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Fall/Winter 2014
publications + distribution fall/winter 2014 FALL/WINTER 2014 Frontlist 3 New Publisher Backlist 58 Backlist 61 Index 127 Order & Trade Information 134 rampub.com Architecture Architecture FORENSIS The Architecture of Public Truth Forensis (Latin for “pertaining to the forum”) engages the testimony of material objects—such as bones, ruins, toxic substances—as a method of central importance in interpreting how subjects are policed and governed by their states. Developed through the Forensic Architecture Project by theorist Eyal Weizman at Goldsmiths College, University of London, Forensis seeks to expand the scope of contemporary forensics to include a broader historical, theoretical, political and aesthetic context. At the heart of the book is a methodological experiment in which participating architects, artists, filmmakers, lawyers, and theorists employed new technologies and spatial research methods to investigate contemporary issues such as border regimes, urban warfare, and climate change. Investigations were undertaken in Pakistan, Palestine, the Amazon basin, Guatemala, Chile, Bangladesh, Yemen, the United States and the former Yugoslavia among others places. Evidence of state or corporate violence was unearthed for use by prosecution teams, civil society organizations, activist networks, human rights groups, and the United Nations. Innovative investigations aimed at producing new kinds of evidence in this rich collection of essays and research reports suggest many new ways that international prosecutorial teams, political organizations, -
FRONT DESK / BACK Office
FRONT DESK / BACK OffIce The secret world of galleries in xxx candid pictures and two texts. There’s something not quite the past five years, but allready right about commercial galleries. since the 1990s I look at the They are a kind of schizophrenic back rooms – the other side of space. On the one hand they the art machine – and became explicitly present things with an obsessed by the understatement intellectual and immaterial val- of the façades, the messy, clut- ue, while on the other hand it is tered desks in the small galleries clear that one could eventually and the cold professionalism of possess these things; the expe- the major players’ offices, and, rience has a price tag attached. above all, the uniformity of the They represent two different re- design. They all have the same alities or systems: the discourse MacBooks and iMacs, the same and the market. The discourse desk lamp by Michele de Lucchi is more at home in art institu- and the same designer furniture tions and artist- and curator-run by Charles & Ray Eames, Arne spaces, where looking at art is Jacobsen and Dieter Rams. not corrupted by finance. Selling Have you ever taken a good is, of course, the commercial look at the front desks? It was gallery’s main function, but the at Air de Paris that I first saw a discourse is equally important. gallery position its office partly It is for this reason that looking as a front desk in the midst of and buying are kept apart and the white cube. -
Roadcasting the BUSINESSWEEKLY of TELEVISION and RADIO
SEPTEMBER 14, 1964 50 CENTS 330 YEAR Ñ { roadcasting THE BUSINESSWEEKLY OF TELEVISION AND RADIO Ptiá9 -time producers see tape as daytime vehicle. p31 rrar rter spot TV grows 18.2% to $263.7 million. p34 Z 's Wright finds pay TV a magnetic enterprise. p44 FCC's Ford to propose plan for tall -tower farms. p78 COMPLETE INDEX PAGE 7 FOR GUARANTEED RATE PROTECTION FOR COMMUNITY RESPONSIBILITY E :OR FIXED POSITION SPOTS OTO DELIVER THE LARGEST AUDIENCES FOR CIRCULATION FOR MARKET INFORMATION OFOR RELIABLE MERCHANDISING SUPPORT f0 BE THE DIFFERENCE BETWEEN GOOD AND GREAT IN TWIN CITY TELEVISION! contact your nearest Peters, Griffin, Woodward, Inc. "Colonel" for the complete story Minneapolis -St. Paul PHOTOGRAPH BY STANLEY SiLVER What! You still haven't heard of BRITISH CALENDAR? How frightful! It's marvelous. A series mustn't deprive your viewers! Now, News Division of cracking good quarter-hour films... you can show British Calendar every British Information Services specially for American TV. Brim full week or every two weeks on a continu- 845 Third Avenue of things British. Terribly current...all ous basis. Or if you wish, weekly using New York, N.Y. 10022 about Royalty, Sport, Politics, Fash- thirteen or twenty -six issues. And of Or ring us up at: 212 PL 2 -8400 ion, Science, Education, Space... and course, the whole thing is free. All you BRITISH CALENDAR all that. Dash it all man, you absolutely pay is the shipping. Drop us a line at: 16mm., B/W, S.O.F., Approximately 13 minutes PAT FONTAINE ...a leading lady on the American television scene .. -
