Print & Design 16 Items

The story of Eames furniture told in unparalleled detail on 800 pages with more than 2,500 images.

In this unique publication, Marilyn and John Neuhart tell the story, to paraphrase Charles Eames himself, of how Eames furniture got to be the way it is. The Story of Eames Furniture is a biography —not of an individual person, but of arguably the most influential and important furniture brand of our time.

Brimming with more than 2,500 images and insider information, this two-volume book in a slipcase sheds new light on the context in which the furniture of Charles and Ray Eames was created. It documents in unparalleled detail how the design process in the Eames Office developed as well as the significant roles played by specific designers and manufacturers. Volume 1 presents the early years of the Eames Office and its method of furniture design and development. It introduces not only Charles and Ray Eames, but also key members of their design team including Eero Saarinen, Harry Bertoia, Herbert Matter, and others. This volume also focuses on Charles Eames’s early work with plywood and how he adapted plywood-molding techniques into a system to mass-produce furniture.

Volume 2 features the period from the aftermath of the Second World War through 1978, the year of Charles Eames’s death and of the effective, functional end of the Eames Office. It provides incomparable insight into how new technologies served as the genesis for the most interesting pieces of Eames furniture. This volume also focuses on the role of the Herman Miller Furniture Company in the evolution of furniture design at the Eames Office and investigates the influence of Don Albinson, who was Charles Eames’s primary designer and technician from the mid-1940s to 1960.

Format: 25.5 x 29.2 cm Features: 800 Pages, full cover, hardcover, 2 volumes in slipcase Isbn: 978-3-89955-230-0

The Story of Eames Furniture was written and designed by Marilyn Neuhart together with her husband John Neuhart. Both worked personally with Charles and Ray Eames at the Eames Office in various capacities starting in the 1950s. More familiar with the material and protagonists than almost any other, Marilyn Neuhart spent more than 15 years compiling the stories, images, and recollections featured in this book.

Wes Anderson’s eighth feature film, The Grand Budapest Hotel, is the fullest expression to date of Anderson’s varied thematic and stylistic idiosyncrasies and influences—a meticulously crafted, visually resplendent matryoshka-doll caper set primarily in an alternate-history version of 1930s Europe. This supplementary, one-volume companion to The Wes Anderson Collection (Abrams 2013) is the only book to take readers behind the scenes of The Grand Budapest Hotel, with in-depth interviews between Anderson and cultural critic and New York Times bestselling author Matt Zoller Seitz. Anderson shares the story behind the film’s conception, the wide variety of sources that inspired it—from author Stefan Zweig to filmmaker Ernst Lubitsch to photochrom landscapes from turn-of-the-century Middle Europe—personal anecdotes about the making of the film, and other reflections on his filmmaking process. These interviews are accompanied by behind-the-scenes photos, ephemera, and artwork, as well as exclusive critical essays by Ali Arikan, Steven Boone, David Bordwell, Olivia Collette, and Christopher Laverty; interviews with costume designer Milena Canonero, composer Alexandre Desplat, lead actor Ralph Fiennes, production designer Adam Stockhausen, and cinematographer Robert Yeoman; and an introduction by playwright Anne Washburn.

23,8 cm x 28,6cm, 256 pages, hardcover.

Not only do scripts and alphabets form bridges between cultures, but their history and the stories they tell are the perfect springboard for calligraphic experimentation.

From India to Ethiopia, Tibet and beyond, Denise Lach has travelled widely in the world of script. Here, she documents complex and simple characters, playful shapes and vibrant colours, which she then translates into her own visual art. She demonstrates the exciting design possibilities offered by script: you can repeat, turn, mirror and rotate letters; you can also experiment with rhythms, contrasts, colours and line widths.

In addition to calligraphic techniques, Lach introduces examples from printmaking, fabric printing, collage making and digital techniques.

Brimming with beautifully photographed works of art – on paper, stone, fabric or ceramic material – Journeys in Calligraphy will take you to many surprising destinations.

Contents:

Early Writing
Ethiopia
Swahili
Kannada
Tibet
Burma
Runes
Malay
Other Journeys

192 pages, 26 x 23,5 cm, hardcover.

Will Sheff of Okkervil River has long been recognized for his writing: a contributor to McSweeney's, Sheff was nominated for a GRAMMY for his liner notes for Roky Erickson's 2010 album True Love Cast Out All Evil, and The New York Times declared that "Sheff writes like a novelist". It is with great pleasure that Jagjaguwar presents I Am Very Far: The Lyrics, a hard bound lyric book containing the full scope of Sheff 's vision for his latest and most refined album to date, Okkervil River's I Am Very Far. Meant to function as a distinct entrance point into the content of the music, "I Am Very Far: The Lyrics" is set for release in advance of the album. Functioning as much more than a complement to the albums themselves, Sheff 's prose weaves tales both subtle and dynamic, and enriches the content of his songs. Including the lyrics for the single "Mermaid" and other songs recorded during the "I Am Very Far" sessions, "I AmVery Far: The Lyrics" is a complete work in its own right.

In 1984 the groundbreaking Subway Art brought graffiti to the world. 30 years on, the bible of the street-art movement is back and better than ever!

With over 70 fresh photographs not included in the original edition.

In new introductions Martha Cooper and Henry Chalfant recall how they gained entry to the New York City graffiti community in the 1970s and 1980s.

