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Produced by Empire, the publishing arm of French design studio Syndicat (designers Sacha Léopold and François Havegeer), Faire is aimed at students as well as researchers and professional designers. Each issue addresses a specific object or theme and is written by a renowned author.\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eThis anthology set includes three issues, numbers 16 through 18:\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003en°16 — A reproduction: what El Lissitzkzy wants. By James Langdon\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003eI am rarely convinced when I see graphic design that was originally printed in two inks reproduced in four-color process. Before the advent of commercial color offset printing, the elementary colors of printing — from Gutenberg to Tschichold—were black and red. In the early twentieth century, black and red were used by graphic designers not to attempt to recreate the spectrum of colors that appear to the human eye, but as graphic forces in themselves. To make a distinction. To create dynamism. To embody ideology on the page. In particular, the combination of black and red on white paper has become synonymous with Suprematism and revolutionary Russian graphic design.\u003cbr\u003e\u003cbr\u003e A contemporary imaging workflow can enable extraordinary reproductions of these historical aesthetics. A high-resolution digital photograph of an original black and red printed book from the 1920s can be processed using a color profile to calibrate its appearance across design, color correction in computer software, proofing, and printing. This workflow can ultimately achieve a beautiful and precise image of that graphic artifact as it looks today, down to small details of its patination, its discoloration by exposure to sunlight, and the many more other subtleties that define it as an archival object.\u003cbr\u003e\u003cbr\u003e But such a reproduction exhibits a strange technical anachronism. What about the constraints that originally shaped the design of that book — the implicit connection between the two colors of its graphics and the architecture of the one- or two-color printing press on which it was printed? Are they not important? Can they even be reproduced?\u003cbr\u003e\u003cbr\u003e I compare printed reproductions of the proud black and red cover of the book ‘Die Kunstismen’ (1925), designed by Russian artist and designer El Lissitzky. 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Meaning “All Cops Are Bastards”, over the last 20 years it has become widespread in public spaces internationally, in the wake of a number of political movements, from alter-globalization groups to the French \u003cem\u003egilets jaunes\u003c\/em\u003e, or Yellow Jackets, along with black blocks and TAZs, even spawning different variations, such as “All Capitalists Are Bastards”, “All Colors Are Beautiful” and “All Cats Are Beautiful”.\u003cbr\u003e\u003cbr\u003e Observing how ACAB (or its numerical version, 1312) is written, allows one to traverse multiple political landscapes, as well as a number of visual cultures (anarchist, punk, hip-hop, LOL) to which this acronym has spread. It is through this scriptural, graphic, and visual movement that it has become both a sign of recognition and a polysemic statement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003en°18 — A studio visit: the studio of Ines Cox. By Manon Bruet and Julia Andréone\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003eThree women walk into a bar. The first lives in a large apartment in Anvers, Belgium. The second is an independent Graphic Designer who founded her own studio. The third is an avatar—\u003cem\u003eyou might even know\u003c\/em\u003e her—with a certain interest in creative processes, their interfaces, and their vocabularies. Together, they eat some pistachio nuts, order vodka, and are not at all sure about getting up the next day to teach at the Royal Academy of Fine Arts. But together, more than anything else, they form the troubling multiple personalities of Ines Cox, a Belgian Graphic Designer who met Julia Andréone and Manon Bruet in her studio in June 2019. This publication develops a narrative driven by three voices and traces the outline of a path, a practice, and a figure.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePublished by Editions Empire\u003cbr\u003eBilingual, in French and English\u003cbr\u003e\u003cbr\u003e60 pages total, each issue separately bound, b\u0026amp;w and color images, 8.25 × 11.75 inches\u003cbr\u003e\u003cbr\u003eISBN: 979-1-09-599115-1\u003c\/span\u003e\u003c\/p\u003e","brand":"Curated","offers":[{"title":"Default Title","offer_id":35258372784293,"sku":"","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1681\/2497\/products\/RevueFaire16-18_19s.jpg?v=1595591603"},{"product_id":"faith-ringgold-die","title":"Faith Ringgold: Die","description":"\u003cp\u003eTen adults—men and women, black and white—fight, flee or die over the twelve-foot span of Faith Ringgold's painting \u003cem\u003eAmerican People Series #20: Die\u003c\/em\u003e, as an interracial pair of children cower unnoticed in their midst.