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BOOKS 2015


NEW! THE INSTAGRAM BOOK: INSIDE THE ONLINE PHOTOGRAPHY REVOLUTION introduction by Steve Crist edited by Steve Crist and Megan Shoemaker

THE INSTAGRAM BOOK

THE INSTAGRAM BOOK: INSIDE THE ONLINE PHOTOGRAPHY REVOLUTION introduction by Steve Crist edited by Steve Crist and Megan Shoemaker Softcover | 8 x 8 inches | 200 pages ISBN: 9781623260354 | USD 24.95 | GBP 16.99 OCTOBER 2014

inside the online photography revolution

Not since Edwin Land invented the Polaroid camera has image making become so revolutionized. Instagram has taken today’s phenomenon of instant photography and social media to a new zenith, enabling amateurs and auteurs alike to share their images with a global audience. From the ubiquitous selfie to urban life and the beauty of nature, Instagram has provided a forum for posting and viewing a seemingly endless archive of images from our time. From tweens to retirees, would-be and actual photographers are creating their own images and following countless others, creating an online community that is visually inspired. Since the origin of modern photography, artists of all kinds have sought to share their images within their personal networks of friends and family. Today, with the advent of the Internet and subsequent explosion of online photo sharing, photographers have an audience which is exponentially larger than that of just a few years ago. Photography as a medium has been revolutionized, with high-quality cameras built into smartphones, advanced editing software readily accessible, and online social media sites providing a platform for sharing and delivery. THE INSTAGRAM BOOK explores this rapidly expanding movement of social media photography in a stunning collection of images from photographers around the world who post their pictures on the popular app, Instagram. Curated from the software’s millions of users, THE INSTAGRAM BOOK explores a small spectrum of photographers—both professional and amateur alike—who contribute to this groundbreaking online community.

“THE REVOLUTION WILL BE ‘INSTAGRAMMED’ ... ”

Gizmodo.com

INSTAGRAM GIVES EVERYONE PERMISSION TO BE AN ARTIST.


SELECTED IMAGES FROM THE INSTAGRAM BOOK


NEW! ED EMBERLEY

by Todd Oldham and Caleb Neelon

ED EMBERLEY by Todd Oldham and Caleb Neelon Standard Edition Hardcover | 12 x 9 inches | 288 pages ISBN: 9781623260385 | USD 45.00 | GBP 29.99 OCTOBER 2014 ED EMBERLEY by Todd Oldham and Caleb Neelon Signed Limited Edition With Print Hardcover | 12 x 9 inches | 288 pages ISBN: 9781623260392 | USD 200.00 | GBP 125.00 OCTOBER 2014

Ed Emberley shies away from calling himself an artist and instead likes to say that “he draws pictures for a living.” Now in his eighties, Ed Emberley is a Caldecott award-winning children’s book illustrator and writer who has been creating original books since the 1960s. He has written and illustrated more than 100 books and is perhaps best known for his beloved how-to-draw books for kids such as: Ed Emberley’s Big Green Drawing Book, Ed Emberley’s Drawing Book of Faces, and Ed Emberley’s Great Thumbprint Drawing Book, and many others. These simple and straightforward books, first published in the 1970s, have encouraged a generation of kids to take the drawing process step by step. Contemporary working artists today often cite Ed Emberley as a beloved early inspiration in their development as artists. By encouraging kids to draw using just a few simple shapes, Emberley has made drawing and creating accessible to everyone. As Emberley likes to say, “Not everyone needs to be an artist, but everyone needs to feel good about themselves.” This definitive monograph on the wide repertoire of Emberley’s life’s work has been beautifully put together by Todd Oldham and Caleb Neelon. Highlighting work spanning over five decades, this gorgeous and comprehensive book celebrates the talented and prolific life of Ed Emberley.

ED EMBERLEY IS THE REVERED GODFATHER OF CHILDREN’S HOW-TO-DRAW BOOKS.


SELECTED IMAGES FROM ED EMBERLEY


NEW! CHASING EPIC: THE SNOWBOARD PHOTOGRAPHS OF JEFF CURTES by Jeff Curtes introduction by Jake Burton edited by Steve Crist and Megan Shoemaker

CHASING EPIC: THE SNOWBOARD PHOTOGRAPHS OF JEFF CURTES by Jeff Curtes introduction by Jake Burton edited by Steve Crist and Megan Shoemaker Hardcover | 11.5 x 15.5 inches | 96 pages ISBN: 9781623260286 | USD 39.95 | GBP 26.99 OCTOBER 2014

“Sed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium doloremque laudantium, totam rem aperiam, eaque ipsa quae ab illo inventore veritatis et quasi architecto beatae vitae dicta sunt explicabo. Nemo enim ipsam voluptatem quia voluptas sr sit “Sed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium doloremque laudantium, totam rem aperiam, eaque ipsa quae ab illo inventore veritatis et quasi architecto beatae vitae dicta sunt explicabo. Nemo enim ipsam voluptatem quia voluptas sr sit “Sed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium doloremque laudantium, totam rem aperiam, eaque ipsa quae ab illo inventore veritatis et quasi architecto beatae vitae dicta sunt explicabo. Nemo enim ipsam voluptatem quia voluptas sr sit

the snowboard photographs of

JEFF CURTES

ammobooks.com

the snowboard photographs of JEFF CURTES

Snowboarding as a winter sport has exploded in popularity in the last 25 years. One of the most prolific and talented photographers of this extreme sport is Jeff Curtes. CHASING EPIC: THE SNOWBOARD PHOTOGRAPHS OF JEFF CURTES is not only the ultimate document of snowboarding but an impressive artistic achievement as well. Curtes’s camera juxtaposes the best snowboarders of our time, including Shaun White and many others, across impossibly beautiful, majestic, and insane mountainsides. His compositions emphasize the lone individual soaring across awe-inspiring landscapes in an almost surreal and sometimes abstract figure/ground/sky relationship. Curtes’s images capture the skill, courage, and freedom that these athletes possess in their pursuit of the perfect ride. Jeff Curtes has been at the forefront of the snowboarding industry’s imagery since his first published work back in 1992. In 1994, Curtes signed with Burton Snowboards and had been their principal photographer until 2012, nearly 20 years behind the lens on the snow. Jeff’s work with Burton, originating with action-centric images, was unique in that it came from within the core snowboarder’s lifestyle. He was living and breathing snowboarding with his brother, Joe Curtes, as they traveled from the Midwest to the Mountains of the West Coast. Burton allowed Curtes to travel the world in search of the epic conditions that every snowboarder dreams of, and, in return, Curtes’s camera delivered an overwhelming collection of photographs to their light table.These images not only made incredible advertising and catalog content but also defined a subculture and captured the early history of snowboarding like no others before.

SHREDDING, CARVING, AND PHOTOGRAPHING ACROSS MAJESTIC LANDSCAPES


SELECTED IMAGES FROM CHASING EPIC


NEW! MOMENTARY

by Sage Vaughn edited by Steve Crist and Megan Shoemaker

momentary

momentary sage vaughn

MOMENTARY by Sage Vaughn edited by Steve Crist and Megan Shoemaker Hardcover | 10 x 10 inches | 72 pages ISBN: 9781623260323 | USD 24.95 | GBP 16.99 SEPTEMBER 2014

sage vaughn

ammo

ammobooks.com

The momentary beauty of Sage Vaughn’s butterflies is palpable. These impossibly lovely, delicate creatures appear to have magically landed or violently crashed, oozing their colorful pigment like blood-stained marks across the canvas. The dichotomy of these delicate and ephemeral creatures co-existing over images of gritty urban life creates a contrast that is layered, mysterious, and up for interpretation. Vaughn’s butterflies appear as choreographed naturet–their drips echoing his early beginnings as a graffiti artist. Sometimes juxtaposed against the likes of mundane interiors, forests, or the Russian punk band Pussy Riot, Vaughn’s distinctive paintings create provocative relationships between the built and natural environment. The effect is dreamlike and almost hypnotic, as swarms of butterflies concurrently live and die in graceful formations that are at once heart-breakingly beautiful and sublimely melancholy. Sage Vaughn is an LA-based painter and illustrator who is best recognized for his wildlife series. Moustachioed, eccentric, and consistent, Vaughn works in his studio from 9 a.m. to 6 p.m. and has been quoted as an artist with a blue-collar work ethic. As a child, Vaughn and his father, who was also a painter, would spend hours on end at the LA Zoo sketching animals all day. As a teenager, growing up in the San Fernando Valley in the late 70s and early 80s, Vaughn was greatly influenced by the punk movement and graffiti art. Vaughn’s current Wildlives paintings focus on the juxtaposition and coexistence of humans and animals, drawing comparisons between their inherent liberty, freedom, and survival skills. He has had widely acclaimed solo shows in New York, Geneva, and London and has been featured in a group show at MOCA in LA, curated by the Beastie Boys’ Mike D.

