Description: The Collective for Living Cinema [1986 – 1987] M&Co. /Tibor Kalman Graphic Design Archive Announcements, Invitations, Posters for Five Events: Something Wild (Jonathan Demme, 1986), Matewan (John Sayles, 1987), and Radio Days (Woody Allen, 1987), etc. Offered here is an archive of original material designed by Tibor Kalman and M&Co. for The Collective for Living Cinema, the avant-garde cinema outpost located on White Street in Lower Manhattan, 1973 – 1993. Includes promotional mailed posters and ephemera for five events, including benefit shows and premieres for Something Wild (Jonathan Demme, 1986), Matewan (John Sayles, 1987), and Radio Days (Woody Allen, 1987). Moving Party [M&Co.] Tibor Kalman: Celebrate Our New Home at 41 White Street . . . Invitation. [New York: Collective for Living Cinema, 1986]. Offset lithography. 17 x 22” (43 x 55.5 cm) 16 panel invitation/poster printed recto and verso machine folded down to 8.55 x 5.5”(21.5 x 14 cm) as issued/mailed. Hand addressed to original recipient with 1986 stamp cancellation. A very good copy. “Held vertically, the upper half of the adjacent panel shows a square-formatted photographic view of audience members in black and white with pink faces. The group appears to be watching a performance, not seen by the viewer. The Board of Directors is imprinted directly underneath, followed, after a space, by and/Friends/ of the/ Collective for Living Cinema. Adjacent to these two panels and in reverse position is a double-panelled horizontal view, centered, in brown and pink tones, of a cake, apparently chocolate and with a scored surface, its rim showing sixteen lighted candles. Three stemmed glasses appear behind, partly obscuring a plate and a pair of hands. To the left of the photograph, centered, is invite you and to the right, to celebrate, both in pink italics. Adjacent to these four panels, and again reversed, is a four-panelled photographic view, centered, of the Statue of Liberty in profile, overlooking the water; the lower Manhattan skyline is in the background.” — The Smithsonian Institution Something Wild [M&Co.] Tibor Kalman: A Special Presentation of Something Wild . . . Invitation. [New York: Collective for Living Cinema, 1986]. Offset lithography. 8.5 x 22” (21.5 x 55.6 cm) 16 panel invitation/poster printed recto and verso machine folded down to 4.25 x 5.5”(10.8 x 14 cm) as issued. Matching RSVP card. Housed in Collective mailing envelope with original recipient mailing label and illegible stamp cancellation. Lightly handled, but a fine set. Sixteen-panel invitation folded down ‘to A Special Presentation of Something Wild a new film by Jonathan Demme to benefit the Collective for Living Cinema’ designed by Tibor Kalman and M&Co. with a matching RSVP card in Collective envelope branded with the M&Co logotype, 1986. Radio Days [M&Co.] Tibor Kalman: A Special Presentation of Radio Days . . . Invitation. [New York: Collective for Living Cinema, 1986]. Offset lithography. 5.75 x 4” (14.6 x 10.16 cm) set of six coarse halftone postcards matched with six printed vellum sheets communicating event and ticket specifics. Housed in unmailed business reply envelope. A nearly fine set. Elaborate 12-piece invitation “to a special presentation of Radio Days a new film by Woody Allen” to benefit the Collective for Living Cinema,” with the final vellum sheet serving as an RSVP and ticket order form. Matewan [M&Co.] Tibor Kalman, Tim Horn: Matewan American Premiere Invitation. [New York: Collective for Living Cinema, 1987]. Offset lithography. 7 x 24.875” (17.7 x 63 cm) 16 panel invitation/poster printed recto and verso machine folded down to 3.5 x 6.25”(9 x 16 cm) as issued. Expected trivial wear to heavily inked folds, but a nearly fine copy. Sixteen-panel invitation folded into eighths “to the American premiere of [MATEWAN] a new film by John Sayles to benefit the Collective for Living Cinema” designed by Tibor Kalman and M&Co. Kalman and co-designer Tim Horn tried to make the Matewan logo look ‘undesigned in its weight, proportions and letter spacing’. They wanted it to ‘look like it was drawn in 1911 by someone without skill or knowledge but with an enormous desire to do it well.’ [Tibor’s Type Tips, Baseline 11, 1988] Membership Drive [M&Co.] Tibor Kalman, Emily Breer: Your Insurance Policy For Protection Against Boring Films . . . Invitation. [New York: Collective for Living Cinema, 1986]. Offset lithography. 