Neil Farber and Michael Dumontier are founding members of the artist collective Royal Art Lodge, formed in the mid-’90s by a half dozen young Canadians wanting to hang out together during the cold winters, listen to music, and collaborate on art. What started as a pile of drawings in a suitcase in a run-down studio space in industrial Winnipeg, Manitoba, has become a lifelong practice for the entire group, taking the Royal Art Lodge’s works to galleries and museums across North America, the U.K., Italy, France, Japan, Mexico, and elsewhere. Neil, Michael, and other founding members like Marcel Dzama and Jon Pylypchuk have all become significant solo artists, even as they continue to collaborate.
Drawn by the distinct, abstract and fluid style of illustrator Aino-Maija Metsola, Vintage Classics commissioned the Helsinki-based designer to work on 6 books by Virginia Woolf.
Here, Aino-Maija expresses her thoughts around working on the cover:
‘I wanted to find a way to translate Woolf’s style of writing and the impressions created in the text into pictures and to discover the atmosphere in each text. Woolf’s writing is very intense and innovative, which was very inspiring for me as an illustrator.
Painting with watercolours enabled me to create pictures that work well with Woolf’s writing. I wanted to use strong colours and combine them with fluid painting that is not completely abstract to give room for interpretation. I’m interested in making pictures with a strong, mysterious atmosphere. I also love playing with colours, and the endless possibilities that they give.
The best moments in my work are the ones when I feel I have made something that is both personal for me and relevant to others. That is not always so easy, but I hope these covers are one of those projects.’
Orlando, A Room of One’s Own, To the Lighthouse, The Waves, Selected Diaries and Mrs Dalloway are published by Vintage Classics on October 6th.
This short documentary focuses on the life of Josh Spencer, owner and operator of “The Last Bookstore”, located in Downtown Los Angeles. Against the closure of massive bookstore chains and the rise of eReaders, Josh has been able to create a local resurgence of the printed word. We explore his life as a father, husband, small business owner, and paraplegic, as well as the store’s magnetic attraction of the community.
O próximo romance de Ali Smith, a sair em Agosto, chamar-se-á "Autumn" e promete ser o primeiro de quatro romances sasonais. Segundo o seu editor será...
“a stripped-branches take on popular culture, and a meditation, in a world growing ever more bordered and exclusive, on what richness and worth are”.
The four novels, which will go on to form Smith’s Seasonal quartet, will be standalone, said Hamish Hamilton, “separate yet interconnected and cyclical, exploring what time is, how we experience it, and the recurring markers in the shapes our lives take and in our ways with narrative”.
Hoje foi revelada a capa, que tem como base um quadro de David Hockney. O design é de Richard Bravery.
Em breve em Portugal, pelas mãos da Elsinore, o livro de Peter Mendelsund "O Que Vemos Quando Lemos". Fiquem com um pequeníssimo trailer abaixo e não deixem de visitar o site do Peter. Algumas das minhas capas favoritas de livros são dele.
Na verdade, cito o Pedro Dias de Almeida para poder contextualizar o recém-falecido editor da &etc.
Este Para Já Para Já, de Vitor Silva Tavares, veio cá para casa há menos de dois meses, depois de o ter apanhado distraído na livraria do CAM. Republica um texto impresso no Jornal do Fundão em 1972 («O leitor que não me leia! Eu também me leio pouco ou nada! E não é por isso que sou pior! Escrevo, já disse, porque me deu praqui.») e acrescenta-lhe uma Contumácia (Posfácio). É daí que cito este excerto em jeito de homenagem à lucidez & etc. Tomai lá: «Tomado de assalto o poder político por representantes da camarilha argentária que se fardam de 'democratas' para paulatinamente desmantelarem o que ainda resta das ordenações sociais e regressarem depois às tesourarias privadas, estas mais e mais anchas, fica a res publica em estado comatoso, condenada pelo darwinismo social que faz imperar a lei do mais forte e reserva para mim, e para ti, e para quantos quase-todos, o direito ao medo e ao sufoco e à solidão, se não ao egoísmo da comezinha sobrevivência, com a consciência a martelar culpas: nunca se vê fundo à ignomínia, realidade global - e a barbárie, e a paranóia, e a imbecilidade fomentadas, campeiam para bom proveito sempre dos senhores da Terra, os nomeados da 'Forbes' e os anónimos da irresponsabilidade ilimitada.»
Exposição que reúne cerca de 40 livros de artista que Lourdes Castro produziu desde os anos 50 até aos nossos dias, muitos deles nunca expostos. Entre os livros inéditos é apresentado 'Un Autre Livre Rouge', feito em Paris no início dos anos 70, em colaboração com Manuel Zimbro.
In 1935, as part of his New Deal program to put Americans back to work during the Great Depression, President Roosevelt established the Work Progress Administration. The WPA (its name was changed to the Work Project Administration in 1939) employed millions of people to carry out major public works projects, and within it, there was a smaller, creative arm: the Federal Project Number One.
The goal was not just providing funding and work for artists, but also promoting and sharing the work being done by American musicians, writers, and theater professionals. It reflected the belief of New Deal administrators that art could, and should be, a part of everyday life.
"The government unwittingly launched a movement to improve the commercial poster and raise it to a true art form," Richard Floethe, who headed up the Poster Division in New York, wrote in an essay.
The group designed posters for art programs as well as for public parks, and organizations devoted to health and education. The posters were first made by hand before moving to the silkscreen process, which allowed for a greater volume to be printed. From 1936 to 1943, over two million posters were printed. The lion's share of the Work Project Administration poster trove is held at the Library of Congress.
Below, we've gathered some of the most striking and thought-provoking posters created for libraries in the late 1930s and early 1940s.