“INCURABLY ROMANTIC WHILE NEVER RESORTING TO SCHLOCK.” LAZARIDES, LONDON


SELECTED IMAGES FROM MOMENTARY


NEW! DISTANT SHORES: SURFING THE ENDS OF THE EARTH by Chris Burkard edited by Steve Crist

DISTANT SHORES: SURFING THE ENDS OF THE EARTH by Chris Burkard edited by Steve Crist Hardcover | 11.5 x 15.5 inches | 160 pages ISBN: 9781623260170 | USD 39.95 | GBP 26.99 AVAILABLE NOW!

Chris Burkard’s photographs are punctuated by energized landscapes and moments of bliss, by adventure seeking and the lifestyle that it encompasses, and by movement and intuitive light-working capabilities. With the ocean as his main muse, Burkard has consistently captured this subject in timeless and expansive photographic impressions, utilizing the tool of surfing to approach the ocean’s intricate personality and then extending out to include the human personalities that draw meaning from this same source. Searching for wild, remote destinations and offbeat landscapes, Burkard portrays the humble placement of the human in contrast to nature within DISTANT SHORES: SURFING THE ENDS OF THE EARTH. At just 26 years of age, Burkard has spent the last eight years seeking out remote surf in the most rugged conditions in the world, and in the process, has established himself as a major photographer in the surf and outdoor community. Presently, Burkard serves as senior staff photographer for Surfer magazine and contributes regularly to various international publications and companies such as Patagonia. Burkard has completed two book projects, one with friend and co-author Eric Soderquist titled, The California Surf Project (2006), and the other, Plight of the Torpedo People, accompanying Patagonia body surfing film, Come Hell or High Water (2012). Burkard is a native Californian whose photographs have appeared in countless magazines and advertising campaigns. He lives on the central coast of California and travels extensively.

“TECHNICALLY MASTERFUL—BUT NEVER AT THE EXPENSE OF EMOTION. WILDLY EXPLORATORY—BUT RESPECTFUL OF THE PRIVACY OF PLACE. I CAN’T IMAGINE TWO MORE IMPORTANT ATTRIBUTES IN MODERN SURF PHOTOGRAPHY.” Scott Hulet, The Surfer’s Journal


SELECTED IMAGES FROM DISTANT SHORES


NEW! STRANGE STORIES: THE PHOTOGRAPHY OF GERALD DAVIS by Todd Oldham

STRANGE STORIES: THE PHOTOGRAPHY OF GERALD DAVIS by Todd Oldham Hardcover | 11.5 x 15.5 inches | 96 pages ISBN: 9781623260408 | USD 39.95 | GBP GBP 26.99 OCTOBER 2014

Palm Beach society, celebrities, nudist colonies, politicians, bald-headed men’s conventions, natural disasters, and even the world’s fattest cat were all captured through the elegant and clever lens of photographer Gerry Davis. Born in New York City in 1941, Davis grew up in a working-class family in the Bronx. He spent his career as a photojournalist and worked for numerous European and U.S. magazines. In 1978 he became the photo editor for The National Enquirer, which led to many bizarre assignments, including photographing Elvis in his casket. Davis produced a prolific body of work that is at once weird and wonderful. As a resident of Palm Beach, Davis had access to the eccentric and rarefied world of its wealthy residents. Many of his images evoke the glamour and irony of its subjects, such as a sequined and fur-draped socialite posing languidly with her cat underneath a massive chandelier and frescoed ceiling. Davis gets the shot with the cat’s teeth digging in its owner’s hand. Todd Oldham discovered these STRANGE STORIES and knew they needed to be compiled into this lovely and humorous look at our society through the lens of an unassuming and devoted photographer. This secret treasure trove of images that range from Elizabeth Taylor to the waterskiing squirrel and dirty crime in the mean streets of Miami is sure to surprise and delight its viewers.

PALM BEACH SOCIETY, NUDIST COLONIES, AND SO MUCH MORE!


SELECTED IMAGES FROM STRANGE STORIES


NEW! EAMES: BEAUTIFUL DETAILS

popular edition by Charles and Ray Eames edited by Gloria Fowler and Steve Crist

EAMES: BEAUTIFUL DETAILS introduction by Eames Demetrios edited by Gloria Fowler and Steve Crist Popular Edition Hardcover With Slipcase | 11.8 x 8.4 inches | 408 pages ISBN: 9781623260316 | USD 59.95 | GBP 39.99 SEPTEMBER 2014

Renowned designers Charles and Ray Eames are among the greatest designers of the 20th century. They are, of course, most well known for their groundbreaking and iconic furniture designs, but they also created important, creative, experimental, and beautiful work in the areas of architecture, exhibit design, textile design, product design, graphic design, toy design, film, and photography. The Eameses’ distinctly postwar American enthusiasm and openness to the world around them gave them free license to explore work in many disciplines. This book celebrates the seamlessness and fluidity in which they operated as both a husband-and-wife team and as designers unrestricted by traditionally professional boundaries. They brought a sense of innocence and playfulness to the design process, as well as a tremendous love and discipline in all they created in many different fields and mediums. Augmenting the abundant visual images, Eames Demetrios—Charles’s grandson and the director of the Eames Office—has written chapter essays and an insightful introduction. It is a testament to the Eameses and the lasting value of good design that their Eames lounge chair, created in 1956, endures today as perhaps the most recognizable and coveted piece of mid-century furniture design. Their experiments in technological innovations, like molded plywood and fiberglass, resulted in such classic pieces as the bent plywood LCW and DCM Chairs, the Molded Plastic Chairs, and the Aluminum Group; all of which are still in production by Herman Miller. Likewise, Charles and Ray designed and built their own home in 1949 in Pacific Palisades, and it is still revered as a landmark of modern architecture. Built as part of the Case Study program in California, sponsored by Arts & Architecture magazine, it was one of the earliest experiments in pre-fab construction, using off-the-shelf industrial parts. But unlike the austerity of much of modern architectural design, their factory-like shell was lovingly lived in along with their personal collections of folk art, treasures from their travels, and everyday objects refreshingly displayed with affection and without pretense. To this day this beloved space feels at once both humble and grand—one that celebrates the ideals of modernism, including the pleasure of indoor-outdoor living, but at the same time lives on as a very personal space and tribute to its original inhabitants. In exhibition design as well, “Mathematica: A World of Numbers ... and Beyond, 1961,” for IBM is considered groundbreaking as an interactive, educational, and experiential way to communicate the wonder and magic of math. Similarly, their seminal film, Powers of Ten, 1977, expresses the mathematical concept of multiplying to the tenth power, in a very direct, simple, and powerful way. Unlike any other book published on the Eameses before, this unique and sumptuous monograph is a visual celebration of their work and life and is destined to become a collector’s item. The packaging design of the slipcase is a pattern inspired by the triangles and colors of one of their most inventive, if lesser-known, designs for children, simply called, “the toy.” It also pays homage to the patterns they used on their wellloved House of Cards. The Eameses brought a sense of humor and joy to everything they created, and the design and layout of the book aims to convey that spirit in a visual feast for the eyes. Select details of their life and work, from their refined designs to their innovative experiments, and even including images depicting the everyday poetic moments of their lives, are shared here in this exhibit within a book. Inspired by Charles’s immersive and original slideshows, in which he expertly selected and grouped images together that communicated information in an aesthetic, direct, and accessible way, this book strives to visually create the Eameses’ life and work by taking the viewer through a delightful journey, focusing on their “beautiful details.”

