellotto. Text by Alberto Barbera, Jorge R. Bermudez, Alessandra Riccio, Luciano Del Sette.

The film poster is one of the best-known forms of Cuban art. Hecho en Cuba: Cinema in the Cuban Graphics is a compilation of Cuban film posters from the 1950s through the present, and an exploration of the designers who created them.
The bold sensibility and visual inventiveness of post-revolutionary Cuban graphic design makes it instantly recognizable. But the designers contributing to this new style were still individual artists, bringing their different backgrounds to the task of creating a new visual identity for a post-revolutionary nation. With lavishly illustrated sections on Eladio Rivadulla, Raùl Martinez, Eduardo Muñoz Bachs, Antonio Reboiro, Antonio Pérez Gonzáles (Ñiko), Renè Azcuy, Alfredo Rostgaard, Rafael Morante, Raùl Oliva, Julio Eloy Mesa and Jorge Dima, Hecho en Cuba brings out the individual design sensibilities that shaped an extraordinary graphic culture, where the poster became the populist art form par excellence.

PUBLISHER
SILVANA EDITORIALE

BOOK FORMAT
Paperback, 8 x 10.5 in. / 256 pgs / 200 color.

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CATALOG: FALL 2016 p. 151   

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See Red Women's WorkshopSee Red Women's Workshop

Feminist Posters 1974–1990

Published by Four Corners Books.
Foreword by Sheila Rowbotham. Text by Prudence Stevenson, Susan Mackie, Anne Robinson, Jess Baines.

"Girls are powerful": the ‘70s feminist posters of See Red Women’s Workshop
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.

PUBLISHER
FOUR CORNERS BOOKS

BOOK FORMAT
Paperback, 8.75 x 12.25 in. / 184 pgs / 90 color / 25 bw.

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CATALOG: SPRING 2017 p. 25   

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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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Left Wing Political GraphicsLeft Wing Political Graphics

Published by La Marca Editora.
Edited by Guido Indij. Text by Guido Indij, Horacio Tarcus, Norberto Chávez.

This outstanding collection of vivid political graphics from Argentina's Left Wing spans decades of political struggle--from woodcuts to desktop publishing. Flags are raised, workers are lionized, headlines blare from La Favilla, L'Agigatore, L'Amico del Popolo, La Questione Sociale, L'Allarme, Umanita Nova, Mundo Nuevo, El Burro, and Einstein, and a lion roars from the logo of La Protesta. The yellowed sheet music for a "Himno al 10 de Mayo" is preserved, as are a flier for Sacco and Vanzetti, a pileup of anarchy logos, many moving examples of homespun graffiti, and a collection of political cartoons, including one in which Labor pushes the pedals while Capital rides on the handlebars--with a champagne bucket. This chunky and cheeky volume is a must-have for anyone interested in graphic design, as well as left-wing politics.

PUBLISHER
LA MARCA EDITORA

BOOK FORMAT
Paperback, 6 x 6 in. / 240 pgs / 500 color.

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CATALOG: SPRING 2007 p. 75   

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ISBN 9789508891501 TRADE
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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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ISBN 9780954502522 TRADE
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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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Propaganda! Russian and Norwegian Posters 1920-1939Propaganda! Russian and Norwegian Posters 1920-1939

Published by Forlaget Press.
Edited and with introduction by Daniela Büchten. Foreword by Vigdis Moe Skarstein, Anton Likhomanov. Text by Yelena Barkhatova, Daniela Büchten, Denis Solovev, Vibece Salthe.

Propaganda! Russian and Norwegian Posters 1920–1939 brings together a broad selection of outstanding Russian poster art, from the Constructivists’ formal experiments to the Socialist Realism of the 1930s. It also includes some of the most important Norwegian posters inspired by Soviet styles. Several scholars discuss the development of Russian and Norwegian political poster art during the interwar years, while brief introductions explain the historical background of each poster. Hardly any art form had a higher profile in Russia during the years after the 1917 Revolution than the poster. This impressively illustrated volume highlights the connections and influences across this whole remarkable branch of artistic creativity.

PUBLISHER
FORLAGET PRESS

BOOK FORMAT
Paperback, 8.25 x 11.5 in. / 224 pgs / 110 color / 40 bw.

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CATALOG: FALL 2013 p. 158   

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ISBN 9788275476447 TRADE
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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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ISBN 9780910503822 TRADE
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X-rated: Adult Movie Posters of the 60s and 70sX-rated: Adult Movie Posters of the 60s and 70s

The Complete Volume

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

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, 8 x 10 in. / 368 pgs / 350 color.

PUBLISHING STATUS
PUB DATE
Forthcoming

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CATALOG: SPRING 2017 p. 26   

PRODUCT DETAILS
ISBN 9780956648792 TRADE
LIST PRICE: $49.95 CDN $64.95

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STATUS: Forthcoming | 5/23/2017

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



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