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POSTER COLLECTION - Publication
Series
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| Museum für Gestaltung/Poster Collection and Lars Müller Publishers |
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The Poster Collection's holdings are a record of the history of the poster, in Switzerland and world-wide, from its beginnings in the 19th century to the present day. The collection is continually being expanded and brought up to date, in dialogue with contemporary output and acknowledging historical achievements. The Museum für Gestaltung's poster collection is one of the most comprehensive and significant archives of its kind in the world.
The new publication series is aimed not only at documenting the stock of the poster collection but also at making it known to a wider public. |
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"Poster Collection" 14
Zürich-Milano
Essay by Hans Höger
16,5 x 24 cm, 96 pages, 100 colour illustrations
german english
ISBN 978-2-037778-079-4
CHF 36.--
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"Poster Collection" 13
Typo China
Essay by Eva Lüdi Kong
16,5 x 24 cm, 64 pages, 78 colour illustrations
german english
ISBN 3-03778-078-9
CHF 28.--
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"Poster Collection" 12
Catherine Zask
With essays by Henri Gaudin and Catherine de Smet
Catherine Zask counts among France’s major graphic artists. Her typographical culture posters are distinguished by unusual typeface handling. Their formal language seems exciting and alien, particularly to eyes accustomed to the Swiss graphic heritage. Zask was born in Paris in 1961. She imbues her letters with an authority that is usually only conferred on images. It can trigger movements or echoes, affect the spaces in between the letters, store images – but it always works to create an appropriate and comprehensible form for a statement. Her posters for the French society of multimedia artists, Scam, and for the L’Hippodrome theatre in Douai, confirm the coherence and elegance of an oeuvre that is being presented in Switzerland for the first time.
16,5 x 24 cm, 64 pages, 48 colour illustrations
german english french
ISBN 3-03778-054-1
CHF 28.--
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"Poster Collection" 11
handmade
Essay by Claude Lichtenstein
Even after the emergence of clean digital design, graphic artists still like to get their hands dirty. Poster Collection 11: Handmade, the latest in the series from the poster collection of the Zurich Museum für Gestaltung, presents both international and Swiss works whose makers have used their own hands for a variety of reasons—autonomy, spontaneity, independence, or delight in experiment. This might manifest itself in turning the current idiom on its head with analogue processing of a digital aesthetic or, more radically still, in the inclusion of solids and other material in the making of the poster or in duplicating by hand. Nevertheless, these works are a long way away from retro-romanticism. Contemporary, cuttingedge design arbiters like Stefan Sagmeister and Cornel Windlin show you how it’s done. With an essay by
16,5 x 24 cm, 96 pages, 140 colour illustrations
german english
ISBN 3-03778-053-3
CHF 36.--
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"Poster Collection" 10
Michael Engelmannn
In the fifties Engelmann set about expunging any trace of empty bourgeois enthusiasm from advertising by applying a strictly conceptual working approach. In his posters for Pirelli, The Philadelphia Inquirer, Renault or Roth Händle, images and ideas come together in a way that is as simple as it is compelling, creating signs of great associative force. He made a highly regarded contribution to graphics' breakthrough into the age of mass communications with wit and a sense of using his resources economically. The present publication brings together numerous posters by this graphic artist, who died in 1966 at the age of only 38.
With Texts by Anita Kühnel, Felix Studinka, Stefan Zweifel
Coproduction with Staatliche Museen zu Berlin, Kunstbibliothek
16,5 x 24 cm, 96 pages, german, english, 110 colour reproductions
ISBN 3-03778-039-8
CHF 36.--
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"Poster Collection" 09
Ralph Schraivogel
With an essay by Massin
“With every new project Schraivogel gives the impression of calling his past experience into queston. Therefore, from one poster to the next, there exists great – and sometimes rather unsettling – diversity, as if differenz artists werde involved. Sometimes the typography takes pride of place, other times the illustration Other times still, the two are mixed, the lettering and the drawing enextricably linked.” Massin
16.5 x 24 cm, 64 pages 70 illustrations, e/g
ISBN 3-03778-016-9
CHF 28.--
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"Poster Collection" 08
Black and White
With an essay by Lars Müller
16.5 x 24 cm, 80 pages 107 Illustrations, softcover
german english
ISBN 3-03778-014-2
CHF 30.--
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"Poster Collection" 07
Armin Hofmann
With an essay by Steven Heller
After completing an apprenticeship in lithography, Armin Hofmann (born 1920) began teaching his own typographic principles at the Basel School of Design in 1947. He and his collegues who contributed to the development of Swiss international Style, advocated a belief in absolute and universal graphic expres-sion. Hofmann has also taught at Yale and the Philadelphia Museum School of the Arts. In 1965 he wrote the «Graphic Design Manual», which is regarded as a fundamental work in the field of modern graphic design and art. Poster Collection 07 gathers the most important posters of Armin Hofmann, and shows them – corresponding to his fundamental importance as a graphic design teacher – in a context with works from his most famous students, who continued his methods, as there are Nelly Rudin, Karl Gerstner, Pierre Mendell, Klaus Oberer, Gérard Ifert and others.