“MORE THAN ANY OTHER AMERICAN DESIGNERS, CHARLES AND RAY EAMES HELPED DEFINE THE POSTWAR MODERN AESTHETIC.” Pilar Viladas, The New York Times


charles + ray Lorem ipsum dolor sit amet, consectetur adipiscing elit. Duis eget turpis nec sem dignissim suscipit aliquam luctus purus. Nam interdum sollicitudin ligula et posuere. Praesent in est neque. Quisque auctor sapien nec lorem ultricies iaculis. Etiam non venenatis risus. Aenean ut quam urna. Duis pellentesque adipiscing eros, sed volutpat velit porttitor non. Fusce tincidunt, dui eget consequat ultrices, elit enim facilisis dui, in blandit lorem nibh vitae justo. Suspendisse quis dolor quis nulla commodo convallis. Etiam eget augue quis risus pellentesque sollicitudin sed a mi. Sed suscipit gravida nisl a dapibus. Donec viverra ipsum et justo pharetra lacinia. Etiam imperdiet semper interdum. Quisque sed velit ac turpis mollis lobortis nec in erat. Duis nibh ante, bibendum sed pellentesque vitae, condimentum eget neque. Suspendisse ligula odio, egestas eu venenatis eget, varius vel tortor. Proin eget sapien ipsum, et convallis diam. Phasellus massa ipsum, vulputate auctor dictum eu, bibendum eu mauris. Sed facilisis blandit viverra. Maecenas nec libero est. Mauris dictum, mauris a ultrices tempor, elit dolor mollis lectus, non consectetur ligula eros id mi. Aenean fringilla sollicitudin hendrerit. Fusce luctus pharetra velit a ali. Maecenas non libero tempor ligula gravida volutpat. Donec dictum consequat arcu, at varius nunc cursus id. Aenean id dui vitae eros viverra ultrices ac ullamcorper ante. Vivamus vestibulum dolor eget odio ornare sed volutpat ipsum auctor. Etiam quis dolor eu arcu semper vestibulum sit amet eget massa. Suspendisse placerat tellus vel ligula feugiat posuere. Donec in sollicitudin urna. Cras scelerisque diam non quam auctor. Nulla rutrum nulla sed lacus pharetra lacinia. Suspendisse et sapien ligula. Quisque sit amet mauris nibh. Aliquam auctor tempus porttitor. Morbi fringilla magna eget leo bibendum egestas. Aenean nisi lectus, hendrerit quis euismod sed, feugiat ut odio. Suspendisse potenti. Ut eleifend venenatis lacus, in faucibus enim semper vel. Aenean ultrices justo nec arcu adipiscing ultrices. Pellentesque adipiscing lectus ac elit luctus id viverra elit tincidunt. Nulla rutrum nulla sed lacus pharetra lacinia.

convallis. Phasellus vitae nunc et eros sodales rutrum non eleifend augue. Nam tempus congue aliquam. Aenean congue pretium velit, non facilisis ipsum euismod a. Vivamus pharetra, massa et feugiat blandit, velit ligula molestie mi, eu vehicula mi mi n Duis porta ante id tellus hendrerit eget tristique felis facilisis. Lorem ipsum dolor sit amet, consectetur adipiscing elit. Lorem ipsum dolor sit amet, consectetur adipiscing elit. Proin luctus, dui vel rutrum porta, augue justo placerat elit, eu posuere tellus ligula eu lorem. Curabitur vel elit magna. Pellentesque ac nisi ligula. Aliquam erat volutpatLorem ipsum dolor sit amet, consectetur adipiscing elit. Duis eget turpis nec sem dignissim suscipit aliquam luctus purus. Nam interdum sollicitudin ligula et posuere. Praesent in est neque. Quisque auctor sapien nec lorem ultricies iaculis. Etiam non venenatis risus. Aenean ut quam urna. Duis pellentesque adipiscing eros, sed volutpat velit porttitor non. Fusce tincidunt, dui eget consequat ultrices, elit enim facilisis dui, in blandit lorem nibh vitae justo. Suspendisse quis dolor quis nulla commodo convallis. Etiam eget augue quis risus pellentesque sollicitudin sed a mi. Sed suscipit gravida nisl a dapibus. Donec viverra ipsum et justo pharetra lacinia. Etiam imperdiet semper interdum. Quisque sed velit ac turpis mollis lobortis nec in erat. Duis nibh ante, bibendum sed pellentesque vitae, condimentum eget neque. Suspendisse ligula odio, egestas eu venenatis eget, varius vel tortor. Proin eget sapien ipsum, et convallis diam. Phasellus massa ipsum, vulputate auctor dictum eu, bibendum eu mauris. Sed facilisis blandit viverra. Maecenas nec libero est. Mauris dictum, mauris a ultrices tempor, elit dolor mollis lectus, non consectetur ligula eros id mi. Aenean fringilla sollicitudin hendrerit. Fusce luctus pharetra velit a ali. Maecenas non libero tempor ligula gravida volutpat. Donec dictum consequat arcu, at varius nunc cursus id. Aenean id dui vitae eros viverra ultrices ac ullamcorper ante. Vivamus vestibulum dolor eget odio ornare sed volutpat ipsum auctor. Etiam quis dolor eu arcu semper vestibulum sit amet eget massa. Suspendisse placerat tellus vel ligula feugiat posuere. Donec in sollicitudin urna. Cras scelerisque diam non quam auctor convallis.

films

+ experiments

games

“...uncommon beauty of common things...” charles eames

Etiam ultricies tellus nec diam pellentesque eget ultrices urna consequat. Quisque iaculis placerat libero id viverra. Proin in elit quis justo ultricies

exhibits

furniture

+ spaces

+objects

“what works good is better than what looks good, because what works good lasts” ray eames

games

“the role of the designer is that of a very good, thoughtful host anticipating the needs of his guests.” charles eames

=

house

+ home

“at all times love and discipline have led to a beautiful environment and a good life” charles eames

games

fun + games “toys are not really as innocent as they look. toys and games are the preludes to serious ideas.” charles eames

SELECTED IMAGES FROM BEAUTIFUL DETAILS


NEW! SPIKE LEE: DO THE RIGHT THING 25th anniversary edition by Spike Lee and Jason Matloff edited by Steve Crist

SPIKELEEDOTHERIGHT THING BY SPIKE LEE AND JASON MATLOFF

Y BY SPIKE LEE AND JASON MATLOFF

www.ammobooks.com

SPIKELEEDOTHERIGHTTHING

Explore every aspect of the explosive film Do The Right Thing as Director Spike Lee and the cast and crew experienced it more than twenty years ago. Featuring an unprecedented insider’s look, this oral and visual history of Do The Right Thing is told entirely by those who worked on and starred in the film. Through behind-the-scenes visuals and interviews, this impressive book celebrates the lasting effect of one of cinema’s landmark works. Including accounts from Spike Lee, Danny Aiello, Samuel L. Jackson, John Turturro, and a host of others, Spike Lee: Do The Right Thing also contains a reproduction of the original handwritten script. Discover how Spike Lee cast the film, shot key scenes (such as the race riot), dealt with critics’ predictions of violence in theaters, and even helped to bring President Barack Obama and the First Lady together.

SPECIAL 25TH ANNIVERSARY EDITION!

SPIKE LEE: DO THE RIGHT THING by Spike Lee and Jason Matloff 25th Anniversary Edition Hardcover | 8.75 x 6.125 inches | 360 pages ISBN: 9781623260422 | USD 25.00 | GBP 16.99 JUNE 30, 2014

Celebrating 25 years since its seminal debut, Do The Right Thing remains one of the most important and controversial films of its era. Employing director Spike Lee’s hometown of Brooklyn as the essential setting, this explosive film masterfully explores race and class relationships. Both a critical and popular success, Do The Right Thing became a landmark film that brought serious issues in the African American community to light and established Lee as a major director in American cinema. Lee also wrote the screenplay, produced, and even starred in this deeply personal film, which was applauded for its commanding visuals provided by cinematographer Ernest Dickerson, intense performances by Danny Aiello and John Turturro, and an assertive soundtrack featuring Public Enemy’s “Fight the Power.” Including an unprecedented insider’s look at the film, with behind-the-scenes visuals and interviews, this impressive book celebrates the impact of Do The Right Thing on our culture throughout the years. The film is even credited with bringing President Barack Obama and the First Lady together on their first date! Lee and his film company, 40 Acres and a Mule, continue to shine the light on controversial subjects through award-winning feature films and documentaries. Lee is also the artistic director of the graduate film program at New York University’s Tisch School of the Arts.