SUBJECT and OBJECT. PHOTO RHINE RUHR 21 March – 16 August 2020
Grabbeplatz 4 40213 Düsseldorf Tel. +49 (0)211 520 99 595 [email protected] www.kunsthalle-duesseldorf.de SUBJECT and OBJECT. PHOTO RHINE RUHR 21 March – 16 August 2020 For the first time, the exhibition Subject and Object. Photo Rhine Ruhr will examine the relationships between the different photographic positions that have developed in the cities of the Rhineland as well as the Ruhr and at the regions’ art academies since the 1960s. This unique approach is due to the fact that such a rich photography scene was able to develop in western Germany, which has repeatedly produced new and innovative artistic positions with sometimes very different photographic approaches over the past 70 years. According to the thesis, on the one hand this is due to the density of art academies and trade schools that developed in the Rhine and Ruhr regions after the Second World War. On the other hand, it is also a result of artistic socialization through an intensive art-historical discourse, parallel artistic developments within the visual arts, and the engagement with positions of international art that were shown at the major institutions in Düsseldorf, Essen, Cologne, Krefeld, and Mönchengladbach. An independent photo class was established in the 1970s at the Kunstakademie Düsseldorf with Bernd and Hilla Becher. At what is now the Folkwang University of the Arts in Essen, where a photo class led by Max Burchartz existed as early as the 1920s (parallel to the developments at the Bauhaus in Dessau), photography was once again taught as an independent specialization starting in 1959, initially under Otto Steinert. -
A New Song for African Mothers
QUARTERLY BRIEF www.amref.org from the Director General Stoking the Campaign Fire in Kenya A Word AMREF Kenya has engaged a Stand Up for This is AMREF’s first Quarterly Brief. Over the past two years, AMREF African Mothers goodwill has grown tremendously towards the leading health development ambassador, Ms Caroline organisation in Africa. We have harmonised our governance structure Mutoko, a celebrated and all AMREF offices are now operating under one Business Plan. media personality in Kenya. The campaign Our budget grew from US$68 million in 2010 to US$81 million in 2012 received mention on and we have expanded our programmes to southern and West Africa, CNN’s African Voices including Francophone and Lucophone countries. segment based on an As we progress, we would like to keep you – our partners, supporters article written by Ms Mutoko. In March, journalists from Germany and stakeholders – updated of our activities and achievements. One visit Kajiado, Magadi and Entasopia in Kenya with a view to raising of the highlights of the last quarter was the presentation of the World awareness and visibility for the campaign. They were accompanied Federation of Public Health Association’s 2012 Organisational Award by German goodwill ambassador Ms Dana Schweiger, founder of a to AMREF for its ‘achievements in and contributions to the field of fashion line for pregnant women and children. public health’. Another exciting development was the appointment of AMREF’s Director General to the United Nations Commission on Life- Saving Commodities for Women and Children. A New Song for African Mothers The annual Black and White Charity was this year dedicated to We are also pleased to have launched the international Stand Up for AMREF’s Stand Up for African Mothers campaign. -
Theoretical and Philosophical Basis of Deadpan Aesthetics
