| | BOOK FORMAT Boxed, pbk, 10 vols, 5.5 x 8.5 in. / 320 pgs / 142 color / 24 bw. PUBLISHING STATUS Pub Date 11/21/2017 Out of stock indefinitely DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2017 p. 67 PRODUCT DETAILS ISBN 9780990689690 TRADE List Price: $40.00 CAD $54.00 AVAILABILITY Not available | TERRITORY NA ONLY | | THE FALL 2024 ARTBOOK | D.A.P. CATALOG | Preview our FALL 2024 catalog, featuring more than 500 new books on art, photography, design, architecture, film, music and visual culture.
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|   |   | Tuli Kupferberg: Yeah
This volume collects all ten issues of the classic 1960s zine Yeah, edited by Fugs pioneer and poet Tuli Kupferberg and his wife Sylvia Topp, as facsimile editions. Originally published by Kupferberg and Topp’s Birth Press between 1961 and1965, the magazine was, according to Kupferberg, “a satyric excursion; a sardonic review; a sarcastic epitome; a chronical of the last days,” and throughout its pages he acts as both editor and artist, threading the needle of leftist politics with the sharp wit for which he became known as one of the founders of the counterculture rock heroes The Fugs.
The magazine began under the shadow of the Cold War, with Kupferberg and fellow poets contributing poetry, drawings and collages that protested the social problems of the time: nuclear war, white supremacy, the Cold War and the Vietnam War, among others. Around issue seven, the magazine shifted toward an aesthetic that most closely resembles the cut-and-paste zine style of the ‘70s and ‘80s.
In these issues, Kupferberg collages articles, images and advertisements in book-length meditations that bite and snap at the American dream with the artist’s trademark sarcasm. The magazine ended with the infamous “Kill for Peace” issue, which lampooned American patriotism on the eve of America’s escalated involvement in Vietnam.
PRAISE AND REVIEWSThe Paris Review Alex Zafiris Yeah! presents something inherently valuable and historical ... it’s a personal documentary of a vast network of friends and collaborators who would not, or could not, accept the stifling values of the 1950s. Artforum J. Hoberman Something akin to the production of an illuminated manuscript of Torah scroll. |
| | STATUS: Out of stock indefinitely. | |
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FORMAT: Boxed, pbk, 10 vols, 5.5 x 8.5 in. / 320 pgs / 142 color / 24 b&w. LIST PRICE: U.S. $40.00 LIST PRICE: CANADA $54 ISBN: 9780990689690 PUBLISHER: Primary Information AVAILABLE: 11/21/2017 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Out of stock indefinitely AVAILABILITY: Not available TERRITORY: NA ONLY | D.A.P. CATALOG: SPRING 2017 Page 67 | PRESS INQUIRIES
Tel: (212) 627-1999 ext 217 Fax: (212) 627-9484 Email Press Inquiries: publicity@dapinc.com | TRADE RESALE ORDERS
D.A.P. | DISTRIBUTED ART PUBLISHERS Tel: (212) 627-1999 Fax: (212) 627-9484 Customer Service: (800) 338-2665 Email Trade Sales: orders@dapinc.com |
| Tuli Kupferberg: Yeah Published by Primary Information. This volume collects all ten issues of the classic 1960s zine Yeah, edited by Fugs pioneer and poet Tuli Kupferberg and his wife Sylvia Topp, as facsimile editions. Originally published by Kupferberg and Topp’s Birth Press between 1961 and1965, the magazine was, according to Kupferberg, “a satyric excursion; a sardonic review; a sarcastic epitome; a chronical of the last days,” and throughout its pages he acts as both editor and artist, threading the needle of leftist politics with the sharp wit for which he became known as one of the founders of the counterculture rock heroes The Fugs.
The magazine began under the shadow of the Cold War, with Kupferberg and fellow poets contributing poetry, drawings and collages that protested the social problems of the time: nuclear war, white supremacy, the Cold War and the Vietnam War, among others. Around issue seven, the magazine shifted toward an aesthetic that most closely resembles the cut-and-paste zine style of the ‘70s and ‘80s.
In these issues, Kupferberg collages articles, images and advertisements in book-length meditations that bite and snap at the American dream with the artist’s trademark sarcasm. The magazine ended with the infamous “Kill for Peace” issue, which lampooned American patriotism on the eve of America’s escalated involvement in Vietnam.
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