“A REMARKABLE PIECE OF WORK.” Vincent Canby, The New York Times

“ ... A MUST-HAVE FOR FANS NOT ONLY OF LEE’S PIVOTAL FILM BUT OF INDEPENDENT MOVIEMAKING IN GENERAL.” MovieMaker Magazine


SPIKELEEDOTHERIGHT THING BY SPIKE LEE AND JASON MATLOFF EDITED BY STEVE CRIST

The Love and Hate sermon comes from one of my favorite films, Night of the Hunter, written by James Agee.

Setting up for Radio Raheem’s “Third World Briefcase” shot.

2

I’m often asked what my favorite film is that I’ve directed. I don’t have one specifically, but Do The Right Thing is on the list. After She’s Gotta Have It (1986) and School Daze (1988), I knew the title of my third film. I didn’t find it strange that I knew it would be titled Do The Right Thing but had no sense of what the story would be. Start with that and build. Since the August 1989 release of the film, if I had a dollar for every time somebody came up to me and yelled, “Hey Spike, do the right thing,” I would have been able to finance several of my films. Working on this book, reading the fine oral history has been a joy. I remember things I had forgotten and learned things I didn’t know. Do The Right Thing grows in stature every year. Colleges and universities have a course on it, which, to me, is maybe its greatest achievement. The film is being taught to new generations of people every semester—young students who were not even born when the film came out. And it’s not just confined to film schools. It is our hope that you will continue to enjoy Do The Right Thing, which still holds up strong after all these years. The reason for that is the hardworking, talented and dedicated people in front of and behind the camera. Our mission was to make a bold film, not just with the subject matter, but also in how it looked, how it sounded, and the quality that one puts into this art form/craft we call cinema. We set out with what we intended to do, and did it. That’s what I call a winner.

INTRODUCTION BY SPIKE LEE

THE SCRIPT DOTHERIGHTTHING

SPIKE LEE Brooklyn, NY August 28, 2010

6

My beautiful sister Joie Lee.

111

SELECTED IMAGES FROM DO THE RIGHT THING


NEW! New York City Visual Notebooks

GREEN | 5 x 7 inches | 160 pages ISBN: 9788895218847 | USD 17.95 | GBP 12.99 incl VAT AUGUST 2014 PINK | 5 x 7 inches | 160 pages ISBN: 9788895218830 | USD 17.95 | GBP 12.99 incl VAT AUGUST 2014 BLACK | 5 x 7 inches | 160 pages ISBN: 9788895218793 | USD 17.95 | GBP 12.99 incl VAT AUGUST 2014 BLUE | 5 x 7 inches | 160 pages ISBN: 9788895218809 | USD 17.95 | GBP 12.99 incl VAT AUGUST 2014 YELLOW | 5 x 7 inches | 160 pages ISBN: 9788895218816 | USD 17.95 | GBP 12.99 incl VAT AUGUST 2014 ORANGE | 5 x 7 inches | 160 pages ISBN: 9788895218823 | USD 17.95 | GBP 12.99 incl VAT AUGUST 2014

Much more than a simple journal, this beautiful line of Visual Notebooks is a hybrid product, the likes of which is unmatched. Part journal, part sketchbook, and part tourist guide to New York City, these innovative notebooks include stunning photographs, a city map, metro guide, and fun factoids about the city’s landmarks. These pocket-size, 5 x 7-inch journals are available in classic Black and five other vibrant color choices: Yellow, Orange, Blue, Green, and Pink. Each notebook consists of 160 pages, alternating between blank pages for notes and thoughts and pages featuring artistic images, both large and small, of New York’s sights and attractions. The 60-plus images range from black-and-white line sketches to colorful original photographs, each accompanied by intriguing and little-known facts. Each rounded-corner notebook also includes an internal pocket for tickets and mementos, as well as a complementary color bookmark ribbon and elastic closure, making it the perfect packable companion for trendy travelers.


BEST SELLER

RALPH STEADMAN: PROUD TO BE WEIRRD by Ralph Steadman edited by Steve Crist

RALPH STEADMAN: PROUD TOO BE WEIRRD by Ralph Steadman edited by Steve Crist Standard Edition | Hardcover 11 x 15 inches | 448 pages ISBN: 9781934429754 | USD 200.00 | GBP 125.00 AVAILABLE NOW! RALPH STEADMAN: PROUD TOO BE WEIRRD by Ralph Steadman edited by Steve Crist Limited Edition Numbered and Signed Hardcover With Exclusive Print by Ralph Steadman 11 x 15 inches | 448 pages ISBN: 9781623260217 | USD 400.00 | GBP 250.00 AVAILABLE NOW!

Iconoclastic British artist Ralph Steadman has been creating editorial and political illustrations for over five decades. Steadman is revered for his ink-splattered, anarchic, and often shocking drawings. His well-known illustrations alongside the work of literary legend Hunter S. Thompson have long been celebrated and have achieved a cult-like following. Together, Steadman and Thompson’s iconic work has come to be known as Gonzo journalism. Ralph and Hunter first met in 1970 on an assignment from Scanlan’s Monthly magazine to cover the Kentucky Derby. Their 40-year friendship included collaborations on seminal books such as Fear and Loathing in Las Vegas and The Curse of Lono, as well as numerous articles for Jann Wenner’s Rolling Stone, including the George Foreman vs. Muhammad Ali fight and coverage of the Watergate Scandals. PROUD TOO BE WEIRRD is the ultimate monograph of this creative genius. Steadman’s first-person narrative takes us on a literary and visual journey of his well-known, provocative work and is accompanied by his acerbic wit, heartfelt political views, and unique sense of humor. This must-have book comes in two collectible editions. All one thousand, limited edition books are numbered and signed by Steadman, and each comes with an exclusive print. Steadman is the recipient of numerous awards and accolades for his illustrations in classic books such as Alice in Wonderland, Treasure Island, Animal Farm, and Fahrenheit 451. His revered work has appeared in numerous publications throughout the years including Rolling Stone, The Daily Telegraph, and The New York Times. This year, a documentary film on Steadman, narrated by Johnny Depp, will be released by Sony Pictures. Fifteen years in the making, the film For No Good Reason highlights the many reasons to admire this one-of-a-kind artist. Likewise, PROUD TOO BE WEIRRD celebrates the profound creative genius of Ralph Steadman.

“THE MOST GIFTED AND EFFECTIVE EXISTENTIAL ARTIST OF MY TIME.” Kurt Vonnegut “RALPH IS ... SO NICE. AND YET AT THE SAME TIME HE IS ... A PSYCHOPATH.” Johnny Depp


OK. Advise me if you think

I don’t quite get it. My mind hovers some-

But reasonable human beings are those types who love control and conspire to find jobs where they can exercise those

where above the truth, and we tend to reject the W E I R R D because it cannot possibly have anything to do with

powers of authority that make them look big and important. Their sickly view of others is reflected in what they choose to

sense or truth. But whenever I ponder the appearance of a miasma of lines or a chance arrangement of collage arranged

leave out of their organ of choice. Their disgust for freedom is an indictment of their own shortcomings. Their imagination

in no planned or particular way, it seems to want me to listen to its message— whatever that may be. I want to listen,

is trapped in an inability to let go and enjoy a sensation of flying weightless with wings and odd bits that they never ever

but logic stands in its way and I forbid my imagination to take that route.

dreamed they had.