\u003c\/p\u003e\n\u003cp\u003eWhile Faith Ringgold (born 1930) \u003cspan\u003ewas painting this brutal vision\u003c\/span\u003e in a Manhattan studio in the summer of 1967, civil unrest was convulsing black neighborhoods across the US, and protests against the war in Vietnam were escalating.\u003c\/p\u003e\n\u003cp\u003eArt historian Anne Monahan's essay explores the mural's carefully orchestrated chaos and its multiform inspirations, from contemporary anxiety about black revolution, through the writings of James Baldwin and LeRoi Jones (soon to be Amiri Baraka), to iconic canvases by Picasso and Pollock then on view at MoMA.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEach volume in the One on One series is a sustained meditation on a single work from the collection of The Museum of Modern Art. A richly illustrated and lively essay illuminates the subject in detail and situates the work within the artist’s life and career as well as within broader historical contexts.\u003c\/p\u003e\n\u003cp\u003ePublished by the Museum of Modern Art, 2019\u003c\/p\u003e\n\u003cp\u003eSoftcover, 48 pages, 35 color images, 7.25 × 9 inches\u003c\/p\u003e\n\u003cp\u003eISBN: 978-1-63-345067-7\u003c\/p\u003e","brand":"Curated","offers":[{"title":"Default Title","offer_id":35324408332453,"sku":"","price":14.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1681\/2497\/files\/FaithRinggoldDie.jpg?v=1724767781"},{"product_id":"it-is-almost-that","title":"It Is Almost That","description":"\u003cp\u003e\u003cem\u003eA Collection of Image \u0026amp; Text Work by Women Artists \u0026amp; Writers\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eA bold interdisciplinary anthology, \u003cem\u003eIt Is Almost That\u003c\/em\u003e collects works by women artists and writers who have constructed hybrid environments that merge image and text.\u003c\/p\u003e\n\u003cp\u003eThe works in this collection are supremely imaginative in both form and content: from the semi-autobiographical novel painted by a young artist who died in the Holocaust (Charlotte Salomon) to Alison Knowles' computer-generated chance operation for \"imagining\" houses and their inhabitants; from the pseudo-scientific examination of a conversation between a mother and a daughter (Eleanor Antin) to the dark, comic interrogation of violence against women (Sue Williams); from the transformations of newspaper headlines (Suzanne Treister) to the probing of animal consciousness (Cole Swensen \u0026amp; Shari De Graw); from the body maps drawn by South African women with AIDS (Bambanani Women's Group) to the alchemical transformation of the pregnant body into an evolving landscape and philosophical meditation (Susan Hiller).\u003c\/p\u003e\n\u003cp\u003eOther contributors include Fiona Banner, Louise Bourgeois, Theresa Hak Kyung Cha, Cozette de Charmoy, Ann Hamilton, Jane Hammond, Dorothy Iannone, Bhanu and Rohini Kapil, Helen Kim, Ketty La Rocca, Bernadette Mayer, Adrian Piper, Charlotte Salomon, Geneviève Seillé, Molly Springfield, Erica Van Horn \u0026amp; Laurie Clark, Carrie Mae Weems, Hannah Weiner and Unica Zürn.\u003c\/p\u003e\n\u003cp\u003eEdited by Lisa Pearson\u003c\/p\u003e\n\u003cp\u003eDesigned by Natalie Kraft\u003c\/p\u003e\n\u003cp\u003ePublished by Siglio, 2011\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHardcover, 296 pages, b\u0026amp;w, 8.25 × 10.25 inches\u003c\/p\u003e\n\u003cp\u003eISBN: 978-0-97-995626-3\u003c\/p\u003e","brand":"Curated","offers":[{"title":"Default Title","offer_id":35405590003877,"sku":"","price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1681\/2497\/files\/ItIsAlmostThat.jpg?v=1725153314"},{"product_id":"pioneering-african-american-women-in-the-advertising-business","title":"Pioneering African-American Women in the Advertising Business","description":"\u003cp\u003eBy Judy Foster Davis\u003c\/p\u003e\n\u003cp\u003eMuch has been written about the men and women who shaped the field of advertising, some of whom became legends in the industry. However, the contributions of African-American women to the advertising business have largely been omitted from these accounts.\u003c\/p\u003e\n\u003cp\u003eEvidence reveals that some trailblazing African-American women who launched their careers during the 1960s Mad Men era went on to achieve prominent careers. This unique book chronicles the nature and significance of these women’s accomplishments, examines the opportunities and challenges they experienced, and explores how they coped with the extensive inequities common in the advertising profession.\u003c\/p\u003e\n\u003cp\u003eUsing a biographical narrative approach, this book examines the careers of these important African-American women who not only achieved managerial positions in major mainstream advertising agencies but also established successful agencies bearing their own names. Based on their words and memories, this study reveals experiences which are intriguing, triumphant, bittersweet, and sometimes tragic.\u003c\/p\u003e\n\u003cp\u003eThese women’s stories comprise a vital part of the historical narrative on women and African-Americans in advertising and will be instructive to future generations of designers and communication professionals, as well as scholars in the fields of advertising, marketing, visual communication, and graphic design.