New afterwords continue the story from the decline of the subway graffiti scene in the late 1980s to its unexpected rebirth as a global art movement.

The authors bring us up to date on how the lives of the original subway artists have unfolded, and mourn the loss of several writers to the darker forces of the street.

128 pages, 33,5 x 23,4 cm, paperback.

A zippy and compact introduction to Street Craft, from guerrilla gardening to urban crochet.

Surprising, controversial and often simply beautiful, street craft is the next chapter in the story of street art - an explosion of creativity that is reclaiming and transforming urban space around the world.

Featuring: • Tasha Lewis’s blue butterfly swarms bring beauty to derelict corners of New York. • Spidertag intertwines sturdy rope and nails to construct abstract graffiti in Madrid. • Mademoiselle Maurice’s origami and lace graffiti bring a light touch to the streets of Paris and Hong Kong and many more.

'Frequently thought-provoking, often funny, and at all times non-threatening' GQ

'Political, pretty, provocative' Simple Things

About the Author: Riikka Kuittinen is a freelance curator and writer. A contributing writer to the online journal Photomonitor, she curated the V&A show ‘Street Art: Contemporary Prints’ (2010–12), which toured the UK, with a version shown in Libya. She is the author of Street Art: Contemporary Prints, and contributed to Phaidon Archive of Graphic Design, Modernism 1914–1939: Designing a New World and 1001 Paintings You Must See Before You Die.

Format:PLC (no jacket) Size:22.0 x 17.5 cm Extent:224 pp Illustrations:250 Publication date:2 February 2015 ISBN:9780500517840

Now completely revised and updated, with full-color photographs and family-friendly recipes throughout.

The deeply personal story of a father learning to share his love of nature with his children, not through the indoor lens of words or pictures, but directly, palpably, by exploring the natural world as they forage, cook and eat from the woods and sea.

This compelling, masterfully written tale follows Dylan Tomine and his family through four seasons as they hunt chanterelles, fish for salmon, dig clams and gather at the kitchen table, mouths watering, to enjoy the fruits of their labor. Closer to the Ground captures the beauty and surprise of the natural world — and the ways it teaches us how to live — with humor, gratitude and a nose for adventure as keen as a child’s. It is a book filled with weather, natural history and many delicious meals.

Dangerous is Michael Jackson's coming of age album. Granted, that's a bold claim to make given that many think his best work lay behind him by the time this record was made. It offers Jackson on a threshold, at long last embracing adulthood-politically questioning, sexually charged-yet unable to convince a skeptical public who had, by this time, been wholly indoctrinated by a vicious media. Even though the record sold well, few understood or were willing to accept the depth and breadth of Jackson's vision; and then before it could be fully grasped, it was eclipsed by a shifting pop music landscape and personal scandal-the latter perhaps linked to his assertive new politics. This book tries to cut through the din of dominant narratives about Jackson, taking up the mature, nuanced artistic statement he offered on Dangerous in all its complexity. It is read here as a concept album, one that offers a compelling narrative arc of postmodern angst, love, lust, seduction, betrayal, damnation, and above all else racial politics, in ways heretofore unseen in his music. This record offered a Michael Jackson that was mystifying for a world that had accepted him as a child and as childlike and, hence, as safe; this Michael Jackson was, indeed, dangerous.

An album which distilled a genre from the musical, cultural, and social ether, Portishead's Dummy was such a complete artistic achievement that its ubiquitous successes threatened to exhaust its own potential. RJ Wheaton offers an impressionistic investigation of Dummy that imitates the cumulative structure of the album itself, piecing together interviews, impressions of time and place, cultural criticism, and a thorough exploration of the music itself.

The approach focuses as much on the reception and response that Dummy engendered as it does on the original production of the album. How is that so many people have, collectively, made a quintessential headphone album into a nightclub album? How have they made the product of a niche local scene into an international success? This is the story of how an innovative, experimental album became the iconic sound for the better part of a decade; and an aesthetic template for the experience of music in the digital age.

248 pages.

Pete Townshend was once asked how he prepared himself for The Who’s violent live performances. His answer? ‘Pretend you’re in a war.’ For a band as prone to furious infighting as it was notorious for acts of ‘auto-destructive art’ this could have served as a motto.
Between 1964 and 1969 The Who released some of the most dramatic and confrontational music of the decade, including ‘I Can’t Explain’, ‘My Generation’ and ‘I Can See For Miles’. This was a body of work driven by bitter rivalry, black humour and dark childhood secrets, but it also held up a mirror to a society in transition. Now, acclaimed rock biographer Mark Blake goes in search of its inspiration to present a unique perspective on both The Who and the sixties.
From their breakthrough as Mod figureheads to the rise and fall of psychedelia, he reveals how The Who, in their explorations of sex, drugs, spirituality and class, refracted the growing turbulence of the time. He also lays bare the colourful but crucial role played by their managers, Kit Lambert and Chris Stamp. And – in the uneasy alliance between art-school experimentation and working-class ambition – he locates the motor of the Swinging Sixties.
As the decade closed, with The Who performing Tommy in front of 500,000 people at the Woodstock Festival, the ‘rock opera’ was born. In retrospect, it was the crowning achievement of a band who had already embraced pop art and the concept album; who had pioneered the power chord and the guitar smash; and who had embodied – more so than any of their peers – the guiding spirit of the age: war.