I a m n o t t r y i n g t o b e a s m a r t - a s s . Curiosity pulls me towards the ridiculous,

Creativity is both a joy and a disease. Disease is perhaps too strong a word. Let’s say that one is infected with creative thought and then is brave enough to

and I let it take me for a while before I pull myself together, as it were, and drag my mind back to the sensible— the logical— to the way we are supposed to think as reasonable human beings.

act

upon it.

THE BOOK

of CLEVER BASTARDS.

A personal view…

It has often been said to me, by very perceptive and intelligent people, ‘Ooh! You’re lucky! You stroll across to the studio every morning, carrying no more than a cup of coffee. You open up, look around, put your coffee down, sit down, pick up a pen and scribble a few lines on a piece of paper— and bingo! Your day is done. It just comes naturally to you, you lucky bastard!’

Not true.

Firstly, I don’t drink cof-

fee, and secondly, I am not a bastard, as far as I know. And anyway, I don’t go straight to the studio. There’s next door’s filthy white pigeons to deal with first, who persistently try to establish another dovecote on the kitchen alcove over our heads, bringing sticks, cooing smugly, dropping shitloads of guano and laying eggs. So I have devised a new use for rubber wine corks. I cut them in half, and with the help of a high velocity slingshot catapult I attack these broody, flying rats with great intensity. The corks don’t kill them, but they do deliver a hefty, feather-ruffling thwack to their evil whiteness, which sends them flapping frantically back from whence they came. Then I walk over to the studio and open up, but I still don’t sit down. I stand and look around nervously. I notice the damp stain getting bigger in the corner of the white ceiling. My eyes scan the rest of the room, and I know that it is time I vacuumed the cobwebs out of corners. Half-finished, or impossible projects that are not working out lie about in a sad and hazardous array. I scuttle through to the small room I use for an office and switch on the computer. Then I remember I had promised to sign someone’s book. I start that and think of something else I should have done last week. I make other excuses to avoid sitting down at my drawing table and confronting a piece of paper, particularly if it is white and blank. There is no dialogue yet between me and it, and I must make some kind of mark on the virgin surface in the hope that it speaks to me. That is generally how days begin.

I listen to those explaining what went

Here’s wHere we stand, good men and true.

W e s ta n d our ground

A

Journey through

and make

my studio

to find what I may have been looking for all my life— but only now decided to find… By Ralph STEADman

others see reason. But is there reason to be had?

wrong, but the more they speak the more they confuse the way ahead. Nobody seems able to speak the truth, or say things that should be said. Nobody can mention the word cheat or lie or accuse themselves of blame. They have been in positions of authority and even skill, power and influence, but blame is not a part of their own vocabulary and certainly not of their experience. They may still have jobs, but they live in fear and are not happy. Something inside the interaction of cause and effect has remained unspoken, discredited and from another life. They were somewhere else when whatever happened took place so they cling to their innocence like survivors of a shipwreck, cling to driftwood and float as though they are still on board a floating ship. If they wait long enough, whatever they thought happened is mere imagination, and if they float long enough, they will reach dry land and nobody will ever mention it again, except perhaps as something that happened to somebody else in another lifetime. BuT jusT wheN IT seems ThaT all Is seTTlINg dowN agaIN aNd people fINd TheIr place, the worst of human frailty will break out once more, and all will ask yet again, why we are still in a mess?

I t s e e m e d e a s y at f I r s t. Just go wandering through the rooms picking things up, turning them over, thinking and putting them aside— or putting them back in the drawer. What’s the point? Just stuff and more than ever. Overcome by a sense of loss and lateness, I begin, as though it’s easy. Just look and it will jump up into view and present itself ready for use. It may even have its own reason to be there, or it may just look out of place but vitally important.

Whatever I find, nobody is to blame, but as a rule it has to be looked at.

Onward!

This book will not be done by

pussyfooting! So I must continue, though I am asking myself whether the World is ready for another book by me, and if it is then I must assume that. Nothing is a given, and writing is not always as natural as it may seem to some. When I begin to write, questions start entering my mind rather than thoughts.

I think that I only became interested in American Politics when I met

Hunter S. Thompson and wallowed in drunkeness at the Kentucky Derby with him in 1970.

H u n t e r p r a c t i c a l ly i n t r o d u c e d m e t o d r i n k , t H o u g H n o t c o m p l e t e l y . It wasn’t the finesse of the practice so much as the quantity. We used our collective experience as a laboratory to examine the excess limitations of the indulgence, rather than the vulgar desire to simply get drunk. We were, and always have been, a team, who needed some drunken peephole, rather than oblivion, through which to observe human behaviour in the political animal. It worked and, if it were not for the fact that other slobs would follow Richard Milhous Nixon into the White House, we could have been Kings of Reason. We could have established a newer Magna Carta— a new yardstick upon which to found a code of behaviour that would balance the extremes of this newer 21st Century, absorb the imbalance that is now taking hold and give these poor slobs of now a substantial foundation upon which to found a steady framework. So far, I fear that we are bound for a heinous louse feed, a gut-wrenching, aerosolcleansing self-indulgence of purity-driven assholes who truly believe that if we obey ‘the rules’, laid down by equally obsessed twits, we can win in this new regulated world and become better human beings.

I am mortified…

SELECTED IMAGES FROM PROUD TO BE WEIRRD


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MILK AND HONEY: CONTEMPORARY ART IN CALIFORNIA by Justin Van Hoy

MILK AND HONEY: CONTEMPORARY ART IN CALIFORNIA by Justin Van Hoy Hardcover | 9.5 x 11 inches | 240 pages ISBN: 9781934429099 | USD 39.95 | GBP 26.99 AVAILABLE NOW!

MILK AND HONEY: CONTEMPORARY ART IN CALIFORNIA highlights new work by contemporary artists who are aesthetically and regionally joined through a variety of mediums and demographics. By showcasing unknown and emerging artists alongside established icons who all call California home, MILK AND HONEY recognizes the fact that region and lifestyle directly influence the working process and ultimately the state of contemporary imagery.   In the same spirit as Roger Gastman and Jeffrey Deitch’s recent seminal MOCA show: Art in the Streets, MILK AND HONEY celebrates a group of contemporary artists with roots across various areas, including graffiti art, surf, and skate culture, and other uniquely Californian influences. As is evident in that highly acclaimed museum show—as well as the Pacific Standard Time Show throughout Los Angeles—California affects trends and sets the stage nationally and internationally for some of the most creative art being made in the world today.   More than 50 artists featured, including: Ed Ruscha, Ed Templeton, Cleon Peterson, Megan Whitmarsh, Sage Vaughn, RETNA, Piero Golia , and Ye Rin Mock. Essays by Lucy Rose, PM Tenore, and others. Justin Van Hoy, 1981-2012, was a talented designer, artist, curator based in Los Angeles, California. Justin’s studio, The Dutch Press, created original graphics, design, and branding for innovative entities such as RVCA, R77, OBEY Giant, Falcon Motorcycles, and Gagosian Gallery. Justin also co-founded THIS, an art gallery in the Highland Park neighborhood of Los Angeles.

CONTEMPORARY IMAGERY FROM SOME OF CALIFORNIA’S EMERGING AND MOST NOTABLE ARTISTS


228

80

“Untitled” 2011 Acrylic on wood panel, 9 elements 41.5 x 40 inches

“Untitled” 2011 Paint on panel, 10 elements 77 x 57.5 inches

“Untitled” 2011 Paint on panel, 13 elements 51.5 x 53.5 inches

Pearl C. Hsiung “Gush (detail)” 2011 Oil-based enamel on canvas 40 x 30 inches

DAY19 - Jeremy and Claire Weiss “Chris Dive” 2008

Justin Krietemeyer “Geode—No.4” 2011 Watercolor and silkscreen 36 x 53 inches

Kevin Earl Taylor “Untitled (detail)” 2011 Oil on canvas 60 x 60 inches

SELECTED IMAGES FROM MILK AND HONEY


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CHARLEY HARPER: AN ILLUSTRATED LIFE mini edition by Todd Oldham

CHARLEY HARPER—AN ILLUSTRATED LIFE by Todd Oldham Mini Edition | 6.125 x 8.5 inches | 408 pages ISBN: 9781934429822 | USD 29.95 | GBP 19.99 AVAILABLE NOW!