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIncludes chapters on Barbara Gardner Proctor, Caroline Robinson Jones, Joel P. Martin, and Carol H. Williams as well as broader overviews: \"Women and African-Americans in the Advertising Profession: An Historical Overview of the Industry and People\" and \"African-American Women and Structural Oppression in the Advertising Industry.\"\u003c\/p\u003e\n\u003cp\u003ePublished by Routledge, 2017\u003c\/p\u003e\n\u003cp\u003eSoftcover, 254 pages, b\u0026amp;w images, 5.25 × 8.75 inches\u003c\/p\u003e\n\u003cp\u003eISBN: 978-0-81-536992-9\u003c\/p\u003e","brand":"Curated","offers":[{"title":"Default Title","offer_id":35853880098981,"sku":"","price":46.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1681\/2497\/products\/PioneeringAfricanAmericanWomen19s.jpg?v=1598360233"},{"product_id":"perplex-abstract-delight-a-few-covers-by-audrey-meyer","title":"Perplex, Abstract \u0026 Delight: A Few Covers by Audrey Meyer","description":"\u003cp\u003eBy Mary Yang\u003c\/p\u003e\n\u003cp\u003eThe second issue of Katherine Small Gallery's \u003cem\u003eDesign Brief\u003c\/em\u003e series.\u003c\/p\u003e\n\u003cp\u003eEach 16-page quarterly journal presents a digestible, single-topic issue.\u003c\/p\u003e\n\u003cp\u003eIn this issue, graphic designer and design educator Mary Yang celebrates the book covers designed by American designer Audrey Meyer during the last half of the twentieth century. Meyer studied at the Pratt Institute in Brooklyn before moving to Seattle in 1963 and beginning her career as Art Director at the University of Washington Press.\u003c\/p\u003e\n\u003cp\u003eIntended to highlight the work of underappreciated designers, as well as lesser known work by well-known practitioners, or oddball collections of \"things\" that might be of interest to those who love design and typography, this series by Boston's Katherine Small Gallery aims to produce good and surprising works that contribute to the history and understanding of graphic design.\u003c\/p\u003e\n\u003cp\u003eDesigned by Michael Russem\u003c\/p\u003e\n\u003cp\u003ePublished by Katherine Small Gallery, 2020\u003c\/p\u003e\n\u003cp\u003eSoftcover, 24 pages, full color, 6 × 9 inches\u003c\/p\u003e","brand":"Curated","offers":[{"title":"Default Title","offer_id":36109761249445,"sku":"","price":15.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1681\/2497\/products\/Perplex_19s.jpg?v=1599771149"},{"product_id":"in-verbis-artis","title":"In Verbis Artis","description":"\u003cp\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cem\u003eIn Verbis Artis — In Words Art\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #000000;\"\u003eCurated by John David O'Brien, \u003cem\u003eIn Verbis Artis\u003c\/em\u003e\u003cem\u003e \u003c\/em\u003eexplores the relationship between typography, design, and fine art through the work of Los Angeles-based artists Gajin Fujita, Alexandra Grant, Mark Steven Greenfield, Jason Manley, Rebecca Ripple, Steve Roden, and Jody Zellen. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #000000;\"\u003eWithin the context of each artist’s voice, the exhibition—and this associated publication—examines the fluidity of written words, addressing the myriad potential interpretations of language during a critical time for communication throughout contemporary culture. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #000000;\"\u003eThe presented works converge, opening a dialogue into the way letterforms are understood, and how artists can subvert them in the realization of their aesthetic vision.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #000000;\"\u003eCatalog for a group exhibition presented by the Hoffmitz Milken Center for Typography (HMCT), ArtCenter College of Design, between February 22, 2020 and May 23, 2020.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #000000;\"\u003eDesigned by Lavinia Lascaris\u003cbr\u003eWith photography by Joshua White\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #000000;\"\u003ePublished by the Hoffmitz Milken Center for Typography, 2020\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #000000;\"\u003eSoftcover, 58 pages, full color, 9 × 6.75 inches\u003c\/span\u003e\u003c\/p\u003e","brand":"Curated","offers":[{"title":"Default Title","offer_id":36454298484901,"sku":"","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1681\/2497\/files\/InVerbisArtis.jpg?v=1703108194"},{"product_id":"diagrammatic-writing-johann-drucker","title":"Diagrammatic Writing \/ Johanna Drucker","description":"\u003cp\u003e\u003cem\u003eDiagrammatic Writing\u003c\/em\u003e is a poetic demonstration of the capacity of format to produce meaning.\u003c\/p\u003e\n\u003cp\u003eThe articulation of the codex, as a space of semantically generative relations, has rarely (if ever) been subject to so highly focused and detailed a study. The text and graphical presentation are fully integrated, co-dependent, and mutually self-reflexive.