Bøger udgivet af RM Verlag SL

B constitutes the second stage in Spanish photographer Alejandro Marote's (born 1978) study of the plastic transformation of matter. In it, Marote seeks out two fundamental coast planes: the vertical one of the palm trees and the horizontal of the line of the sea.

This volume highlights the value of the photobook in contemporary visual culture and proposes a reinterpretation of the history of photography through the photobook and photographs printed in books. Nine curators, key figures in the photobook movement, share their various visions.

In Fordlandia, British video artist Melanie Smith (born 1965) explores the tensions between industrial and natural landscapes in a factory town situated within the Amazon rainforest. The book is organized as an illustrated conversation log between the artist and the curator.

The capital of the 20th century in photobooks, from Berenice Abbott to Thomas RomaNew York in Photobooks gathers and studies a selection of images of the capital of the 20th century, one of the most photogenic and most photographed cities in history. Through a wealth of gorgeous reproductions of photobook spreads, the city of skyscrapers is captured from the zenith of its construction in the 1930s to the destruction of the World Trade Center in 2001, alongside the urban life of the New Yorkers themselves, in images that epitomize the very genre of street photography. Many of these books are the work of European and Japanese photographers, who discovered multiple perspectives--cultural, social, economic--from which to view the city that shaped the 20th century. Alongside texts by numerous photography scholars, classics of the photobook canon by photographers such as Berenice Abbott, Nobuyoshi Araki, Cecil Beaton, Mario Bucovich, Roy DeCarava, Bruce Davidson, Raymond Depardon, Juan Fresán, Bruce Gilden, György Lörinczy, Lewis Hine, Evelyn Hofer, Karol Kallay, André Kertész, William Klein, Helen Levitt, Danny Lyon, Daido Moriyama, Ugo Mulas, Robert Rauschenberg, Kees Scherer, Aaron Siskind, Weegee, Kojima Yasutaka and Ruiko Yoshida are included.

El Tío Sam con las manos cortadas; la cabeza de la Estatua de la Libertad atravesada por una bayoneta; un basurero decorado con las barras y estrellas: estas son algunas de las llamativas imágenes con las que la propaganda cubana ha representado a Estados Unidos durante el último medio siglo y más. Desde la llegada al poder de Fidel Castro, cientos de vallas publicitarias y carteles han aludido al enemigo de la revolución: el gobierno de Estados Unidos con su poderío militar y la CIA a su servicio. Mi Tío no se llama Sam reúne por primera vez una selección de estos trabajos, la mayoría de los cuales nunca antes habían sido publicados en forma de libro. Ofrece un recorrido por las imágenes que la propaganda cubana ha utilizado para hacer referencia a distintos temas y episodios que han marcado las relaciones cubano-estadounidenses desde 1959. Uncle Sam with his hands cut off; the head of the Statue of Liberty impaled on a bayonet; a trash can decorated with the Stars and Stripes: these are some of the striking images with which Cuban propaganda has represented the United States over the past half-century and more. Ever since Fidel Castro came to power, hundreds of billboards and posters have alluded to the enemy of the revolution: the US government, with its military might and the CIA at its service. Sam Is Not My Uncle gathers for the first time a selection of these works, most of which have never before been published in book form. It offers an overview of the images that Cuban propaganda has used to reference different issues and episodes that have marked US-Cuban relations since 1959.

RM's new Other Literature series highlights the importance of libraries as structures of knowledge and as architectural entities. This volume explores the theme in works by leading Mexican artist Jorge Méndez Blake (born 1974), with essays by renowned art critics and architects.

Erik Kessels' multivolume In Almost Every Picture has long been a coveted and revered classic of vernacular photography. In Erik Kessels: Image Tsunami the Dutch art director has turned his attention to the abundance of images available for finding on the Internet, shared in their millions on websites like Flickr. In a world where everyone produces and edits photography, where, as Kessels says, "the average kid today gets photographed more than a celebrity of 50 years ago," what does a single image mean, and what is its status in the overwhelming flood of images? In Kessels' words: "Image Tsunami holds an enormous collection of images that I live with, that I remix and edit. It's a representation of the overload of imagery that is in my head. My hope is that the book will inspire others to make their own remixes of these images."

The iconic images of Che Guevara and Coca-Cola--representations of revolution and capitalism, respectively--both play substantial roles in the Latin American landscape. The photographs in this publication, taken by Swiss photographer Luc Chessex (born 1936) from 1960 to 1975, juxtapose these conflicting icons.

This book explores the contemporary monochrome in Latin America. The monochrome is one of the most elusive and complex art forms of modern and contemporary art, and if we consider its origins or meaning, we soon find that the monochrome as a form contains many contradictions: the monochrome is neither a movement nor a category, neither an "ism" nor a thing. It may indicate the painting as object; the material surface of the work itself; or the denial of perspective, narrative or representation; the impossibility of interpretation; the transcendental or the absolute; or it may constitute the ultimate critique of painting.

Founded in 1958, Akadem Gorodok was the principal educational and scientific center of Siberia (in the former USSR), with 65,000 scientists and more than 25 miles of underground rooms. This book by Mexican photographer Pablo Ortiz Monasterio (born 1952) reveals the lab's secret interiors.

American photographer Mark Alor Powell (born 1968) is known for his images of street scenes and unusual characters in urban environments such as Detroit and Mexico City. Winner of RM's fifth Iberoamerican Photobook Competition, this publication presents Powell's most provocative and surprising work.