16,5 x 24 cm, 80 pages, g/e, 110 illustrations
ISBN 3-03778-004-
CHF 32.--
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"Poster Collection" 06
International HIV Prevention Posters
With an essay by Nigel Barley
Ever since the AIDS epidemic struck, the health authority's task of educating the public has gained dramatically in significance. In many countries, the poster as a medium of information was unknown before the advent of AIDS so that a visual vocabulary first had to be developed for an issue saddled with ingrained taboos. A survey of current posters on AIDS prevention, displayed in Asia, the Pacific and Africa, demonstrates that the urgent and imperative success of the posters depends on their being rooted in local traditions. Thus, in AIDS campaigns, posters once again perform their original function as a means of mass communication.
“With a disease involving sexuality, a continuing issue is what can actually be shown, and the results often leave audiences to do quite a lot of the work themselves. Impact and inexplicitness compete and jostle each other. Typically, attempts to create a series of explicit visual signs always flounder when it comes to sex.”
(Nigel Barley)
16,5 x 24 cm / 96 pages / 130 poster images
german/english
ISBN 3-907078-90-x
CHF 28.--
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"Poster Collection" 05
Typotecture - Typography as architectural imagery
With an essay by Andres Janser
“Typotecture” takes a look at posters from various countries and periods, which share a special feature of typography: the tendency to break out of the two-dimensional space of lettering and establish hybrid links with architecture. Letters, words, or entire sentences form architectural figures, which can be read both as pictures and as words. The playful handling of typography has led to an exhilarating wealth of variations in the history of poster art. Starting with contemporary poster design, the widely divergent strands of development in the architectural treatment of lettering are traced back in time through the twentieth century.
16,5 x 24 cm / 64 pages / 85 illus.
german/english
ISBN 3-907078-89-6
CHF 28.--
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"Poster Collection" 04
Hors-Sol - Poster Interventions in Switzerland
With contributions by Bettina Richter, André Vladimir Heiz, Harald Szeemann
Hors-Sol is a record of poster actions conducted by fine artists in public places in Switzerland, starting with the sensational campaign mounted by the Zurich Concrete Artists in 1961. The poster is usually a medium for commercial messages, but here it is used to convey new meanings, some of which are more firmly anchored in the context of art, others explicitly aimed at advertising. These unusual intrusions are disturbing and cause people to reflect on the conditions in which art and PR function. In historical comparison, they function as a mirror of the time and reveal a great deal about changing social conditions. The poster campaigns that took place in the 1960s seemed to be impressively explosive and alarmingly direct, whereas today's artistic forays into the poster as a medium are evidence that PR aesthetics and the art world are coming into line.
16,5 x 24 cm / 96 pages/ 139 poster images
german/english
ISBN 3-907078-53-5
CHF 36.-- |
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"Poster Collection" 03
Posters for Exhibitions at the Museum für Gestaltung Zürich 1980-2000
Mit einem Essay von Stuart Bailey
"The more I spoke to those involved with the posters and policies of the Museum für Gestaltung, I realised that their contrariness is the main reason they are consistently effective. They achieve an identitiy through non-identity. Cultivated over many decades, this tradition is delicate. It is not too difficult to imagine an injection of marketing sensibilities - of being good for the man on the street, or easily recognisable / understandable, of dumbing down, of patronising - destroying everrything in one fatal campaign". (Stuart Bailey)
16,5 x 24 cm / 96 pages / 153 poster images
german/english
ISBN 3-907078-55-1
CHF 36.-- |
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"Poster Collection" 02
Donald Brun
With an essay by Jean Charles Giroud (BPU, Genf)
Donald Brun (1909-1999) was one of the most successful Swiss graphic artists of his days. So why are people sometimes embarrassed when he is mentioned? Brun was the first of a line of designers who thought conceptually and self-confidently within the parameters of the market-place. And thus, at a very high level, he revealed the dubious morality surrounding the "good and beautiful poster" - and it is precisely this phenomenon that deserves our attention.
16,5 x 24 cm, 64 pages / 69 poster images in color / german/english
ISBN 3-907078-53-5
CHF 28.-- |
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"Poster Collection" 01
Revue 1926
With an essay by Hans Ulrich Gumbrecht
(Stanford University, CA)
Anyone who immerses himself in a room, a set of surroundings, made up of the past like this will discover that many shapes and themes soon repeat themselves - in a surprising way. Quite a number of the things that one registers on a first, second and a third glance not only keep returning, but return in ever-new contexts and recombinations, and it is not possible to reduce their sequence to a formula. And it is precisely these, these unpredictable but incessant recurrences, that create the identity of a period of time - a glance at the posters from this year will put us back in-the-world-of-1926.
16,5 x 24 cm, 64 pages, german/english
91 posters images in color
ISBN 3-907078-52-7
CHF 28.--
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Edition Museum für Gestaltung Zürich
Interventionen HGKZ
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