\u003cbr\u003e\u003cbr\u003eThis small book work should be of interest to writers, bibliographers, designers, conceptual artists, and anyone interested in the meta-language of diagrammatic thought in graphic form.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eWritten by Johanna Drucker during a residency at the Banff Art Centre, this publication continues her work as a writer and book artist best known for her exploration of experimental typography. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDesigned and edited by Johanna Drucker\u003c\/p\u003e\n\u003cp\u003ePublished by Set Margins' Publishing, 2023\u003c\/p\u003e\n\u003cp\u003eSoftcover, 36 pages, 5.5 × 8.5 inches\u003c\/p\u003e\n\u003cp\u003eISBN: 978-9-08-327061-6\u003c\/p\u003e","brand":"Curated","offers":[{"title":"Default Title","offer_id":36530930188453,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1681\/2497\/products\/DiagrammaticWriting_19s.jpg?v=1602168282"},{"product_id":"convolution-5-7","title":"Convolution #5-7","description":"\u003cp\u003e\u003cem\u003eA journal of conceptual criticism and text-based art\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eWith contributions by Janneke Adema \u0026amp; Kaja Marczewska, Christian Bök, Felipe Cussen, Natalie Czech, Theo Darst \u0026amp; Robert Fitterman, Craig Dworkin, Jack Henrie Fisher, Eve Fowler, Roman Gornitsky, Robert Grenier, Jo Hamill, Diana Hamilton, Karl Holmqvist, Dawn Irving \u0026amp; Simon Morris, Shiv Kotecha, Sophia Le Fraga \u0026amp; Morgan Parker, Sophia Le Fraga \u0026amp; Martine Syms, Michalis Pichler, Cia Rinne, Judah Rubin, Laurel Schwulst, Carolyn Thompson, Nick Thurston, We Have Photoshop, and Colombina Zamponi\u003c\/p\u003e\n\u003cp\u003ePublished by Convolution, 2020\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSoftcover, 232 pages, full color, 8.25 × 11.75 inches\u003c\/p\u003e\n\u003cp\u003eISSN: 2158-2637\u003c\/p\u003e","brand":"Curated","offers":[{"title":"Default Title","offer_id":36614764822693,"sku":"","price":19.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1681\/2497\/files\/Convolution_5-7.jpg?v=1724871859"},{"product_id":"young-gifted-and-black-a-new-generation-of-artists","title":"Young, Gifted and Black: A New Generation of Artists","description":"\u003cp\u003e\u003cem\u003e\u003c\/em\u003eThis book surveys the work of a new generation of Black artists, and also features the voices of a diverse group of curators who are on the cutting edge of contemporary art.\u003c\/p\u003e\n\u003cp\u003eAs mission-driven collectors, Bernard I. Lumpkin and Carmine D. Boccuzzi have championed emerging artists of African descent through museum loans and institutional support. But there has never been an opportunity to consider their acclaimed collection as a whole until now.\u003cbr\u003e\u003cbr\u003eEdited by writer Antwaun Sargent (author of \u003cem\u003eThe New Black Vanguard: Photography Between Art and Fashion\u003c\/em\u003e), \u003cem\u003eYoung, Gifted and Black\u003c\/em\u003e draws from this collection to shed new light on works by contemporary artists of African descent.\u003c\/p\u003e\n\u003cp\u003eAt a moment when debates about the politics of visibility within the art world have taken on renewed urgency, and establishment voices such as the \u003cem\u003eNew York Times\u003c\/em\u003e are declaring that “it has become undeniable that African American artists are making much of the best American art today,” \u003cem\u003eYoung, Gifted and Black\u003c\/em\u003e takes stock of how these new voices are impacting the way we think about identity, politics and art history itself.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eYoung, Gifted and Black\u003c\/em\u003e contextualizes artworks with contributions from artists, curators and other experts. The volume features a wide-ranging interview with Bernard Lumpkin and Thelma Golden, director and chief curator of the Studio Museum in Harlem; and an in-depth essay by Antwaun Sargent situating Lumpkin in a long lineage of Black art patrons.\u003c\/p\u003e\n\u003cp\u003eA landmark publication, this book illustrates what it means (in the words of Nina Simone) to be young, gifted and Black in contemporary art.\u003c\/p\u003e\n\u003cp\u003eArtists include: Mark Bradford, David Hammons, Glenn Ligon, Kerry James Marshall, Julie Mehretu, Adam Pendleton, Pope.L, LaToya Ruby Frazier, Henry Taylor, Mickalene Thomas, Lynette Yiadom-Boakye, Tunji Adeniyi-Jones, Sadie Barnette, Kevin Beasley, Jordan Casteel, Jonathan Lyndon Chase, Bethany Collins, Noah Davis, Cy Gavin, Allison Janae Hamilton, Tomashi Jackson, Samuel Levi Jones, Deana Lawson, Norman Lewis, Eric N. Mack, Arcmanoro Niles, Jennifer Packer, Christina Quarles, Jacolby Satterwhite, Paul Mpagi Sepuya, Sable Elyse Smith, Chanel Thomas, Stacy Lynn Waddell, D’Angelo Lovell Williams, Brenna Youngblood, and more!\u003c\/p\u003e\n\u003cp\u003eEdited by Antwaun Sargent\u003c\/p\u003e\n\u003cp\u003eWith text by Graham C. Boettcher, Jessica Bell Brown, Connie H. Choi, Anthony Graham, Lauren Haynes, Jamillah James, Thomas J. Lax, Hallie Ringle, Adeze Wilford, Gordon Dearborn Wilkins, Matt Wycoff. Interview with Bernard Lumpkin by Thelma Golden\u003c\/p\u003e\n\u003cp\u003eDesigned by Miko McGinty\u003c\/p\u003e\n\u003cp\u003ePublished by D.A.P, 2020\u003c\/p\u003e\n\u003cp\u003eHardcover, 256 pages, 200 color images, 9.5 × 10.5 inches\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eISBN: 978-1-94-288459-0 \u003c\/p\u003e","brand":"Curated","offers":[{"title":"Default Title","offer_id":36680712749221,"sku":"","price":49.