and Ludwig Goldscheider of Vienna, Austria, be-
came of the most widely recognized imprints world-
wide, opening offices in London, Paris, Berlin, and
New York. In 1993, Phaidon publishedWorkersby
Sebastia ̃o Salgado, a book of black and white
photographs that won best book of the year prizes
from theRencontres Internationales de la photogra-
phie Arles(Arles International Festival) and the
International Center of Photography, New York.
Five years later, Phaidon publishedCream: Con-
temporary Art in Culture (1998), a successful
book-as-exhibition showcasing the work of 100
emerging artists chosen by an international group
of critics.
London-based Thames & Hudson is another art
publisher that expanded internationally, opening
offices in Paris and New York, as well as subsidi-
aries in Melbourne and Singapore. Since its incep-
tion in 1949, Thames & Hudson became one of the
largest illustrated book publishers in the world,
producing nearly 200 hardcover and paperback
titles annually. In 2000, another large art publisher,
Rizzoli International Publications, became even
larger as its Milan-based parent company, RCS
Libri, acquired French house Flammarion and its
Italian counterpart Skira. Rizzoli maintained the
art publishing operations of Rizzoli New York,
along with the imprint’s flagship bookstore.
Unlike the larger multinational houses with
booklists spanning several art media, many of the
new, smaller presses tended to build and streamline
their catalogues solely around photo-books. Power-
House Books in New York debuted in 1995 under
the leadership of Daniel Power, a co-founder of
DAP. Other prominent publishers such as Schir-
mer-Mosel Verlag of Munich, Germany; Schaden
of Cologne, Germany; and Umbrage Editions of
New York also focus primarily on photography
book publishing. In 2000, Nazraeli Press in Tucson,
Arizona, published the first of its well-receivedOne
Picture Bookseries of artist’s photo-books, limiting
each new edition to 500 signed and numbered
copies. Each book contains an original print by the
artist commissioned for each project in the series.
As the demand for art and photography books
continued on into the next century, new and well-
established presses were dealing with many of the
same questions as their predecessors, namely about
project funding, production values, distribution
goals, and printing innovations. While indepen-
dently addressing such variables, each fine arts
press aspired to a perfect result that would appear
tangibly in print, and as each one defined it.
KELLYXINTARIS
Seealso:Artists’ Books; Atget, Euge`ne; Bibliothe`-
que nationale de France; Cartier-Bresson, Henri;
Clark, Larry; de Meyer, Baron Adolph; Evans,
Walker; Frank, Robert; Gibson, Ralph; Museum of
Modern Art; Newton, Helmut; Penn, Irving; Sal-
gado, Sebastia ̃o; Steichen, Edward; Stieglitz, Alfred;
Weston, Edward; White, MinorFurther Reading
Benton, Megan L.Beauty and the Book: Fine Editions and
Cultural Distinction in America. London and New
Haven, Connecticut: Yale University Press, 2000.
Cave, Roderick.The Private Press. London: Faber and Faber,
1971; 2nd ed. New York: R.R. Bowker Company, 1983.
Cravens, Richard H.Photography Past Forward: Aperture
at 50. New York: Aperture Foundation, Inc., 2002.
Frizot, Michel.A New History of Photography. Cologne:
Ko ̈nemann, 1998.
Lehmann-Haupt, Hellmut.The Book in America: A History
of the Making and Selling of Books in the United States.
New York: R. R. Bowker Company, 1952.
Newhall, Beaumont.The History of Photography From
1839 to the Present. New York: Museum of Modern
Art, Revised Edition, 1982.
Rosenblum, Naomi.A World History of Photography. New
York, London, and Paris: Abbeville Press, 1984; 2nd ed.,
1989; 3rd ed., 1997.
Roth, Andrew, ed.The Book of 101 Books: Seminal Photo-
graphic Books of the Twentieth Century. New York: PPP
Editions in association with Roth Horowitz LLC, 2001.
Schiffrin, Andre.The Business of Books: How International
Conglomerates Took Over Publishing and Changed the
Way We Read. London and New York: Verso, 2000.
Taft, Robert.Photography and the American Scene. New
York: Macmillan Company, 1938; and New York:
Dover Publications, Inc., 1964.
Tomkinson, Geoffrey S.A Select Bibliography of the Prin-
cipal Modern Presses Public and Private in Great Britain
and Ireland. London: J. Curwen and Sons Limited, 1928.
Weitenkampf, Frank.The Illustrated Book. Cambridge,
MA: Harvard University Press, 1938.FINE ARTS PRESSES