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BIBLIOGRAPHIE

 

Tous ces livres ne sont pas disponibles dans les circuits de grande distribution. Pour vous aider à les trouver, voici les adresses de librairies spécialisées et de bibliothèques. Elles sont toutes situées à Paris. N'hésitez pas à envoyer des adresses de province, de Belgique, de Suisse ou du Canada en cliquant ici.

Bibliothèque Forney (fonds spécialisé dans les arts plastiques et graphiques, les arts décoratifs et artisanats et les techniques des métiers) :
Hôtel de Sens
1, rue du Figuier
75004 PARIS
Tél. 01 42 78 14 60
Fax : 01 42 78 22 59
Métro : Pont Marie - Saint-Paul

Bibliothèque Publique d'Information (Centre Georges Pompidou). Son catalogue est consultable en ligne.

Artazart Librairie en ligne spécialisée dans les arts graphiques

Artem 9 bd Sébastopol 75001 Paris 01 42 36 24 20

Librairie Eyrolles Grand choix de livres sur l'informatique. Au sous-sol, rayon consacré à la typographie
61, bd Saint-Germain
75005 Paris
Tél : 01 44 41 11 11
Métro : Maubert-Mutualité, Cluny, St-Michel

Le Moniteur Librairie spécialisée dans l'architecture
7 place de l'Odéon
75006 Paris
Tél: 01 44 41 15 75
Métro: Odéon RER: Luxembourg

 

GRAPHISME DE RUE

Graphisme de rue Photographie de rue Mode de rue
New York
Paris Rio de Janeiro São Paulo

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Sensacional! Le design populaire mexicain

Seuil, 2002

Juan Carlos Mena, Oscar Reyes

www.sensacional.com.mx

"Sensacional est un recueil d'images prises dans des villages, sur des routes et dans des villes du Mexique et d'imprimés comme des prospectus, des étiquettes et des bandes dessinées. Leur caractéristique commune est leur facture: les auteurs ne suivent ni les règles de l'Académie ni les conventions de la composition plastique et encore moins les dernières modes. En cela, leur travail a un style. L'imagination des propriétaires ou les idées pour attirer l'attention du consommateur sur les avantages ou les particularités de leurs produits donnent presque toujours un produit hybride issu de la combinaison entre la technique utilisée et l'audace."

Plus de 300 images. Textes de David Byrne et Hervé di Rosa.

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Endcommercial - Reading the City

Hatje Cantz Publishers, 2002

Florian Bohm, Luca Pizzaroni, Wolfgang Scheppe

 


www.endcommercial.com

"Between urban structures and individual existence, organic and improvised systems emerge. Situated beyond the sophisticated economy and below a level of recognition, they are familiar yet paradoxically invisible. The ordinariness of certain objects is so ubiquitous that they fail to evoke reflection: construction barriers, ads on buses, traffic signs, LCD displays, chained-up bicycles, the façades of stores, subway maps. Endcommerical / Reading the City conducts a visual research project of urban street territory, compiling signs, objects, and codes within grammatical relationships that unveil embedded social conditions and contradictions. Taking New York as a paradigmatic urban alphabet, Endcommercial / Reading the City orders a seemingly endless array of informal and empirical photographs, demonstrating the distinction between an unconscious visualization of singularities and an intelligent perception of generality. Initiated by the commercial, subject to fictionalization, it is a reference tool engaged in the thoughtful renewal of our visual vocabulary, opposed to the omnipresent iconography we process everyday. "

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Barcelona Grafica

Editorial Gustavo Gili SA, 2001

America Sanchez

 

 

" America Sanchez a photographié et mis en page pas moins de 1835 exemples de l'art graphique urbain de Barcelone: enseignes, numéros d'immeubles, détails architecturaux, pictogrammes...qui illustrent les usages de la ville et la rendent lisible. Il a ainsi tiré de l'anonymat une multitude d'artistes graphiques spontanés et a inauguré un nouveau champ d'étude de la vie quotidienne. Un regard superficiel n'y verrait qu'une simple collection de curiosités, produits de l'inventivité populaire. Un regard plus attentif decouvrira un véritable trésor graphique."