Renowned designer Todd Oldham rediscovered Charley Harper’s work in 2001 and collaborated closely with him, combing through his extensive archive to edit and design this stunning and definitive monograph. Charley Harper was an American original who created his art from his home studio in Cincinnati, Ohio, until his death on June 10, 2007, at the age of eighty-four. He is beloved for his delightful, graphic, and often humorous illustrations of nature, animals, insects, and people alike. Charley liked to say that when he paints a bird, he doesn’t count all the feathers in the wings—he just counts the wings. Minimal realism, he called it, and his unique and precise style continue to resonate and inspire his admirers. CHARLEY HARPER—AN ILLUSTRATED LIFE showcases Charley’s illustrations that appeared from 1950-1975 in the Ford Times magazines, as well as in books such as the beloved The Giant Golden Book of Biology in 1961, Betty Crocker’s Dinner for Two in 1961, and The Animal Kingdom in 1968, among many others. His well-loved book Birds and Words, first published in 1974, is considered a classic. This new mini edition of the best-selling ILLUSTRATED LIFE, delivers more than 400 pages of Charley’s whimsical and wonderful paintings and illustrations for less than $30.00!

“... THIS IS A GORGEOUS, DROOL-WORTHY COFFEE TABLE TO ME FROM AMMO BOOKS.” LA Weekly “AN EXUBERANT, LOVING, AND LONG-OVERDUE TRIBUTE TO THE LATE ARTIST CHARLEY HARPER.” ReadyMade


157

349

SELECTED IMAGES FROM CHARLEY HARPER: AN ILLUSTRATED LIFE


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CHARLEY HARPER’S ANIMAL KINGDOM by Todd Oldham

CHARLEY HARPER’S ANIMAL KINGDOM by Todd Oldham Hardcover | 17.3 x 12.2 inches | 288 pages ISBN: 9781934429433 | USD 100.00 | GBP 60.00 AVAILABLE NOW!

Celebrated designer Todd Oldham opens another treasure trove of unseen and unpublished illustrations in the new AMMO Books release, CHARLEY HARPER’S ANIMAL KINGDOM. Todd has done it again by going deeper into Charley Harper’s extensive archive to create the ultimate companion to AN ILLUSTRATED LIFE, and presents the absolute best of Charley’s previously hidden illustrations. Ranging from bugs and birds to all creatures of land and sea from the bountiful imagination of the artist, animal lovers and fans of Charley alike will be thrilled with this stunning new collection. Featuring more than 300 previously unseen illustrations, CHARLEY HARPER’S ANIMAL KINGDOM includes illustrations Charley created during a span of more than sixty years and appeals to a wide range of audiences both young and old. AMMO Books has published four different best-selling formats of Charley Harper’s AN ILLUSTRATED LIFE. Charley and his work have been profiled in an array of media, including CBS Sunday Morning and dozens of international magazines and newspapers, including Dwell, The New York Times, and many others. Charley Harper was an American illustrator who worked from his studio in the woods near Cincinnati, Ohio, until his death in 2007, at the age of eighty-four. He is beloved for his delightful, graphic, and often humorous illustrations of nature, animals, insects, and people alike. Charley liked to say that when he paints a bird, he doesn’t count all the feathers in the wings—he just counts the wings. Minimal realism, he called it, and his unique and precise style continue to resonate and inspire his admirers both young and old. Todd Oldham is an innovator of accessible design, and the founder of Todd Oldham Studio, a multidiciplinary design studio in New York City. Originally a fashion designer, Todd has hosted MTV’s House of Style, and his career has evolved to include interior design, film, photography, furniture, graphic, and product design. Todd is also the author of several publications by AMMO Books, including CHARLEY HARPER: AN ILLUSTRATED LIFE, WAYNE WHITE, KID MADE MODERN, and JOAN JETT.


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BEST SELLER

CHARLES HARPER’S BIRDS & WORDS

CHARLES HARPER’S BIRDS & WORDS jumbo anniversary edition by Charley Harper

limited editions by Charley Harper CHARLES HARPER’S BIRDS & WORDS Jumbo Anniversary Edition by Charley Harper Harcover | 11.2 x 8.7 inches | 152 pages ISBN: 9781623260163 | USD 34.95 | GBP 22.99 AVAILABLE NOW!

Y SPECIAL 40TH ANNIVERSARY EDITION!

BLUE CLAMSHELL | RED-EYED VIREO ISBN: 9781934429181 | USD 50.00 | GBP 30.00 | SOLD OUT!

YELLOW CLAMSHELL | HEATH HEN ISBN: 9781934429204 | USD 50.00 | GBP 30.00

The new 40th anniversary jumbo edition is a lovely reissue of the highly collectible 1974 classic, and a Charley Harper gem. AMMO has carefully restored all the images and reproduced BIRDS & WORDS in its entirety and in its original format. This charming new edition pairs Charley’s illustrations with his witty observations of each beloved species of bird. The limited editions make beautiful gift items and are available in a choice of four different fabric-wrapped clamshell boxes. Each handmade silkscreen print is stamped and numbered on the back, making them a perfect treasure suitable for framing in a kid’s room or nursery!

PINK CLAMSHELL | FLAMINGO ISBN: 9781934429174 | USD 50.00 | GBP 30.00

ORANGE CLAMSHELL | SNOWY EGRET ISBN: 9781934429198 | USD 50.00 | GBP 30.00

“CHARLEY HARPER CAPTURES NATURE WITH DRAFTING TOOLS AND A GIFT FOR WIT.” Dwell

CHARLEY’S SENSE OF HUMOR AND WORDPLAY ARE AS DELIGHTFUL AS HIS PAINTINGS.


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ALEXANDER GIRARD

by Todd Oldham & Kiera Coffee ALEXANDER GIRARD by Todd Oldham & Kiera Coffee Hardcover | 16.5 x 12.25 inches | 672 pages ISBN: 9781934429846 | USD 200.00 | GBP 125.00 AVAILABLE NOW!

Renowned designer Todd Oldham and writer Kiera Coffee have created this massive monograph on seminal designer Alexander Girard as the ultimate tribute to this design icon. This 672-page book covers virtually every aspect of Girard’s distinctive career. As one of the most prolific and versatile mid-20th century designers, Girard’s work spanned many disciplines, including textile design, graphic design, typography, illustration, furniture design, interior design, product design, exhibit design, and architecture. Exhaustively researched and lovingly assembled by designer Todd Oldham, this tome is the definitive must-have book on Girard’s oeuvre. Girard’s repertoire includes an incredible list of projects, including his bold, colorful, and iconic textile designs for Herman Miller (1952-1975), his typographic designs for La Fonda del Sol restaurant (1960), his celebrated retail store Textiles and Objects (1961), his own Girard Foundation (1962) that houses his extensive, personal collection of folk art from around the world, and his complete branding and environmental design for Braniff International Airways (1965). Girard’s work continues to inspire new generations of designers and admirers, and this beautiful book is the ultimate tribute to his legacy.

“GIRARD’S PLAYFUL PATTERNS AND BRIGHT COLORS WERE A BREATH OF FRESH AIR IN POST-WAR AMERICA.” Herman Miller

“IT IS THE INVENTIVE IMAGINATION OF ALEXANDER GIRARD’S THAT WE CONTINUOUSLY ADMIRE.” Interiors “ONE OF THE MOST IMPORTANT AMERICAN FURNITURE AND TEXTILE DESIGNERS OF THE 20TH CENTURY.” Cool Hunting


“Somewhere along the line that person had something to say which is not communicable except through a medium such as folk art. And that’s what makes it difficult to explain, because there is no standard. Of course, I think that’s what makes it interesting, because you can never pigeonhole folk art as you can established forms of fine art which have already been so pigeonholed that you spend all of your time tracing the influences on it rather than considering the work itself.”