European Journal of Science and Theology, December 2017, Vol.13, No.6, 107-118 _______________________________________________________________________ THEORETICAL AND PHILOSOPHICAL BASIS OF THE DEADPAN AESTHETICS Peter Lančarič* University of Ss. Cyril and Methodius, Faculty of Mass Media Communication, Nám. J. Herdu 2, 91701 Trnava, Slovak Republic (Received 9 August 2017) Abstract In the 21st century, the deadpan aesthetics is a part of photography. However, this topic has not been covered sufficiently. In the area of photography, the deadpan aesthetics represents a relatively new summarizing term for similar approaches and visual languages which can be found as fragments in different phases of the history of photography. The objective of the paper is to create a complex theoretical source by selecting relevant facts from the history of photography and identifying their mutual connection with the deadpan aesthetics. The paper also clarifies the historical fundamentals of the term deadpan. At the end of the 20th century, it became the term representing a technically formed aesthetics based on its historical substance. Except for the formalistic rules we elucidated in the paper, the deadpan aesthetics is inherently formed also by the effort to create as objective factual visual record as possible. In that manner, we placed the deadpan aesthetics in a position of a specific, scientific and systematic methodology frequently used by photographers. Creations of the authors mentioned in the papers represent particular phases in the development of this aesthetics. The overview of basic approaches, strategies and formal characteristics of the deadpan aesthetics can serve as a basis for photographic practice. Keywords: photography, deadpan, aesthetics, new objectivity 1. -
Marcel Dzama Born 1974 in Winnipeg, Canada
This document was updated February 26, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Marcel Dzama Born 1974 in Winnipeg, Canada. Lives and works in Brooklyn. EDUCATION 1994-1997 B.F.A., University of Manitoba, Winnipeg, Canada SOLO EXHIBITIONS 2021 Marcel Dzama: An End to the End Times, The Savannah College of Art and Design Museum, Savannah, Georgia Marcel Dzama: The Moon is Following Me, Tim Van Laere Gallery, Antwerp [catalogue forthcoming] 2020 Marcel Dzama: Blue Moon of Morocco, David Zwirner, Paris Marcel Dzama: Pink Moon, David Zwirner Online [online presentation] 2019 Marcel Dzama: Be good little Beuys and Dada might buy you a Bauhaus, Sies + Höke, Düsseldorf Marcel Dzama: Crossing the Line, David Zwirner, Hong Kong [catalogue] 2018 Marcel Dzama: A Jester’s Dance, University of Michigan Museum of Art, Ann Arbor, Michigan Marcel Dzama: Ya es hora, Galería Helga de Alvear, Madrid 2017 Marcel Dzama: Revolution Blues, Galleri Magnus Karlsson, Stockholm Marcel Dzama: Drawing on a Revolution, La Casa Encendida, Madrid 2016 Marcel Dzama and Raymond Pettibon: Forgetting the Hand, David Zwirner, New York [limited edition zine Dzama/Pettibon] [two-person exhibition] Marcel Dzama and Raymond Pettibon: Let us compare mythologies, David Zwirner, London [limited edition zine] [two-person exhibition] Marcel Dzama: A Flower of Evil, Sies + Höke, Düsseldorf 2015 Campeonato de Guadalajara: Marcel Dzama and Eduardo Sarabia, Travesía Cuatro, Guadalajara [two-person exhibition] Marcel -
The Photographic Comportment of Bernd and Hilla Becher Blake Stimson
The Photographic Comportment of Bernd and Hilla Becher Blake Stimson Bernd and Hilla Becher first began their still-ongoing project of systematically photographing industrial structures – water towers, blast furnaces, gas tanks, mine heads, grain elevators and the like –in the late 1950s.1 The seemingly objective and scientific character of their project was in part a polemical return to the 'straight' aesthetics and social themes of the 1920s and 1930s in response to the gooey and sentimental subjectivist photographic aesthetics that arose in the early post-war period. This latter position was epitomised in Germany by the entrepreneurial, beauty-in-the-eye-of-the- beholder humanism of Otto Steinert's subjektive