kramer david jacob (23 risultati)

Soft cover. Condizione: Good.

paperback. Condizione: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD PAPERBACK Standard-sized.

Condizione: New.

Condizione: New. Brand New! Not Overstocks or Low Quality Book Club Editions! Direct From the Publisher! We're not a giant, faceless warehouse organization! We're a small town bookstore that loves books and loves it's customers! Buy from Lakeside Books!

Condizione: As New. Unread book in perfect condition.

Soft cover. Condizione: As New. Softcover Paperback, in unopened shrink-wrap. In stock. Ships from MN, USA.

Hardcover. Condizione: new. Hardcover. The youth uprising, now simply called The Sixties, was fed by one of the greatest booms in publishing history. The Underground Press Syndicate (UPS) began as a loose confederation of five papers in 1966, and within a few years swelled to over 500 across the world, reaching millions of readers. They spread like weed, said the UPS director, weed-dealer, and eventual founder of High Times, Tom Forcade. The metaphor was apt: the UPS spurred the legalization movement, and weed became its totem.Weed was so pervasive it became a helpful means for government agencies to crack down on the UPS. Weed came to emblematize activist groups, and added a touch of flair to the mastheads of UPS titles. Weed permeated UPS pages, with gaps in text crammed with weed-inspired spot illustratios. Heads Together collects these drawings, shining a light on lesser-known names in the stoner-art canon, and many who werent names at all, as no signature was attached. It also compiles guides for growing weed from the period that were treated like contraband by the CIA. Activist-oriented, psychedelic rolling papers are showcased too.As pot now fast-tracks toward legalization in the U. S. and beyond, its once incendiary status is brought into odd relief. Pots profiteers of the corporate market today do not reflect those who fought for legalization, or the Black and Latino populations strategically criminalized for pot well before hippies were targeted, and long after.The art in this book speaks to a time when pot was smoked with optimism, as something potentially good for society and people, capable of activating profound transformation in the face of corrupt and powerful forces. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardback. Condizione: New. The youth uprising, now simply called "The Sixties," was fed by one of the greatest booms in publishing history. The Underground Press Syndicate (UPS) began as a loose confederation of five papers in 1966, and within a few years swelled to over 500 across the world, reaching millions of readers. They "spread like weed," said the UPS director, weed-dealer, and eventual founder of High Times, Tom Forcade. The metaphor was apt: the UPS spurred the legalization movement, and weed became its totem. Weed was so pervasive it became a helpful means for government agencies to crack down on the UPS. Weed came to emblematize activist groups, and added a touch of flair to the mastheads of UPS titles. Weed permeated UPS pages, with gaps in text crammed with weed-inspired "spot illustratios". Heads Together collects these drawings, shining a light on lesser-known names in the stoner-art canon, and many who weren't names at all, as no signature was attached. It also compiles guides for growing weed from the period that were treated like contraband by the CIA. Activist-oriented, psychedelic rolling papers are showcased too. As pot now fast-tracks toward legalization in the U. S. and beyond, its once incendiary status is brought into odd relief. Pot's profiteers of the corporate market today do not reflect those who fought for legalization, or the Black and Latino populations strategically criminalized for pot well before hippies were targeted, and long after. The art in this book speaks to a time when pot was smoked with optimism, as something potentially good for society and people, capable of activating profound transformation in the face of corrupt and powerful forces.

Paperback. Condizione: Very Good.

Condizione: as new. Wie neu/Like new.

Hardback. Condizione: New. The youth uprising, now simply called "The Sixties," was fed by one of the greatest booms in publishing history. The Underground Press Syndicate (UPS) began as a loose confederation of five papers in 1966, and within a few years swelled to over 500 across the world, reaching millions of readers. They "spread like weed," said the UPS director, weed-dealer, and eventual founder of High Times, Tom Forcade. The metaphor was apt: the UPS spurred the legalization movement, and weed became its totem. Weed was so pervasive it became a helpful means for government agencies to crack down on the UPS. Weed came to emblematize activist groups, and added a touch of flair to the mastheads of UPS titles. Weed permeated UPS pages, with gaps in text crammed with weed-inspired "spot illustratios". Heads Together collects these drawings, shining a light on lesser-known names in the stoner-art canon, and many who weren't names at all, as no signature was attached. It also compiles guides for growing weed from the period that were treated like contraband by the CIA. Activist-oriented, psychedelic rolling papers are showcased too. As pot now fast-tracks toward legalization in the U. S. and beyond, its once incendiary status is brought into odd relief. Pot's profiteers of the corporate market today do not reflect those who fought for legalization, or the Black and Latino populations strategically criminalized for pot well before hippies were targeted, and long after. The art in this book speaks to a time when pot was smoked with optimism, as something potentially good for society and people, capable of activating profound transformation in the face of corrupt and powerful forces.