L’ETOILE 1966 At select moments in Alexander Girard’s career, he strayed from his well-known colorful style. In 1966, a year after his pop color makeover of Braniff International, he designed the New York City restaurant L’Etoile. A masterfully delicate accomplishment L’Etoile (Star) surprised those who had only noticed Girard’s color propensity in previous years. But in L’Etoile’s perfect lines, its well-proportioned spaces and glittering chandeliers refracting light onto mirrors, Girard’s style was in strong evidence. Knowing that critics would compare his two New York restaurant designs, Girard said of L’Etoile, “It will be a total antithesis of La Fonda.” But like La Fonda, he put his hand to every detail: he designed beautiful and numerous tables, chairs, menus, signs, matchbooks, mirrors, lights, upholsteries, carpets. He also designed an elegant font with superb physique.

SELECTED IMAGES FROM ALEXANDER GIRARD


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LOCALS ONLY

popular edition by Hugh Holland, edited by Steve Crist LOCALS ONLY by Hugh Holland Popular Edition Hardcover | 8 x 11 inches | 84 pages ISBN: 9781934429839 | USD 19.95 | GBP 13.99 AVAILABLE NOW!

One afternoon in 1975, a young photographer named Hugh Holland drove up Laurel Canyon Boulevard in Los Angeles and encountered skateboarders carving up the drainage ditches along the side of the canyon. Immediately transfixed by their grace and athleticism, he knew he had found an amazing subject. Although not a skateboarder himself, for the next three years Holland never tired of documenting skateboarders surfing the streets of Los Angeles, parts of the San Fernando Valley, Venice Beach, and as far away as San Francisco and Baja California, Mexico.  During the mid-1970s, Southern California was experiencing a serious drought, leaving an abundance of empty swimming pools available for trespassing skateboarders to practice their tricks. From these suburban backyard haunts to the asphalt streets that connected them, this was the place that created the legendary Dogtown and Z-Boys skateboarders. With their requisite bleached blonde hair, tanned bodies, tube socks and Vans, these young outsiders are masterfully captured against a sometimes harsh but always sunny Southern California landscape in LOCALS ONLY. Holland’s skateboard photographs were first shown at M+B Gallery in Los Angeles in 2006. Following the success of the show, his work has been shown in Paris and New York City and used in American Apparel publicity campaigns. Holland resides in Los Angeles.

“SKATEBOARDS, SWEATBANDS, STREETWEAR AND OTHER RELICS OF THE ’70S ARE PERFECTLY PRESERVED IN HOLLAND’S ACTION SHOTS OF RAIL–RIDING TEENS.” Time Out New York


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HUE

mini edition by Kelly Wearstler



HUE | Mini Edition by Kelly Wearstler Hardcover | 7 x 10 inches | 288 pages ISBN: 9781934429723 | USD 29.95 | GBP 19.99 AVAILABLE NOW!

Following the huge success of her previous books, today’s ultimate interior design trendsetter, Kelly Wearstler, manages to astound once again with her newest release. Wearstler’s highly anticipated HUE celebrates the undeniable power of color. This elegantly photographed and carefully designed book showcases her most recent projects while serving as inspiring eye-candy for interior design and decorating fans. Focusing not only on the author’s high-wattage public persona, HUE also explores the design dynamo’s process with an exclusive look inside her new studio. The book features Wearstler’s newest designs for international hotels and resorts, restaurants and lounges, and exclusive boutiques—with elements of her new product collections introduced in images of her urbane residential designs. Kelly opens the neoclassical gates into an epic realm, offering an intimate look into a landmark 1926 estate—including an opulent Georgianstyle main mansion, expansive guesthouse, gardens, and grounds. This Paul Williams Bel Air masterpiece is reimagined as a textural metropolitan oasis with strong design details and an unexpected palette that reignites the mansion’s classic bones. A residence in Malibu boasts raw, organic materials and a color palette of earthy tones mixed with sea foam green and silvery blue. Her anthropomorphic sculptures and chunky modernist furniture play up the serene ocean ambiance. In addition to her residential projects and studio, Wearstler shares public spaces such as BG (the destination restaurant and bar in Manhattan’s famed fashion temple Bergdorf Goodman), her eponymous boutique at the same legendary store, the Viceroy resort in Miami, and The Tides in South Beach.

“KELLY WEARSTLER IS THE HIGH PRIESTESS OF ELEGANT ECLECTICISM.”

Elle


SELECTED IMAGES FROM HUE


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WAYNE WHITE: MAYBE NOW I’LL GET THE RESPECT I SO RICHLY DESERVE popular edition by Todd Oldham

WAYNE WHITE MAYBE NOW I’LL GET THE RESPECT I SO RICHLY DESERVE by Todd Oldham Popular Edition Hardcover | 6.125 x 8.5 inches | 384 pages ISBN: 9781623260415 | USD 29.95 | GBP 19.99 NOVEMBER 2014

Design guru and art collector Todd Oldham shines the spotlight on the clever and warped world of artist Wayne White. From Wayne’s early days as a production designer and puppet maker for the iconic TV show Pee-wee’s Playhouse to his unmistakable and exquisitely rendered text paintings, this monograph is a comprehensive view of Wayne White’s oeuvre. Wayne is a unique wordsmith, brilliantly juxtaposing irreverent and humorous phrases over existing thrift store paintings that together create a completely original and fictional landscape. Influenced by both his upbringing in rural Tennessee and a very sophisticated knowledge of art history, Wayne White’s sensibility is completely singular and distinctive. Wayne White’s warped and perspectival words integrate into seemingly benign pastoral landscapes, creating a completely surreal experience. Wayne’s expert painting chops and detailed attention to lighting and reflection place the “new” text directly in its “original” setting. Text paintings such as “Donald Judd was a Son of a Bitch Wrecked His Train in a Whorehouse Ditch,” “Poon,” and “Maybe Now I’ll Get the Respect I So Richly Deserve” are a welcome departure from the more-often-than-not self-aggrandizing art world. In fact, we think this sumptuous monograph is FANFUCKINTASTIC!

“ONE OF THE MOST EXCITING ARTISTS WORKING IN AMERICA.” Esquire


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THE CONTACT SHEET popular edition by Steve Crist

THE CONTACT SHEET by Steve Crist Popular Edition Softcover with Flaps | 8 x 10 inches | 192 pages ISBN: 9781934429082 | USD 29.95 | GBP 19.99 AVAILABLE NOW!

Behind every great photograph is a story. For every noteworthy image there are many more images taken before and after “the moment” that are often left unseen to anyone but the photographer himself. Featuring an array of original contact sheets from more than forty international photographers, THE CONTACT SHEET allows in‑depth insight into the subject matter and the photographic process, often revealing a deeper story that has not been told. From William Claxton to William Wegman, the photographers in this collection range from well‑known names to up‑and‑coming artists, making this an indispensable addition to the library of any serious lover of photography. More than forty international photographers represented, including: William Claxton, Chuck Close, Michel Comte, Anton Corbijn, Imogen Cunningham, David Doubilet, Elliott Erwitt, Nan Goldin, Nadav Kander, Art Kane, David Hume Kennerly, Dorothea Lange, Saul Leiter, Peter Lindbergh, Jerry McMillan, Joel Meyerowitz, Richard Misrach, Arnold Newman, Paul Outerbridge, Martin Parr, Ed Ruscha, Julius Shulman, Jeanloup Sieff, Jerry Uelsmann, and William Wegman.

As a young woman living in New York City, Dorothea Lange learned photography in a class taught by Clarence H. White. She also apprenticed at several studios throughout the city, including that of Arnold Genthe. In her twenties, she opened her own successful portrait studio in San Francisco. The Great Depression soon compelled Lange to focus her lens not on the posed people in her studio but on the unemployed and homeless she saw on the streets. Her journalistic images led to her employment with the federal Resettlement Administration, which later became the Farm Security Administration (FSA). Lange traveled across the country and documented rural poverty and exploited migrant workers. Lange also went on to photograph the Japanese internment camps after the bombing of Pearl Harbor, images that were later impounded by the U.S. Army. Lange’s most famous photograph from her period at the FSA, and perhaps of her career, is “Migrant Mother.” It is arguably the most iconic image of the Great Depression. During the peak of the Depression, Lange came across Florence Owens Thompson and her children off the side of the road in Nipomo, California. Thompson had set up camp while a friend went to find help for their car, which had broken down. In an 1960 interview with Popular Photography, Lange described the session: “I saw and approached the hungry and desperate mother, as if drawn by a magnet. I do not remember how I explained my presence or my camera to her, but I do remember she asked me no questions. I made five exposures, working closer and closer from the same direction. I did not ask her name or her history. She told me her age, that she was thirty-two. She said that they had been living on frozen vegetables from the surrounding fields, and birds that the children killed. She had just sold the tires from her car to buy food. There she sat in that lean-to tent with her children huddled around her, and seemed to know that my pictures might help her, and so she helped me. There was a sort of equality about it.”

