Robbins: The Independent Group: Postwar Britain & The Aesthetics Of Plenty: Postwar Britain and the Aesthetics of Plenty de Robbins, D

The MIT Press, 0000-00-00. First Edition. paperback. Used: Good.

The MIT Press, 1990-03-28. Paperback. Good. 0.9000 in x 12.3000 in x 9.8000 in. Mild general wear. Pages clean. Binding sound, but has been bent.

The MIT Press. Near Fine in Fine dust jacket. 1990. First. Hardcover. 0262181398 . 12.3 X 9.8 X 0.9 inches .

Cambridge, MA: MIT Press, 1990. First edition. Hardcover. Very Good/Very Good. 4to. pp. 256

Cambridge, Mass.: MIT Press, 1990. 1st Edition 1st Printing. Hardcover. Very Good/Very Good. 4to - over 9¾ - 12" tall. Well-illustrated and well-researched catalogue of an exhibition organized by the Hood Museum of Art, Dartmouth College ... [et al.] held between February 1, 1990 and August 18, 1991 at various locations. 256 p. : ill. (some col.) ; 25 x 31 cm. First edition, first printing. Yellow cloth boards, unclipped dust jacket (now in a removable protective sleeve). Slight shelf wear to edges, some fading and a light crease to dust jacket, no inscriptions, tight and square binding. Photographs available on request. All books dispatched same or next working day in robust packaging.

The MIT Press, 1990-03-28. Paperback. New. New. In shrink wrap. Looks like an interesting title!

"The Independent Group, or the IG, as it was called, is best known for having launched Pop Art. But the young artists, architects, and critics who met informally at London's Institute of Contemporary Arts in the early 1950s were actually embarked on a far more subversive and constructive mission than the founding of an art movement. Street-smart, anti-academic, and iconoclastic, they embraced Hollywood and Madison Avenue and rejected the traditional dichotomies between high and low culture, British and American values. They used their meetings and exhibitions to challenge the official modernist assumptions of British aesthetics and to advocate instead a media-based, consumer-based aesthetics of change and inclusiveness - an aesthetics of plenty. In doing so they drew upon Dadaist, Futurist, and Surrealist strategies to invigorate their alternative version of modernism - a version that today can be said to have insinuated the terms of postmodernism. This book provides the first… Leer más

The MIT Press, 1990. First Edition. Hardcover. Like New/Like New. First Edition, First Printing. Published by MIT Press, 1989. Quarto. Yellow cloth boards stamped in black with black endpapers. Book is like new; clean with no writing or names. Sharp corners and spine straight. Binding tight and pages crisp. Dust jacket is like new with very light shelf wear. Some sticker residue on left flap. A fine copy of this art book on the history of the Independent Group and the rise of the Pop Art movement in Britain. 256 pages. ISBN: 0262181398. 100% positive feedback. 30 day money back guarantee. NEXT DAY SHIPPING! Excellent customer service. Please email with any questions or if you would like a photo. All books packed carefully and ship with free delivery confirmation/tracking. All books come with free bookmarks. Ships from Southampton, New York. We Buy Books! Individual titles, libraries, collections. Message us if you have books to sell!

Cambridge: The MIT Press. VG/VG. 1990. Hardcover w/DJ. Oblong 4to., 256 pp. .

M.I.T. Press, Cambridge, 1990. hardcover. fine. The Independent Group, or the IG, as it was called, is best known for having launched Pop Art. But the young artists, architects, and critics who met informally at London's Institute of Contemporary Arts in the early 1950s were actually embarked on a far more subversive and constructive mission than the founding of an art movement. Street-smart, anti-academic, and iconoclastic, they embraced Hollywood and Madison Avenue and rejected the traditional dichotomies between high and low culture, British and American values. They used their meetings and exhibitions to challenge the official modernist assumptions of British aesthetics and to advocate instead a media-based, consumer-based aesthetics of change and inclusiveness - an aesthetics of plenty. In doing so they drew upon Dadaist, Futurist, and Surrealist strategies to invigorate their alternative version of modernism - a version that today can be said to have insinuated the terms of postmodernism.,… Leer más