Alfredo Boulton (1908-95), art critic, historian and photographer, was one of 20th-century Venezuela's most prominent intellectuals. His large body of photographic work--focusing mostly on the people, landscapes, art and history of Venezuela--is little known, and yet no intellectual before Boulton had ever expressed Venezuela visually. This hardcover volume focuses specifically on Boulton the modernist artist through his photographic work from 1928 to 1944, which he collected in albums that he designed as tools for selecting and presenting images. With 50 full pages of albums and a selection of individual reproductions, Boulton Moderno offers a modern photographic vision of Venezuela. Texts by art critic Juan Manuel Bonet, curator Luis Pérez-Oramas and curator Sofía Vollmer Maduro illuminate the context of Boulton's life and his prolific output.

Mexican architect and painter Juan O'Gorman (1905-82) had a spectacular debut as an architect, designing his own house at the age of 24. On the strength of this building, Diego Rivera commissioned O'Gorman to design a pair of studio-houses for himself and Frida Kahlo on contiguous lots, connected by a bridge. But O'Gorman was somewhat forgotten in histories of modern architecture, until the restoration of Rivera's and Kahlo's house in the late 1990s led to a rediscovery of the architect's work and a reappraisal of his place in contemporary Mexican architecture. In 2013 O'Gorman's own first house, which he began designing in 1929 and completed in 1931, was restored. Uncompromisingly radical and rigorously functional, this design reveals O'Gorman as a Mexican pioneer of avant-garde architecture. Casa O'Gorman 1929 tells the story of this unique building and how it was salvaged through beautiful color photographs.

This book, originally published in 1930, is a facsimile edition of the first monograph devoted to the great Mexican illustrator and engraver José Guadalupe Posada (1852-1913). It reproduces more than 400 prints from Posada's vast production, collected by Pablo O'Higgins from those that could be located and identified at the time. The images of these high-spirited, at times macabre, broadsheets include the famous calaveras, or skeleton caricatures, along with illustrations for songs, corridos (traditional ballads), and religious prayers. With their striking visual qualities, they enriched the tradition of the popular Mexican print. In addition to the images, the book includes an introduction by Frances Toor, the legendary editor of the magazineMexican Folkways, and an essay by Diego Rivera on Posada. According to Rivera, the importance of this publication resided in its refusal to allow Posada to sink into oblivion. It was therefore a "cornerstone," "the first permanent record of the work of José Guadalupe Posada." His illustrations, in spite of being appreciated and still in use at the time, circulated without his name and the recognition he deserved.

Joan Colom is now recognized as one of the great photographers of the 1950s and 60s. His photographs of street scenes evoke with passion and respect the spirit of the Raval neighborhood in Barcelona during those years.This volume is a facsimile edition of the album Joan Colom prepared for his friend the gallery owner and photography critic Josep Maria Casademont. The photographs, some of them never before published, constitute a magnificent legacy which remained in the possession of the Casademont family until it was integrated into the collection of the Fundación Foto Colectania. The images were taken between 1958 and 1964 and belong to Colom's emblematic series Gente de la calle (Street People), not only the chronicle of a neighborhood and an age, but a genuine account of what it means to be human. The value of this collection of photographs is enhanced by the layout of the album, designed by Colom himself in an extraordinarily suggestive and expressive narrative rhythm. The images selected and their lively composition on the page transform this volume into a veritable artist's book.This facsimile edition has been published on the occasion of the exhibition Álbum. Joan Colom, held at the Fundación Foto Colectania in Barcelona from June to September of 2011.

Hiroshi Masaki is a relatively unknown photographer. Based in Tokyo and with a dual life (photographer and rare books dealer) this is his first photo book.

Published in conjunction with exhibitions at the Maison Europeene de la Photographie in Paris and La Tabacalera in Madrid, this book includes a wide selection of previously unpublished urban landscapes, abstract still lifes, and portraits by Spanish photographer Albeto García-Alix (born 1956).

This book gathers the results of a study carried out from 2008 to 2014 that explores the ties of dependency human beings have created with their urban environment and the way in which, after becoming aware of this oppressive relationship that alienates them from their own essence, they free themselves from it in order to return to a primitive state, in direct contact with nature.

A lavishly oversized volume on Mexico's leading interior designer, Gloria Cortina.

Reveal and Detonate surveys current photographic production in Mexico from a multitude of perspectives: Mexican photographers of various ages and origins chart a complex and sometimes contradictory map of contemporary photography in Mexico.

Since 2007 Ractliffe's photography has focused on the aftermath of the war in Angola. Ractliffe identified and photographed at three primary locations: Pomfret, Kimberley, and Riemvasmaak. All of these sites were occupied by the SADF during the mobilization of the war and its aftermath. This book deals with his photographs.

Stump is a radical close-up look at the spectacle of American politics in an era marked by unprecedented political partisanship, most notably during the recent presidential campaign.

This book by Milagros de la Torre, who was recently awarded the 2011 Latin American and Caribbean Guggenheim Fellowship Award, collects the most important and representative series on which Milagros de la Torre has been working, methodically and silently, for more than fifteen years. The works center on the always parallel relation between the development, history, and failed unfolding of the photographic medium with the dark side all human beings carry within themselves.By means of a sober and austere focus and a rigorous seriousness of research, the universe of the artist is inhabited by criminal worlds, shadows of negatives, everyday objects with an intense psychological charge; traces, stains, presentiments, and troubling interior dialogues; apparently innocent clothing, omitted presences, hands that betray, and cancelled gazes.The work of Milagros de la Torre has an uncommon subtlety and seductiveness, in spite of its subject-matter, achieved by a specific use of photographic language, in which the printing and physical presentation is an essential part of the message proposed. Serialization, decontextualization, classification, deconstruction, and partial lack of focus are tactics employed in the creation of new meanings or messages to be deciphered.This book, designed by Olivier Andreotti and Toluca Studio, with a text by Marta Gili, is intimate and revealing, suggestive of a concern for recognizing not only personal memory but also the discovery of clues and evidence that lead us to observe how inevitable and revealing are human actions.