fotografie – '"Subjective photography",' wrote Steinert in his founding manifesto, 'means humanised, individualised photography' – and globally by the one-world humanism of The Family of Man. 2 While many photographers followed Robert Frank's critical rejoinder and depicted the seamier, chauvinistic underbelly of the syrupy universalisms advocated for by Steichen and Steinert, the Bechers simply rejected it and returned to an older, pre-war paradigm (fig.1). That they were responding critically does not mean, however, that the Bechers were not working at the same crossroads between man and machine that had differently concerned Steichen, Steinert, Frank and many others at the time. 'The idea,' they said once, 'is to make families of objects,' or, on another occasion, 'to create families of motifs’ – objects or motifs, that is, they continued, 'that become humanised and destroy one another, as in Nature where the older is devoured by the3 newer.' Their brute oedipal definition of the family form aside, this is not so different from the relations established between Steichen's motifs – lovers, childbirth, mothers and children, children playing, disturbed children, fathers and sons, etc., etc. -
A Rt Bo O K D Ist R Ib U T Io N
JOHN RULE JOHN UTION B Autumn 2013 DISTRI BOOK ART JOHN RULE Autumn 2013 1 JOHN RULE Art Book Distribution Separate catalogues are available for: Atlantic Press, Cornwall, UK Die Neue Sachlichkeit, Germany BedBury Press, London Edition Olms, Switzerland Belfast Exposed, Belfast Edition Skylight, Switzerland Black Maps Press, London Galerie Vevais, Germany Capri Publishing, UK Goff Books, USA Channel Photographics, USA Oro Editions, USA Diaphanes, Zurich/ Berlin Pointed Leaf Press, New York Die Neue Sachlichkeit, Germany Postcart, Italy Documenta, Madrid Primavera Pers, Netherlands Edition Olms, Switzerland Schirmer/Mosel, Germany Edition Skylight, Switzerland Schlebrugge Editor, Austria Eggebert & Gould, London Snoeck, Germany Galerie Vevais, Germany T & G Publishing, Sydney Gerhard Marcks Haus, Germany Goff Books, USA Hailand Books, New York Hand Picked Books, London Hungarian National Museum, Budapest Ibraaz Publishing, Tunis Ikon Editrice, Milan John Spradbery Publishing, UK Jumbo Editions, UK Kahboom, London Ludwig Museum, Budapest Museum of Fine Arts, Budapest Nicky Forbes, London Oro Editions, USA Over the Rainbow, London Parrel Press, UK Pictoplasma Publishing, Berlin Pointed Leaf Press, New York Ponchiroli Editori, Italy Postcart, Italy Primavera Pers, Netherlands Print Matters, South Africa Punto Marte, Italy Red Publishing, Italy Richard Heeps, Cambridge Scalpendi Editore, Milan Schlebrugge Editor, Austria Schirmer/Mosel, Germany Scimitar Press, UK Silvana Editoriale, Italy Snoeck, Germany Society of British Theatre Designers, London Somogy, Paris T & G Publishing, Sydney Tatlin, Moscow Timezone 8, Hong Kong Trama Ediciones, Quito Trillistar Books, Canada VdH Books, Belgium JOHN RULE www.johnrule.co.uk ART BOOK DISTRIBUTION 2 JOHN RULE Autumn 2013 Schirmer/Mosel Film Ingrid Bergman: A Life in Pictures 1915-1982 Stockholm, Berlin, Hollywood, Rome, New York, Paris, London Isabella Rossellini & Lothar Schirmer Available: September 2013 Ingrid Bergman is arguably the greatest film actress ISBN: 9783829606608 of the 20th century. -
A R T B O O K D Istr Ib U Tio N
ART BOOK DISTRIBUTION BOOK ART John Rule John Spring 2015 John Rule Art Book Distribution SPRING 2015 John Rule Art Book Distribution Separate catalogues are available for: Akkadia Press, UK Schirmer Mosel, Germany Be Smart About Art, London Schlebrugge Editor, Austria Belfast Exposed, Belfast Snoeck, Germany Café Pessoa, Portugal Capri Publishing, UK Channel Photographics, USA Die Neue Sachlichkeit, Germany Documenta, Madrid ECAV, Switzerland Eggebert & Gould, London Galerie Vevais, Germany Gamma Profoma, London Gerhard Marcks Haus, Germany Hailand Books, New York Hand Picked Books, London Hungarian National Museum, Budapest Ibraaz Publishing, Tunis John Spradbery Publishing, UK Jumbo Editions, UK Kahboom, London Light Motiv, France Ludwig Museum, Budapest Museum of Fine Arts, Budapest Over the Rainbow