Condizione: As New. Unread book in perfect condition.

paperback. Condizione: New. Special order direct from the distributor.

Paperback. Condizione: Brand New. 566 pages. 9.75x7.50x1.50 inches. In Stock.

Condizione: New.

Paperback. Condizione: Brand New. 566 pages. 9.75x7.50x1.50 inches. In Stock.

Hardback. Condizione: New. The youth uprising, now simply called "The Sixties," was fed by one of the greatest booms in publishing history. The Underground Press Syndicate (UPS) began as a loose confederation of five papers in 1966, and within a few years swelled to over 500 across the world, reaching millions of readers. They "spread like weed," said the UPS director, weed-dealer, and eventual founder of High Times, Tom Forcade. The metaphor was apt: the UPS spurred the legalization movement, and weed became its totem. Weed was so pervasive it became a helpful means for government agencies to crack down on the UPS. Weed came to emblematize activist groups, and added a touch of flair to the mastheads of UPS titles. Weed permeated UPS pages, with gaps in text crammed with weed-inspired "spot illustratios". Heads Together collects these drawings, shining a light on lesser-known names in the stoner-art canon, and many who weren't names at all, as no signature was attached. It also compiles guides for growing weed from the period that were treated like contraband by the CIA. Activist-oriented, psychedelic rolling papers are showcased too. As pot now fast-tracks toward legalization in the U. S. and beyond, its once incendiary status is brought into odd relief. Pot's profiteers of the corporate market today do not reflect those who fought for legalization, or the Black and Latino populations strategically criminalized for pot well before hippies were targeted, and long after. The art in this book speaks to a time when pot was smoked with optimism, as something potentially good for society and people, capable of activating profound transformation in the face of corrupt and powerful forces.

Softcover. Condizione: Wie neu. 1. Auflage. The Most Beautiful Swiss Books 2023. The youth uprising, now simply called The Sixties, was fed by one of the greatest booms in publishing history. The Underground Press Syndicate (UPS) began as a loose confederation of five papers in 1966, and within a few years swelled to over 500 across the world, reaching millions of readers. Designer: Grupo 438, Brooklyn, New York (US). Printing: DZA Druckerei zu Altenburg GmbH, Altenburg (DE) 566 Seiten, 19 x 25 cm.

Kartoniert / Broschiert. Condizione: New. Die Jugendproteste der sechziger Jahre wurden von einem der groessten Pressebooms der Geschichte getragen. Das Underground Press Syndicate (UPS), das 1966 noch ein lockerer Zusammenschluss von fuenf Zeitungen war, zaehlte innerhalb von wenigen Jahren ueber 500 P.

Taschenbuch. Condizione: Neu. Neuware - Die Jugendproteste der sechziger Jahre wurden von einem der größten Pressebooms der Geschichte getragen. Das Underground Press Syndicate (UPS), das 1966 noch ein lockerer Zusammenschluss von fünf Zeitungen war, zählte innerhalb von wenigen Jahren über 500 Publikationen und Millionen von Leser:innen weltweit. «Sie vermehrten sich wie Unkraut (=weed)» sagte Tom Forcade, UPS Direktor, Weed Dealer und späterer Gründer von High Times. Ein passender Vergleich: Das Underground Press Syndicate engagierte sich für die Legalisierung von Marihuana, und das Hanfblatt wurde zum Symbol dieser Legalisierungskampagne. Weed war so omnipräsent, dass es für die Behör-den ein Leichtes war gegen das UPS vorzugehen. Weed war zum Emblem von Aktivistengruppen gewor-den und verlieh dem UPS Impressum sein besonderes Flair. Weed schlich sich in die Textlücken auf den Seiten ein und füllte sie mit Spot Illustrationen, die Weed zum Thema hatten. Heads Together stellt eine Auswahl von diesen Spot Illustrationen zusammen, in der weniger bekannte Künstler:innen und auch No-Names ins Blickfeld rücken, von denen viele ihre Werke nie signiert haben. Aktivistisch-psychedelisches Zigarettenpapier und Handbücher zu Anbau und Verarbeitung von Hanf werden auch gezeigt. Letztere wurden von der CIA als Banngut behandelt. Da die USA wie viele andere Länder dabei sind Marihuana zu legalisieren, erscheint dieses aufrühreri-sche, staatsfeindliche Imageinzwischen eher komisch. Die Pot-Profiteure auf dem von Konzernen beherrschten Markt interessieren sich nicht für die Legalisie rungs-aktivist:innen von damals und ebensowenig wie für die Schwarzen und Latinos, die lange vor und nach den Hippies systematisch verfolgt wurden.

