9783775746328-3775746323-Image Bank: 1969–1977

Image Bank: 1969–1977

ISBN-13: 9783775746328
ISBN-10: 3775746323
Author: Scott Watson, Krist Gruijthuijsen, Maxine Kopsa
Publication date: 2020
Publisher: Hatje Cantz
Format: Paperback 320 pages
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Book details

ISBN-13: 9783775746328
ISBN-10: 3775746323
Author: Scott Watson, Krist Gruijthuijsen, Maxine Kopsa
Publication date: 2020
Publisher: Hatje Cantz
Format: Paperback 320 pages

Summary

Image Bank: 1969–1977 (ISBN-13: 9783775746328 and ISBN-10: 3775746323), written by authors Scott Watson, Krist Gruijthuijsen, Maxine Kopsa, was published by Hatje Cantz in 2020. With an overall rating of 3.6 stars, it's a notable title among other Collections, Catalogues & Exhibitions (Photography & Video, Equipment, Techniques & Reference, Arts Collections) books. You can easily purchase or rent Image Bank: 1969–1977 (Paperback) from BooksRun, along with many other new and used Collections, Catalogues & Exhibitions books and textbooks. And, if you're looking to sell your copy, our current buyback offer is $0.3.

Description

The first survey of the Canadian Image Bank collective, protagonists of mail art in the tradition of Ray Johnson

Image Bank was founded in 1970 in Vancouver, Canada, by artists Michael Morris (born 1942), Vincent Trasov (born 1947) and Gary Lee-Nova (born 1943). A model for a utopian, alternative system of art distribution operating outside institutions like the museum and the market, Image Bank engaged in an international exchange of images and correspondence by mail.

Among the artists participating in the network of exchange with Image Bank were Dana Atchley, Robert Cumming, Dick Higgins, Geoff Hendricks, Glenn Lewis, Eric Metcalfe, Kate Craig, Willoughby Sharp, General Idea and Ant Farm. Image Bank also maintained close ties with Ray Johnson's New York Correspondence School as well as Robert Filliou and his concept of the Eternal Network. Using frequently changing Duchampian, gender-crossing aliases, and appropriating and reworking images and texts from mainstream media was a subversive take on postwar individualism and consumer culture. Image Bank's interest in the idea of the fetish―which it shared with General Idea in Toronto―in rituals, and in archives shaped the collective's manifold activities until 1978, when, due to a copyright challenge, it was renamed the Morris/Trasov Archive.

This volume offers the most comprehensive retrospective of Image Bank to date.

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