Productions, London Pictoplasma Publishing, Berlin Poklewski Koziell, UK Pointed Leaf Press, New York Ponchiroli Editori, Italy Postcart,Italy Primavera Pers, Netherlands Punto Marte, Italy Rankin, London Red Publishing, Italy Regular Press, UK Richard Heeps, Cambridge Schirmer Mosel, Germany Schlebrugge Editor, Austria Silvana Editoriale, Italy Snoeck, Germany Society of British Theatre Designers, London Somogy, Paris Steve Russell, UK Tatlin, Moscow Timezone 8, Hong Kong Town & Country Gallery, UK Trama Ediciones, Quito Trillistar Books, Canada VdH Books, Belgium Cover image from Wim Wenders: 4 Real and True 2! Graphic Design by Adam Hutchinson John Rule www.johnrule.co.uk ART BOOK DISTRIBUTION PHOTOGRAPHY BIFA X Rankin Rankin Available: February 2015 BIFA X Rankin is a celebration of the relationship between the British ISBN: 9780957213586 Independent Film Awards, created in 1998 by Raindance founder Elliot Price: £25.00 Grove, to celebrate merit and achievement in independently funded Format: Hardback British filmmaking and Rankin . -
My Criteria for Successful Graphic Design. Kerry Scott Ej Nkins East Tennessee State University
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 12-2007 Gaining Attention and Encouraging a Response: My Criteria for Successful Graphic Design. Kerry Scott eJ nkins East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Graphic Design Commons Recommended Citation Jenkins, Kerry Scott, "Gaining Attention and Encouraging a Response: My Criteria for Successful Graphic Design." (2007). Electronic Theses and Dissertations. Paper 2068. https://dc.etsu.edu/etd/2068 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Gaining Attention and Encouraging a Response: My Criteria for Successful Graphic Design A thesis presented to the faculty of the Department of Art & Design East Tennessee State University In partial fulfillment of the requirements for the degree Master of Fine Arts in Graphic Design by Kerry Scott Jenkins December 2006 M. Wayne Dyer, Chair David B. Dixon Catherine A. Murray Keywords: Graphic Design, Typography, Publication Design, Illustration Abstract Gaining Attention and Encouraging a Response: My Criteria for Successful Graphic Design by Kerry Scott Jenkins As a graphic designer, my goal is to clearly express my clients’ message to their intended audience. Based on the diversity of my clients and their products and services, finding a consistent style in my projects might be difficult, although there are usually some typical traits. -
Spring 2019 New
SPRING 2019 WWW.POINTEDLEAFPRESS.COM NEW DAWN The Career of the Legendary Fashion Retailer Dawn Mello BY JOHN A. TIFFANY Pointed Leaf Press is proud to present the first monograph on Dawn Mello in a lavishly- illustrated book that spans her impressive career. In 1975, Mello was hired in partnership with then CEO, Ira Neimark, as Fashion Director and VP of Bergdorf Goodman. Together they turned the ANTOINE BOOTZ once dowdy department store into the retail A NOTE FROM THE PUBLISHER center of luxury fashion. In the late 1980s, Mello left Bergdorf Goodman to revitalize the fading It gives me great pleasure to present the Pointed Leaf Press catalog and nearly-bankrupt Gucci. While there, she for the first half of 2019. Since the company was founded in 2002, it has hired Tom Ford as creative director and Richard grown to become one of the top—and award-winning— publishers of Lambertson as design director. By the time she illustrated books in the worlds of interior design, fashion, art, and left, Gucci was back on top as a bonafide photography. As a former art historian, and after over 35 years as a high-fashion brand. She has spent decades journalist, editor, and reporter, at such publications as the New York bringing other people’s stories to life, silently in Times, as well as at numerous magazines such as New York, Esquire, Elle the background while others took their bow. She Decor, and House & Garden, I continue to be fascinated by the careers identified talent, pursued designers, and helped and accomplishments—as well as the intimate and powerful stories—of launch and nurture their careers.