Adjusted margin / Kate Eichorn

Public ISBD Titre : Adjusted margin : xerography, art, and activism in the late twentieth century Type de document : texte imprimé Auteurs : Kate Eichorn, Auteur Editeur : London, England : The MIT Press Année de publication : 2016 Importance : 1 vol. (201 p.) Présentation : ill., couv. ill. en coul. Format : 23 cm ISBN/ISSN/EAN : 978-0-262-03396-1 Prix : 26,95 DOL Langues : Américain (ame) Langues originales : Américain (ame) Mots-clés : xerox  photocopie  contre-cultures  fanzinat Index. décimale : EDI Edition Résumé : This is the story of how the xerographic copier, or “Xerox machine,” became a creative medium for artists and activists during the last few decades of the twentieth century. Paper jams, mangled pages, and even fires made early versions of this clunky office machine a source of fear, rage, dread, and disappointment. But eventually, xerography democratized print culture by making it convenient and affordable for renegade publishers, zinesters, artists, punks, anarchists, queers, feminists, street activists, and others to publish their work and to get their messages out on the street. The xerographic copier adjusted the lived and imagined margins of society, Eichhorn argues, by supporting artistic and political expression and mobilizing subcultural movements. Eichhorn describes early efforts to use xerography to create art and the occasional scapegoating of urban copy shops and xerographic technologies following political panics, using the post-9/11 raid on a Toronto copy shop as her central example. She examines New York’s downtown art and punk scenes of the 1970s to 1990s, arguing that xerography—including photocopied posters, mail art, and zines—changed what cities looked like and how we experienced them. And she looks at how a generation of activists and artists deployed the copy machine in AIDS and queer activism while simultaneously introducing the copy machine’s gritty, DIY aesthetics into international art markets. Xerographic copy machines are now defunct. Office copiers are digital, and activists rely on social media more than photocopied posters. And yet, Eichhorn argues, even though we now live in a post-xerographic era, the grassroots aesthetics and political legacy of xerography persists.(note de l'éditeur) Adjusted margin : xerography, art, and activism in the late twentieth century [texte imprimé] / Kate Eichorn, Auteur . - London, England : The MIT Press, 2016 . - 1 vol. (201 p.) : ill., couv. ill. en coul. ; 23 cm. ISBN : 978-0-262-03396-1 : 26,95 DOL Langues : Américain (ame) Langues originales : Américain (ame) Mots-clés : xerox  photocopie  contre-cultures  fanzinat Index. décimale : EDI Edition Résumé : This is the story of how the xerographic copier, or “Xerox machine,” became a creative medium for artists and activists during the last few decades of the twentieth century. Paper jams, mangled pages, and even fires made early versions of this clunky office machine a source of fear, rage, dread, and disappointment. But eventually, xerography democratized print culture by making it convenient and affordable for renegade publishers, zinesters, artists, punks, anarchists, queers, feminists, street activists, and others to publish their work and to get their messages out on the street. The xerographic copier adjusted the lived and imagined margins of society, Eichhorn argues, by supporting artistic and political expression and mobilizing subcultural movements. Eichhorn describes early efforts to use xerography to create art and the occasional scapegoating of urban copy shops and xerographic technologies following political panics, using the post-9/11 raid on a Toronto copy shop as her central example. She examines New York’s downtown art and punk scenes of the 1970s to 1990s, arguing that xerography—including photocopied posters, mail art, and zines—changed what cities looked like and how we experienced them. And she looks at how a generation of activists and artists deployed the copy machine in AIDS and queer activism while simultaneously introducing the copy machine’s gritty, DIY aesthetics into international art markets. Xerographic copy machines are now defunct. Office copiers are digital, and activists rely on social media more than photocopied posters. And yet, Eichhorn argues, even though we now live in a post-xerographic era, the grassroots aesthetics and political legacy of xerography persists.(note de l'éditeur)

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Muriel Cooper / David Reinfurt

Public ISBD Titre : Muriel Cooper Type de document : texte imprimé Auteurs : David Reinfurt, Auteur ; Robert Wiesenberger, Auteur Editeur : London, England : The MIT Press Importance : 1 vol. (195 p.) Présentation : ill. en noir et en coul. Format : 36 cm ISBN/ISSN/EAN : 978-0-262-34126-4 Langues : Anglais (eng) Index. décimale : GRAP arts graphiques Résumé : Muriel Cooper (1925–1994) was the pioneering designer who created the iconic MIT Press colophon (or logo)—seven bars that represent the lowercase letters “mitp” as abstracted books on a shelf. She designed a modernist monument, the encyclopedic volume The Bauhaus (1969), and the graphically dazzling and controversial first edition of Learning from Las Vegas (1972). She used an offset press as an artistic tool, worked with a large-format Polaroid camera, and had an early vision of e-books. Cooper was the first design director of the MIT Press, the cofounder of the Visible Language Workshop at MIT, and the first woman to be granted tenure at MIT’s Media Lab, where she developed software interfaces and taught a new generation of designers. She began her four-decade career at MIT by designing vibrant printed flyers for the Office of Publications; her final projects were digital. This lavishly illustrated volume documents Cooper’s career in abundant detail, with prints, sketches, book covers, posters, mechanicals, student projects, and photographs, from her work in design, teaching, and research at MIT. Muriel Cooper [texte imprimé] / David Reinfurt, Auteur ; Robert Wiesenberger, Auteur . - London, England : The MIT Press, [s.d.] . - 1 vol. (195 p.) : ill. en noir et en coul. ; 36 cm. ISBN : 978-0-262-34126-4 Langues : Anglais (eng) Index. décimale : GRAP arts graphiques Résumé : Muriel Cooper (1925–1994) was the pioneering designer who created the iconic MIT Press colophon (or logo)—seven bars that represent the lowercase letters “mitp” as abstracted books on a shelf. She designed a modernist monument, the encyclopedic volume The Bauhaus (1969), and the graphically dazzling and controversial first edition of Learning from Las Vegas (1972). She used an offset press as an artistic tool, worked with a large-format Polaroid camera, and had an early vision of e-books. Cooper was the first design director of the MIT Press, the cofounder of the Visible Language Workshop at MIT, and the first woman to be granted tenure at MIT’s Media Lab, where she developed software interfaces and taught a new generation of designers. She began her four-decade career at MIT by designing vibrant printed flyers for the Office of Publications; her final projects were digital. This lavishly illustrated volume documents Cooper’s career in abundant detail, with prints, sketches, book covers, posters, mechanicals, student projects, and photographs, from her work in design, teaching, and research at MIT.

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