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1681\/2497\/products\/YOUNGGIFTED_21S.jpg?v=1622078484"},{"product_id":"revue-faire-no-19-20-21","title":"Revue Faire — no. 19, 20, 21","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cem\u003eFaire\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003eis a bi-monthly publication dedicated to graphic design. Produced by Empire, the publishing arm of French design studio Syndicat (designers Sacha Léopold and François Havegeer), Faire is aimed at students as well as researchers and professional designers. Each issue addresses a specific object or theme and is written by a renowned author.\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eThis anthology set, volume 6,  includes three issues, numbers 19 through 21:\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003en°19 — A history: graphic designer-publishers. By Thierry Chancogne \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003eIn 1275, the kingdom of France ruled on the rights of s\u003cem\u003etationarii\u003c\/em\u003e (copyists) and \u003cem\u003elibrarii \u003c\/em\u003e(\u003cem\u003elibrairies\u003c\/em\u003e, the French for “bookshop”), newly emancipated from the yoke of the Church (Friedrich Karl von Savigny (author and publisher),\u003cem\u003e Histoire du droit romain au moyen âge\u003c\/em\u003e, Tome III, Charles Hingray, Paris, 1839 (1815), p. 415). The main question was and has always been, even before the invention of printing, the regulation of the circulation of writing, and the designation of those responsible for their inscription and distribution.\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003eRobin Kinross identified the emergence of the modern figure of the typographer in the 17\u003csup\u003eth\u003c\/sup\u003e century, with \u003cem\u003eThe doctrine of handy-works: applied to the art of printing\u003c\/em\u003e by Joseph Moxon (Robin Kinross, Modern\u003cem\u003e typography: An Essay in Critical History\u003c\/em\u003e, Hyphen Press, London, 2004 (1992) pp. 15-16). But long before this, graphic artists, copyists, and typographers such as Geoffroy Tory and Henri Estienne the elder were both booksellers and publishers who gave much thought to their practice and the contents that they released into the public space. \u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003eIt would seem that the time has come to reassess this ancient tradition, with more and more graphic artists and designers choosing to establish their own publishing houses in order to defend their editorial approach in both senses of the word—that of “editing” and the choice and organization of graphic material, but also in the sense of “publishing”, applying a certain ethic to the distribution and advertising of the contents.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003en°20 — A ski resort: Pierre Faucheux and Les Arcs. From the space to the sign. By Catherine Guiral\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003eKnown as “the man of a hundred million covers” and for being a major actor in the history of French Graphic Design during the Trente Glorieuses, the three decades of flourishing economic and cultural activity in France following World War II, Pierre Faucheux also had a rich activity as an architect. At the end of the 1960s, Charlotte Perriand invited him to become involved in the adventure of constructing the winter sports resort called Les Arcs. “The construction of a fantasy” designed by engineer Roger Godino, Les Arcs, a different type of Savoyard resort, would find itself embodied in a particular sign, which expresses the different instincts that Faucheux had for both the space and its transformation.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003en°21 — An original: The Most Beautiful Swiss books 2004-2006. By James Langdon, Laurent Benner \u0026amp; Adrian Samson \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003eThe awards competition, The Most Beautiful Swiss Books, has been organized almost without interruption by the Swiss Federal Office of Culture since 1943. A book design award with such history, particularly in a book-making culture as rich as Switzerland’s, offers insightful perspectives on Graphic Design for publishing, the culture that commissions and values it, and the critical discourse that surrounds it.\u003cbr\u003e\u003cbr\u003e Each year the awarded books are documented in a substantial catalogue, made by one of the graphic designers awarded in previous years. The inherently self-reflexive tendencies of such catalogues—books about books, Graphic Design in the context of Graphic Design—present stimulating yet rather fraught conditions for graphic designers to work in. Looking back over the catalogues produced during the last two decades, a conversation-through-practice is clearly legible. After a conceptually sophisticated catalogue or series (often designers have been commissioned for series of two or three catalogues) follows a simple visual document. After a modest, finely-crafted production comes something more lavish or experimental.