55,39 €
Under the Radar
Under the Radar
55,39 €
  • Išsiųsime per 14–18 d.d.
The mid-1960s witnessed a boom in underground and selfpublished works. Hectographs, mimeographs, and offset printing not only allowed for the production of small, lowcost print runs but also promote a unique aesthetic: using wild mock-ups, messianic amateurs combined typescript aesthetics, handwriting, scribbled drawings, assemblages of collaged visuals, porn photos, snapshots, and comic strips. The typography consciously frees itself, in parallel to a liberalization of linguistic and visual fo…
55.39
SKAITYTAKNYGA
  • Leidėjas:
  • Metai: 201703
  • Puslapiai: 368
  • ISBN-10: 3959051042
  • ISBN-13: 9783959051040
  • Formatas: 26.9 x 33.8 x 3.5 cm, minkšti viršeliai
  • Kalba: Anglų

Under the Radar + nemokamas atvežimas! | knygos.lt

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The mid-1960s witnessed a boom in underground and selfpublished works. Hectographs, mimeographs, and offset printing not only allowed for the production of small, lowcost print runs but also promote a unique aesthetic: using wild mock-ups, messianic amateurs combined typescript aesthetics, handwriting, scribbled drawings, assemblages of collaged visuals, porn photos, snapshots, and comic strips. The typography consciously frees itself, in parallel to a liberalization of linguistic and visual forms of expression in the name of a new sensibility. This book (which appears in conjunction with an exhibition at the Weserburg in Bremen) is the first to present the underground and self-published works that came out of West Germany in such depth, while also showing the internationalcontext in which they emerged: not as an anecdotal history but as an attempt to tap into the aesthetic cosmos of a Do-It-Yourself rebellion, one that also challenges us to take a new look at the current boom in independent publishing, the risograph aesthetic, and so on.
55,39 €
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  • Išsiųsime per 14–18 d.d.

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55,39 € Nauja knyga
minkšti viršeliai

The mid-1960s witnessed a boom in underground and selfpublished works. Hectographs, mimeographs, and offset printing not only allowed for the production of small, lowcost print runs but also promote a unique aesthetic: using wild mock-ups, messianic amateurs combined typescript aesthetics, handwriting, scribbled drawings, assemblages of collaged visuals, porn photos, snapshots, and comic strips. The typography consciously frees itself, in parallel to a liberalization of linguistic and visual forms of expression in the name of a new sensibility. This book (which appears in conjunction with an exhibition at the Weserburg in Bremen) is the first to present the underground and self-published works that came out of West Germany in such depth, while also showing the internationalcontext in which they emerged: not as an anecdotal history but as an attempt to tap into the aesthetic cosmos of a Do-It-Yourself rebellion, one that also challenges us to take a new look at the current boom in independent publishing, the risograph aesthetic, and so on.

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