 

 

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Inde Graphique

Thames and Hudson, 2001

Barry Dawson

 

"Nowhere is the visual cornucopia of street graphics more striking than in India, where a continuous gallery of images reflects the country's rich cultural diversity. From the Arabian Sea to the Indian Ocean, from the northern Himalayas to its southernmost tip, the subcontinent's overwhelming profusion of art and design excites the eyes. Street furniture, architecture, transport, billboards, posters, packaging, animals, and people are all used as the media of calculated design and spontaneous expression. Ancient or modern, permanent or transient, India's street art has evolved in a myriad of styles reflecting regional variation and concerns. Barry Dawson's photographs are not only a colorful journey through India's cities, towns, and villages, but also a graphic celebration of its creative street culture, an inspirational sourcebook of vibrant ideas for students and practitioners of art and design, as well as a lively visual record for visitors. 154 color photographs."

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Graphicswallah: Graphics in India

Laurence King Publishing, 2003

Keith Lovergrove

 

'"From Mumbai to Chennai and from Kochi to Karachi, from the humble signwriter to the blue-chip advertising agency, the creative industries of India entice and inform a population of over one billion. In this crowded, colourful world, innovation is often born of necessity and scant resources, and can result in the very clever or the completely ridiculous. The most exciting graphic work has been singled out by the keen eye of Keith Lovegrove on his journey through India. He lovingly documents a wide range of vernacular graphics and commercial art from the personalized bodywork of vehicles through to advertising hoardings; from political posters to lavish Bollywood publicity. The result is a celebration of the huge variety of graphic work that Lovegrove found in this densely populated landscape and a reflection of the religious, political and cultural diversity recorded in specially commisioned photography. "

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Cuba Graphique

Thames and Hudson, 2001

Barry Dawson

 

"Much of today’s most exuberant, most creative and most telling imagery is all around us, in the street. Cuba has a unique place in these international street galleries. Its colonial past and its Revolution, invoked everywhere in utopian images, have created something vibrantly distinct.

Beyond the ideology, this is the venue to enjoy the nostalgia of the chrome trim and high tail fins of 1950s automobiles, the locale for Cohiba cigars, pre-Revolution enamel Coke signs, the ever-popular Bacardi rum and all the excitement of the Buena Vista Social Club."

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Tokyo Graphique

Thames and Hudson, 2002

Barry Dawson


"Tokyo's vibrant street graphics combine ancient tradition, twentieth-century mass production, and a twenty-first-century urban vision that is uniquely Japanese. A colorful clash of imagery renders the familiar strange and the strange bizarre. Cartoon characters can signify the police or pornography. Fashion statements are derived from diverse sources—ancient Egypt or even a hospital operating room. Slot machines vend erotica; pets and cops are robots; tempting dishes of sushi turn out to be inedible plastic representations. Ridley Scott's futuristic film Blade Runner was inspired by Tokyo's neon nightscape, where a fashionable department store doubles as a giant digital TV screen featuring lifesize dinosaurs in Godzilla's hometown. 150 color photographs."

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New York Graphique

Thames and Hudson, 2002

Barry Dawson

"New York is the world capital of street graphics – a creative kaleidoscope of signs, graffiti, murals and advertising. Its innovative ideas, styles and media quickly become international trends.

Street Graphics New York captures the city's cultural diversity – jazz age elegance, brash sixties Pop Art, hip-hop graffiti, anarchic stencil and sticker art.

New York's landmark's are appropriated for chic fashion advertising and and iconic tourist souvenirs, and here too is the city's 9/11 experience, up on the walls in emotionally charged imagery."

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Street Graphics: Egypt

Thames and Hudson

Barry Dawson

 

"The street graphics of modern Egypt reflect three distinct cultures and visual styles: ancient Egyptian imagery, a developing Western international style, and the traditional Arabic calligraphy of Egypt's Islamic majority.
Thousands of years ago, Egyptians carved a pictorial history of Pharaonic culture on their temples, tombs, and monuments. Representations and interpretations of this ancient culture saturate modern Egypt's tourism industry, from hotel signs and theme parks to the souvenirs sold by street hawkers. The development of Egypt's coastal resorts has been accompanied by modern images of beach and party lifestyles, and this new imagery thrives alongside the traditional in stark contrast or startling confusion
."

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Graphisme de rue Photographie de rue Mode de rue
New York
Paris Rio de Janeiro São Paulo

 

 



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