\u003cbr\u003e\u003cbr\u003e The 2004–2006 catalogues were conceived by Laurent Benner, a Swiss designer working in London, and designed with English designer Jonathan Hares. Laurent’s proposition for the 2004 catalogue was audacious. He contacted the printers of each of the 20 awarded books from that year and asked them to reprint a section of their book. These reprinted sections were then transported to a single Swiss bookbinder and bound, with some additional pages of front- and back-matter, to comprise the catalogue.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePublished by Editions Empire, 2020\u003cbr\u003eBilingual, in French and English\u003cbr\u003e\u003cbr\u003e60 pages total, each issue separately bound, b\u0026amp;w and color images, 8.25 × 11.75 inches\u003cbr\u003e\u003cbr\u003eISBN: 979-1-09-599116-8\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Curated","offers":[{"title":"Default Title","offer_id":37209856770213,"sku":"","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1681\/2497\/products\/RevueFaireno192021_19s.jpg?v=1606154986"},{"product_id":"revue-faire-no-23-24-25-26","title":"Revue Faire — no. 23, 24, 25, 26","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cem\u003eFaire\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003eis a bi-monthly publication dedicated to graphic design. Produced by Empire, the publishing arm of French design studio Syndicat (designers Sacha Léopold and François Havegeer), Faire is aimed at students as well as researchers and professional designers. Each issue addresses a specific object or theme and is written by a renowned author.\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eThis anthology set, volume 7,  includes four issues, numbers 23 through 26:\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003en°23 — A portrait: The Master approving of his own work. By Žiga Testen \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-style=\"padding-left: 30px;\"\u003eDesign history as an independent discipline and field of study appears to be in trouble. Design historians complain about its diminishing influence within universities due to the ongoing instrumentalization of higher education. The Eurocentric canon built upon values and methods adopted from art and architecture history has been contested by decolonial theories. And finally, it appears that the trust in the institution of \"history\" itself and its meta-narratives has eroded.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e A discipline that was once considered to provide reflection on what came before and guidance on what could come to be—under the auspice of a grand narrative of continuous progress—has been replaced by modest narratives, social anthropologies, and claims of the \"end of history.\"\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e In this article, Testen rummages through the ruins of design history and tries to unpack what it was that we once considered design history and our design history canon, how we wrote about it and to what end. In particular, Testen focuses on this one image: a portrait photograph of a well-known historical figure, the designer and typographer Jan Tschichold. How is it used? And what stories do we tell about it?\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003en°24 — A theater identity: The Schauspielhaus by Cornel Windlin. By Étienne Hervy and Thierry Chancogne\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003eDesigned by Cornel Windlin (with Gregor Huber), the communications of the Zürich Schauspielhaus for the 2009\/10 and 2010\/11 seasons appeared just as the collaboration between the designers and the theater ended: with the Grand Prix of the Brno Biennial in 2010, where they won first prize in the international competition, with an exhibition in Chaumont the following year at the same time as the Swiss Federal Design Award, a brief appearance in specialist magazines and on specialist sites, and then nothing at all. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003eOnce again, Cornel Windlin retreated into the shadows, leaving behind work which asserted itself through both its amplitude and completeness in the heavy silence which remained, and through the multifaceted mass of the media imagery that it reactivated. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003eA series of seasonal posters, event posters, annual and monthly programs, booklets dedicated to each piece, invitations, flyers, graphic materials from the program for younger audiences… everything is here, set in a precisely tuned bold Unica77, digitized by the Lineto foundry with the original team of designers (along with Windlin), all coming together in that blindness inherent to times of eclipse, where the black disk chosen by Windlin as the identity of the Schauspielhaus stands out. