<p/><br></br><p><b> Book Synopsis </b></p></br></br><p><strong>How one small, no-budget club became a crucible of East Village creativity</strong></p><p>New York's East Village was alive with artistic activity in the 1970s and '80s, fueled by low rents, resistance to the Reagan presidency and the desire to experiment with new modes of art, performance, fashion, music, and exhibition. Club 57, located in the basement of a Polish church at 57 St. Marks Place, began as a no-budget venue for music and film exhibitions and quickly became a center of the neighborhood's constellation of countercultural venues, with artists such as Keith Haring, Ann Magnuson, Klaus Nomi, Tseng Kwong Chi, John Sex, Fab 5 Freddy, John "Lypsinka" Eppperson, and Lisa Baumgardner. Fabled but not widely known until now, Club 57 is said to have influenced virtually every club that came in its wake. <p/>Published to accompany the first major exhibition to examine this scene-changing alternative space in full, <i>Club 57: Film, Performance, and Art in the East Village, 1978-1983</i> features rarely seen artwork, film stills, photographs, posters, flyers, and zines to create a uniquely detailed portrait of unbridled creativity before the dawn of the digital age.</p><p/><br></br><p><b> Review Quotes </b></p></br></br><br>Opened in 1978, it quickly became a center for all manner of creative experimentation: photography, video, zines, performance, music, and theater, and more than a few important artists emerged from its damp depths: Keith Haring, who used to perform from inside a fake TV set; the painter Kenny Scharf; the team of Marc Shaiman and Scott Wittman, who would go on to write the music and lyrics for Hairspray.--Lynn Yaeger "Vogue"<br><br>The book is a phenomenal achievement in publishing, equal parts art and cultural history.--Sara Rosen "Crave"<br><br>The cult club that transformed New York's art world from 1978 to 1983.--Sara Rosen "Huck"<br>
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