Hardcover. Condizione: new. Hardcover. The youth uprising, now simply called The Sixties, was fed by one of the greatest booms in publishing history. The Underground Press Syndicate (UPS) began as a loose confederation of five papers in 1966, and within a few years swelled to over 500 across the world, reaching millions of readers. They spread like weed, said the UPS director, weed-dealer, and eventual founder of High Times, Tom Forcade. The metaphor was apt: the UPS spurred the legalization movement, and weed became its totem.Weed was so pervasive it became a helpful means for government agencies to crack down on the UPS. Weed came to emblematize activist groups, and added a touch of flair to the mastheads of UPS titles. Weed permeated UPS pages, with gaps in text crammed with weed-inspired spot illustratios. Heads Together collects these drawings, shining a light on lesser-known names in the stoner-art canon, and many who werent names at all, as no signature was attached. It also compiles guides for growing weed from the period that were treated like contraband by the CIA. Activist-oriented, psychedelic rolling papers are showcased too.As pot now fast-tracks toward legalization in the U. S. and beyond, its once incendiary status is brought into odd relief. Pots profiteers of the corporate market today do not reflect those who fought for legalization, or the Black and Latino populations strategically criminalized for pot well before hippies were targeted, and long after.The art in this book speaks to a time when pot was smoked with optimism, as something potentially good for society and people, capable of activating profound transformation in the face of corrupt and powerful forces. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Hardback. Condizione: New. The youth uprising, now simply called "The Sixties," was fed by one of the greatest booms in publishing history. The Underground Press Syndicate (UPS) began as a loose confederation of five papers in 1966, and within a few years swelled to over 500 across the world, reaching millions of readers. They "spread like weed," said the UPS director, weed-dealer, and eventual founder of High Times, Tom Forcade. The metaphor was apt: the UPS spurred the legalization movement, and weed became its totem. Weed was so pervasive it became a helpful means for government agencies to crack down on the UPS. Weed came to emblematize activist groups, and added a touch of flair to the mastheads of UPS titles. Weed permeated UPS pages, with gaps in text crammed with weed-inspired "spot illustratios". Heads Together collects these drawings, shining a light on lesser-known names in the stoner-art canon, and many who weren't names at all, as no signature was attached. It also compiles guides for growing weed from the period that were treated like contraband by the CIA. Activist-oriented, psychedelic rolling papers are showcased too. As pot now fast-tracks toward legalization in the U. S. and beyond, its once incendiary status is brought into odd relief. Pot's profiteers of the corporate market today do not reflect those who fought for legalization, or the Black and Latino populations strategically criminalized for pot well before hippies were targeted, and long after. The art in this book speaks to a time when pot was smoked with optimism, as something potentially good for society and people, capable of activating profound transformation in the face of corrupt and powerful forces.

First edition first impression 2006. Cloth. Erasure mark to front end-page. Near fine in dustjacket. Ask to see our other Jacob Kramer titles. This is the first biography of an important artist difficult to 'pigeon hole' in the history of twentieth-century British art. A Jewish immigrant, Kramer was a contemporary of Mark Gertler, David Bomberg, William Roberts and C. R. W. Nevinson, but was not interested in joining artist groups. Yet, he brought a robust energy, largeness and simplicity of design to the English art scene. As Frances Spalding has commented, there is a quality in his art that remains defiantly Eastern European. Despite his Slade training and friendships, Kramer lived his life in Leeds, his best work done in the post-World War I years. There, he became a close friend of critic Herbert Read, and for years was a pivotal figure in the Leeds cultural scene. Kramer's artistic reputation rests largely on his early portraiture, especially of Jewish subjects - tense, haunting images, strong and compelling. He is represented in many public and private collections, notably Tate Britain, National Portrait Gallery, Leeds City Art Gallery and the University of Leeds. There are some strong self-portraits, and Epstein sculpted Kramer's head in bronze. This is the only book available on this important 20th-century artist. It also has an Anglo-Jewish interest, and covers the associated exhibition at Leeds City Art Gallery September-November 2006, and others at commercial London galleries.