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003en°25 — Exhibition views: Jonathan Monk. By Remi Parcollet\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-style=\"padding-left: 30px;\"\u003e\u003cspan\u003ePhotographs of works of art in an exhibition or studio setting, enlarged to the size of the wall, have become an essential and increasingly systematic element of contemporary museography. The institutional curator accompanied by his or her set designer, and the independent curator, both use them as much to recontextualize works as for their aesthetic qualities as documentary images that have become immersive and reflexive.\u003cbr\u003e\u003cbr\u003e The obviously richer relationship that artists have with these unique images reveals in various ways what is currently at stake in the act of exhibiting.\u003cbr\u003e\u003cbr\u003e To create a kind of retrospective of his work, in 2016 Johnathan Monk debuted a series of exhibitions entitled Exhibit Model, which consisted of covering the walls of the exhibition space with archive photographs that documented his work in different contexts over the last 20 years. Marie J. Jean considers these staged exhibition views as a form of augmented reality: “This manner of considering the exhibition, in other words, of exhibiting the work along with the context of its appearance, reminds us that the work of art “is a place,” “establishes a place,” is “a has taken place.”\u003cbr\u003e\u003cbr\u003e However for Johnathan Monk, who often uses the work of other artists, isn’t it simply a way in which to appropriate his own work?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-style=\"padding-left: 30px;\"\u003e\u003cspan\u003en°26 — Production process: Print on Demand. By Manon Bruet\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\" data-mce-style=\"padding-left: 30px;\"\u003e\u003cspan\u003eIn 2008, graphic design James Goggin ran a two-day workshop with design students at the Hochschule Darmstadt in Germany. The object which resulted gradually took on the appearance of a photo album, a typeface specimen, and a color chart. On the cover, the phrase “Dear Lulu, Please try and print these line, color, pattern, format, texture and typography tests for us” is clearly addressed to the online print platform for which \u003ca href=\"https:\/\/draw-down.com\/products\/dear-blurb?_pos=3\u0026amp;_sid=e34d57905\u0026amp;_ss=r\"\u003ethis book\u003c\/a\u003e was proposed as a test.\u003cbr\u003e\u003cbr\u003e Ten years later, print-on-demand offerings have become more diverse and the success of such online platforms is undeniable—indeed the phenomenon has spread well beyond the field of publishing. While some bemoan unfair competition for printers, others—professionals and amateurs—see in it a freedom to print and distribute relatively well finished objects at low cost.\u003cbr\u003e\u003cbr\u003e The possibilities of these systems of production are multiple but nonetheless limited, and this obviously raises the question of a possible standardization of forms and formats. However, when it comes to Print On Demand, it seems that the issue is not so much the materiality of an object (the choice of format, paper or a particular manufacture) but rather the actual existence of this object itself, outside of usual channels of production and distribution.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePublished by Editions Empire, 2020\u003cbr\u003eBilingual, in French and English\u003cbr\u003e\u003cbr\u003e100 pages total, each issue separately bound, b\u0026amp;w and color images, 8.25 × 11.75 inches\u003cbr\u003e\u003cbr\u003eISBN: 979-1-09-599117-5\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Curated","offers":[{"title":"Default Title","offer_id":37527685431461,"sku":"","price":36.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1681\/2497\/products\/RevueFaire23-26_19s.jpg?v=1609626528"},{"product_id":"enghelab-street-iran-1979-1983-a-revolution-through-books","title":"Enghelab Street: Iran 1979–1983 — A Revolution through Books","description":"\u003cp\u003eBy Hannah Darabi\u003c\/p\u003e\n\u003cp\u003eEnghelab Street, or Revolution Street, is located in the center of the Iranian capital Tehran—a main artery in the city’s cultural life with a host of bookshops. This book presents a variety of rarely seen photographic and propaganda books collected by Iranian-born, Paris-based artist Hannah Darabi (born 1981), drawing on works published between 1979 and 1983—years corresponding to the short period when freedom of speech prevailed at the end of the Shah’s regime and the beginning of the Islamic government.\u003c\/p\u003e\n\u003cp\u003eDarabi takes us to the heart of an intense artistic and cultural period in Iranian history in a visual essay accompanied by a critical essay by Chowra Makaremi.\u003c\/p\u003e\n\u003cp\u003eWith its revelatory landscape of publications, \u003cem\u003eEnghelab Street: Iran 1979–1983\u003c\/em\u003e gives us the opportunity to look at rare printed matter for the first time.\u003c\/p\u003e\n\u003cp\u003eDesigned by Fabian Bremer and Pascal Storz\u003c\/p\u003e\n\u003cp\u003ePublished by Spector Books, 2019\u003c\/p\u003e\n\u003cp\u003eSoftcover, 540 pages, 750 color images, 9.25 × 13 inches\u003c\/p\u003e\n\u003cp\u003eISBN: 978-3-95-905262-7 \u003c\/p\u003e","brand":"Curated","offers":[{"title":"Default Title","offer_id":37546856448165,"sku":"","price":65.