Résidente de New York, Dorothea Lange suivit des cours d’art visuel et fut notamment l’élève du photographe Clarence H. White. Elle poursuivit sa formation de photographe dans de nombreux studios de la ville, dont celui de Arnold Genthe, avant d’ouvrir son propre studio de portraits à San Francisco dans les années 1920.

Dorothea Lange lebte als junge Frau in New York und lernte dort in einer Vorlesung von Clarence H. White die Fotografie. Sie war auch in verschiedenen Foto-Studios der Stadt New York Praktikantin, unter anderem im Studio von Arnold Genthe. In ihren zwanziger Jahren eröffnete sie ihr eigenes erfolgreiches Porträtstudio in San Francisco.

Durante sus años de juventud en la ciudad de Nueva York, Dorothea Lange estudió fotografía como alumna de Clarence H. White. También trabajó como aprendiz en varios estudios de la ciudad, incluido el de Arnold Genthe. Con poco más de veinte años, abrió su propio y exitoso estudio de retratos en San Francisco.

La Grande Dépression de 1929 détourna Dorothea Lange des clients de son studio et l’amena à pointer son objectif sur la misère des sans-abris et des chômeurs. Ses photographies furent très vite appréciées et elle fut recrutée par la Resettlement Administration, un programme du New Deal de Roosevelt auquel devait succéder la Farm Security Administration (FSA). Elle entreprit alors de voyager dans tout le pays pour documenter la pauvreté rurale et l’exploitation des travailleurs itinérants pendant la dépression qui sévit alors aux Etats-Unis.

Die Weltwirtschaftskrise brachte Lange bald dazu, ihre Fotolinse nicht auf die posierenden Kunden in ihrem Studio zu richten, sondern auf die arbeits- und obdachlosen Menschen, die sie auf den Strassen sah. Ihre Strassenbilder führten zu einer Anstellung mit der Bundes-Wiederansiedlungsverwaltung, die später die Farm-Sicherheitsverwaltung wurde. Lange reiste durch das Land und dokumentierte die ländliche Armut und die Situation der missbrauchten Migranten-Arbeiter. Danach fotografierte Lange die japanischen Gefangenenlager nach der Bombardierung von Pearl harbor, und diese Bilder wurden später von der U.S. Armee beschlagnahmt.

La Gran Depresión pronto empujaría a Lange a cambiar el enfoque de sus lentes de los posados de su estudio a las personas desempleadas y sin hogar que veía por la ciudad. Sus imágenes de las calles le llevaron a encontrar un trabajo con la Federal Resettlement Administration, que más tarde se convertiría en la Farm Security Administration (FSA). Lange recorrió el país documentando la pobreza rural y la explotación de los trabajadores inmigrantes. Lange pasó a fotografiar los campos de internamiento para japoneses tras el bombardeo de Pearl harbor, imágenes que más tarde confiscó el ejército de los Estados Unidos.

Lange’s berühmtestes Bild von ihrer Zeit mit der Farm-Sicherheitsverwaltung und vielleicht ihrer ganzen Karriere ist Migrant Mother. Es ist wahrscheinlich das am ikonischste Bild der Weltwirtschaftskrise. Während dem höhepunkt der Depression traf Lange Florence Owens Thompson und deren Kinder auf der Seite der Strasse in Nipomo, Kalifornien. Thompson campierte dort, während ein Freund hilfe suchen ging für ihr Auto, das zusammengebrochen war. In einem Interview von 1960 mit Popular Photography, beschrieb Lange die Session:

La fotografía más famosa de Lange de su época en la FSA, y quizá de toda su carrera, es Migrant Mother. Es, casi con toda seguridad, la imagen más representativa de la Gran Depresión. Durante el peor momento de la Depresión, Lange se encontró con Florence Owens Thompson y sus hijos a un lado de la carretera en Nipomo, California. Thompson había acampado mientras un amigo iba a buscar ayuda para el automóvil, que se había averiado. En una entrevista concedida a Popular Photography en 1960, Lange describió la sesión:

„Ich sah die hungrige und verzweifelte Mutter und näherte mich ihr, als ob von einem Magnet angezogen. Ich kann mich nicht erinnern, wie ich ihr meine Präsenz oder meine Kamera erklärte, aber ich erinnere mich daran, dass sie mich keine Fragen fragte. Ich machte fünf Belichtungen, arbeitete näher und näher von der selben Richtung. Ich fragte sie nicht nach ihrem Namen oder nach ihrer Geschichte. Sie sagte mir ihr Alter, dass sie zwei-und-dreissig sei. Sie sagte, dass sie von gefrorenem Gemüse von den umgebenden Feldern gelebt hatten, und den Vögeln, die die Kinder umbrachten. Sie hatte gerade die Reifen von ihrem Auto verkauft, um Essen zu kaufen. Da sass sie in diesem angebautem Zelt mit ihren umsie-herumkauernden Kindern, und schien zu wissen, dass meine Bilder ihr helfen könnten, und so half sie mir. Da war eine Art von Gleichstellung dabei.“

“Vi una madre desesperada y hambrienta y me acerqué a ella, como atraída por un imán. No recuerdo cómo expliqué mi presencia o mi cámara, pero recuerdo que ella no me hizo ninguna pregunta. Hice cinco exposiciones, trabajando más y más cerca desde la misma dirección. No le pregunté su nombre o su historia. Me dijo su edad, tenía treinta y dos años. Me dijo que sobrevivían a base de verduras congeladas de los campos de los alrededores y de pájaros que cazaban los niños. Acababa de vender los neumáticos de su automóvil para comprar comida. Y allí estaba sentada, atendiendo a sus hijos que se amontonaban a su alrededor, y parecía saber que mis fotos podían ayudarla, así que ella me ayudaba a su vez. Había una especie de igualdad en ello”.

La Mère migrante reste la photographie la plus célèbre de sa période à la FSA, et certainement de toute sa carrière. Dans la conscience collective, c’est sans doute l’image la plus emblématique de la Grande Dépression aux Etats-Unis. Au plus noir de la dépression, les chemins de Dorothea Lange et de Florence Owens Thompson se croisèrent au bord de la route de Nipomo, en Californie. Florence Thompson s’était installée avec ses enfants dans un camp de travailleurs migrants pendant qu’un ami était parti chercher de l’aide pour réparer leur voiture. Dans un entretien accordé au magazine Popular Photography en 1960, Dorothea Lange décrivit la rencontre en ces termes : « Quand j’ai vu cette mère affamée et désespérée, je me suis tout de suite approchée. Je ne me rappelle pas comment je lui ai expliqué ma présence ou mon appareil photo, mais je me souviens qu’elle ne me posait aucune question. J’ai pris cinq clichés en me rapprochant peu à peu. Je n’ai pas cherché à connaître son nom ou son passé. Elle m’a dit son âge, elle avait trente-deux ans. Elle m’a expliqué qu’elle vivait de légumes gelés trouvés dans les champs et d’oiseaux que ses enfants tuaient. Elle venait de vendre les pneus de sa voiture afin de se procurer de la nourriture. Elle était assise là, dans cet abri de fortune avec ses enfants blottis contre elle, elle semblait savoir que mes photos pourraient l’aider, et elle m’a donc aidée en retour. Nous nous trouvions sur une sorte de pied d’égalité. »

Dorothea Lange

“ IT’S NOT ALWAYS CLEAR WHY THE PHOTOGRAPHERS CHOSE ONE PICTURE OVER ANOTHER, WHICH ONLY ADDS TO THE VALUE OF THIS ARCHIVAL MATERIAL.”

Wall Street Journal


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