4.25 x 14” (11.4 x 35.5 cm) six panel brochure printed recto and verso machine folded down to 4.25 x 4.75”(10.8 x 12 cm) as issued. With campaign reply card. A lightly handled, nearly fine set. The Collective for Living Cinema was an outpost of avant-garde cinema located on White Street in Lower Manhattan in the United States of America. It regularly presented work by filmmakers such as Ken Jacobs, Johan van der Keuken, Yvonne Rainer, Christine Vachon, Dziga Vertov and many others who created films that were outside of the commercial mainstream in the United States. It also published a number of scholarly journals on film. Many of the founders studied film at Binghamton University together, where they developed a particular interest in the avant-garde. In 1973 a group of film students from the Binghamton University Cinema Department looking to create a contemporary and fertile context for their work found The Collective for Living Cinema, an artist-run cooperative that would serve both as an exhibition venue and a center for production and discourse. Above the first program note was a miniature manifesto stating their intention to “overcome the economic, social and political burdens of an art in chains.” Lasting for 19 years, The Collective came to embody the under-defined moment between the canonized generation of “the essential cinema” and the transfiguration of film as “new media” embraced by the institutional hierarchy of the art world and subject to the theoretical, critical and economic tidal forces therein. Run as a multi-disciplinary venue, The Collective continuously engaged in a recovery of the recent past, championing the marginal and positing alternative film histories. The screening room was seen as a workshop in which this culture became immersed in its own brand of cinematic delirium. Annette Michelson pointed out that The Collective "attempted to break down distinctions between industrial film and avant garde film, between films that form part of a classical canon and those which are on the margins or periphery of canonical taste." By "maintaining and constantly questioning an exploratory attitude rather than by embalming predigested classical canon", Michelson stated, The Collective emerged in the 1980s as the "liveliest" New York film venue of its time. In the late 1980s, the Collective was forced to move from its 52 White Street location (due to legal and financial issues related to the building's certificate of occupancy and the NYC building codes for motion picture theaters) to a new space across the street. With rising costs and the gentrification of TriBeCa, and reductions in funding from the then-beleaguered National Endowment for the Arts and the New York State Council on the Arts, the Collective closed its doors in 1993. The last home of the Collective, at 41 White Street, was for some time The Flea Theater before they moved to their current location. Original founders included Ken Ross, Philip Weisman, Lushe Sacker, Mark Graff, Amy Halpern, Renée Shafransky. Many people affiliated with the Collective for Living Cinema were or have gone on to be quite influential in media, such the late Alf Bold, the former programmer of the Arsenal Kino in Berlin, Judith Shulevitz, the columnist for The New York Times and Slate, and John Sloss, the attorney and film producer who has produced more than 40 films, including Far From Heaven, Before Sunset, Personal Velocity, and The Fog of War. Others are noted artists such as the filmmaker Lizzie Borden, who very appropriately taught film editing at the Collective. [wikipedia] From Matthew Haber’s 1999 Obituary notice: “ [Tibor] Kalman was best known for the groundbreaking work he created with his New York design firm, M&Co, and his brief yet influential editorship of Colors magazine. Throughout his 30-year career, Kalman brought his restless intellectual curiosity and subversive wit to everything he worked on -- from album covers for the Talking Heads to the redevelopment of Times Square. Kalman incorporated visual elements other designers had never associated with successful design, and used his work to promote his radical politics. The influence of his experiments in typography and images can be seen everywhere, from music videos to the design of magazines such as Wired and Ray Gun.” ”... Born in Budapest in 1949, Kalman and his parents were forced to flee the Soviet invasion in 1956. They settled in Poughkeepsie, N.Y., when he was 8. Kalman was ostracized in elementary school until he learned to speak English. “ ”Kalman parlayed his childhood isolation into some of his most successful design innovations. “He was keenly passionate about things of the American vernacular because he wasn’t American,” Chee Pearlman, editor of I.D. magazine, remarked shortly after Kalman’s funeral. “In that sense, he taught the whole profession to look at things that they may not have seen as closely or taken as seriously.” Please visit my Ebay store for an excellent and ever-changing selection of rare and out-of-print design books and periodicals covering all aspects of 20th-century visual culture. I offer shipping discounts for multiple purchases. Please contact me for details. Payment due within 3 days of purchase.
Price: 749.99 USD
Location: Shreveport, Louisiana
End Time: 2024-02-07T23:13:15.000Z
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