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1681\/2497\/products\/ENGHELAB_STREET_21S.jpg?v=1621875632"},{"product_id":"learning-by-heart-teachings-to-free-the-creative-spirit","title":"Learning by Heart: Teachings to Free the Creative Spirit","description":"\u003cp\u003eBy Corita Kent and Jan Steward\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eLearn how to challenge fears, be open to new directions, recognize connections between objects and ideas, and much more in this remarkable, indispensable guide to freeing the creative spirit within all of us.\u003c\/p\u003e\n\u003cp\u003eArtist and educator Corita Kent inspired generations of artists, and the truth of her words \"We can all talk, we can all write, and if the blocks are removed, we can all draw and paint and make things\" still shines through.\u003cbr\u003e\u003cbr\u003eThis revised edition of her classic work \u003cem\u003eLearning by Heart\u003c\/em\u003e features a new foreword and a chart of curriculum standards.\u003c\/p\u003e\n\u003cp\u003eKent's original projects and exercises, developed through more than 30 years as an art teacher and richly illustrated with 300 thought-provoking images, are as inspiring and as freeing today as they were during her lifetime.\u003cbr\u003e\u003cbr\u003eWith new material by art world heavyweights Susan Friel and Barbara Loste, L\u003cem\u003eearning by Heart\u003c\/em\u003e brings creative inspiration into the 21st century!\u003c\/p\u003e\n\u003cp\u003eDesigned by Jan Steward\u003c\/p\u003e\n\u003cp\u003ePublished by Allworth, 2008\u003c\/p\u003e\n\u003cp\u003eSoftcover, 232 pages, 7 × 9.13 inches\u003c\/p\u003e\n\u003cp\u003eISBN: 978-1-58-115647-8\u003c\/p\u003e","brand":"Curated","offers":[{"title":"Default Title","offer_id":37547365269669,"sku":"","price":24.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1681\/2497\/products\/LearningbyHeart_19s.jpg?v=1609695865"},{"product_id":"goblins","title":"Goblins","description":"\u003cp\u003e\u003cem\u003eGoblins\u003c\/em\u003e explores the beasts we’ve loved, hated, and longed to be.\u003c\/p\u003e\n\u003cp\u003eIn a searing exploration of her personal obsessions and preoccupations—from disturbing 80s fantasy films and uncanny puppets in modern art, to sexual predators in music scenes and her longing to ‘become a goblin’ like her icons and fellow performers in DIY punk—British writer and musician Jen Calleja shows us the ways she has lived in relation to these base, hungry, selfish and carefree creatures.\u003c\/p\u003e\n\u003cp\u003ePart of a collaborative series of publications between the UK's Rough Trade Books and the Museum of Witchcraft and Magic in Cornwall. 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Today, it is one of the oldest continuously active American art collectives. The pronunciation—Af-FREE-co-bruh—emphasizes the second syllable, signaling the group’s central principle grounded in Black liberation: creative expression reflecting the Black experience and Black influences.\u003c\/p\u003e\n\u003cp\u003eAfriCOBRA’s founding artists—Jeff Donaldson, Jae Jarrell, Wadsworth Jarrell, Barbara Jones-Hogu and Gerald Williams—differed in disciplines and artistic vocabularies but were brought together by the common aspiration to create work that speaks directly to Black people utilizing an identifiably Black aesthetic. This publication celebrates the fifty-year anniversary of AfriCOBRA’s founding and marks the collective’s powerful relevance today.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAfriCOBRA: Messages to the People\u003c\/em\u003e documents two exhibitions curated by Jeffreen M. 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Together they recognized their common experiences, acknowledging that what they shared was not unique to them since other Native women artists could speak to similar life realities. How often such experiences were actually shared became the larger issue, and initiated the publication of this collection of essays.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn 2007 and 2008, these artists participated in three seminars at the School for Advanced Research in Santa Fe, which ultimately led to a one-day exhibition and artist panel discussion at the Museum of Indian Arts and Culture. \u003cbr\u003e\u003cbr\u003eDiverse in media and content, the artworks of this original group of Native women are featured as plates in this volume along with contextualizing artist statements. 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Ladies’ Home Journal. Vogue.\u003c\/em\u003e In an industry that has been in a downward spiral for years, these magazines—and other women—focused magazines like them—have not only retained their readership, they’ve increased it. Every month, five million-plus women peel back the slick cover of their favorite magazine to thumb through pages filled with tidings and advice about fashion, beauty, sex, relationships, dieting, health, and lifestyle. 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