UP FOR SALE: AVANT GARDE 1 ? 14 by Ralph Ginzberg and Herb Lubalin Complete Set of the Legendary Counter-Cultural Journal: 1968 - 1971 Richard Lindner, Muhammad Ali, The Fugs, Marilyn Monroe, Roald Dahl, Paul Krassner, Andy Warhol's Girls, Norman Mailer, Kenneth Rexroth, George Tooker, Leroi Jones, Lee Kraft, Arthur Miller, Tom Wesselman, Dewayne Dalrymple, Dick Gregory, Art Kane, Phil Ochs, Ralph M. Hattersley, Jr., Paul Wunderlich, Jean Genet, Guy Bourdin, Picasso's Erotic Gravures, D. H. Lawrence, Hundertwasser, John Lennon, Yoko Ono, W. H Auden, Alwyn Scott Turner, Mary Ellen Mark, Leonard Freed, Ho Chi Minh, the Hog Farm, Pieter Brattinga, Ed Van Der Elsken, Seymour Krim and more Ralph Ginzberg [Editor], Herb Lubalin [Art Director/Designer]: AVANT GARDE Nos. 1 ? 14 [all published]. Farmingdale, NY: Avant Garde Media Inc., January 1968 ? Summer 1971. First editions. Square quartos. A complete set of 14 original perfect-bound magazines. Multiple paper stocks, printing techniques and elaborate graphic design and typography throughout. Set with uniform mild wear, with all conditions generally very good. [14] 11 x 11 perfect-bound magazine with approximately 60 pages of premium editorial and self-referential advertising content, assembled by editor Ginzberg and designed by Lubalin. If you enjoy the freedom of the Internet, thank Ralph Ginzberg and his tireless quest to express his First Amendment rights and find out where exactly where the cutting edge of American Sexuality was located during the 1960s. AVANT GARDE was first published in 1968 and was immediately as smart and stylish as it was confrontational, operating with the agenda of making sex political and politics sexy. AVANT GARDE was stunningly designed by the legendary Herb Lubalin, who created the seminal '60s type face for the logo. (According to Tony DiSpigna, who was one of Lubalin's partners, the much-used and imitated Avant Garde has become "one of the most abused typefaces in the world.") The Font was originally intended primarily for use in logos: the first version consisted solely of 26 capital letters. It was inspired by Ginzburg and his wife, designed by Lubalin, and realized by Lubalin's assistants and Tom Carnese, one of Lubalin's partners. It is characterized by geometrically perfect round strokes; short, straight lines; and an extremely large number of ligatures and negative kerning. The International Typefont Corporation (ITC ? of which Lubalin was a founder) released a full version in 1970. AVANT GARDE ceased publication in 1971 when Ginzburg was finally sent to prison. AVANT GARDE No. 1: January 1968 Contents Cover painting "Ice" by Richard Lindner What Makes a Nixon Run? by Warren Boroson Galahad's Pad by Julio Mitchel The Hate Mail of Captain Levy Let's Retire Our Most Overworked Four-Letter Word by Professor L. Eric Hotaling Richard Lindner: The Rubens of the Love Generation: 8 pages of color reproductions The Slaughter of Civilians for Sport by U.S. Pilots by First Lieutenant Thomas F. Loflin III An Obscenity Bust In--Would You Believe?--India by Malay Roy Choudhury Drawings by Muhammad Ali: 6 black and white line drawings Believe in God: You Have Teeth! by S.H. Margalith The Fugs: Nextness is Godlier Thank Cleanliness by Martin Cohen Metamorphic Jewelry: Last Word in Found-Object Art: Photographs by Ryszard Horowitz: 10 illustrations of jewelry by sculptress Chrystya Olenska God/Love Poem by Lenore Kandel AVANT GARDE No. 2: March 1968 Contents Cover photograph of Marilyn Monroe by Bert Stern The Marilyn Monroe Trip: A Portfolio of Serigraphs by Bert Stern: 11 psychedelic silkscreens Walter Bowart: Mild-Mannered Editor by Tom Hyman Prof. Einstein to Dr. Freud: "Can We Eliminate War?" The Passion of Norman F. Dacey by Norman F. Dacey Orphan of the Flood by Mitchell Wojtycki The Erotic Tomb Sculptures of Madagascar: Photographs by Sarajane Archdeacon Avant-Garde's "No More War" Poster Contest Peace Movement by Gary Youree Picasso: The Artist as an Eternally Young Man by brian Fitzherbert The Visitor by Roald Dahl AVANT GARDE No. 3: May 1968 Contents Cover: redesign of the dollar bill by Tom Carnese, Gerry Gersten, and Herb Lubalin Revaluation of the Dollar: 19 Artists Design a New One-Dollar Bill: includes work by Jerome Snyder, Seymour Chwast, James Spanfeller, John Alcorn, Lionel Kalish, Edward Gorey, Ernie Smith, Etienne Delessert, Bob Blechman, Roger Hane, Francois Dallegret, Isadore Seltzer, Bob Sullivan, Eugene Karlin, and Tom Allen Paul Krassner: Apostle of the Put-On by Fred Powledge Andy's Girls: Photographs by Lee Kraft of Viva, Katrina, Joy Nicholson, National Velvet, and Ultra Violet "Was It Good For You Too?" by Dan Greenburg The Future of Criminal Law by Karl Menninger, M.D. The First Church of Love The Taming of Denise Gondelman by Norman Mailer Astrological Automobiles: Drawings by Francois Dallegret Prolegomena to a Study of the Erotic Film by Frank A. Hoffmann Mr. and Mrs. Brown Walking: Photographs by Julio Mitchel The Prison Poems of Ho Chi Minh: Introduction and Translation by Kenneth Rexroth Avant-Garde's "No More War!" Poster Contest AVANT GARDE No. 4: September 1968 Contents Cover painting by George Tooker Front Lines Letters to the Editor Amnesty Now! Playhouse of the Ridiculous: Photographs by Eliot Eliosofon WBAI: Switched-On Radio by Fred Powledge Poetry by Computer Leroi Jones: Poet Laureate of the Black Revolt by Peter Schjeldahl The Strange World of George Tooker: 9 pages of color reproductions Voodoo Lives: Photographs by Lee Kraft Please Don't Kill Anything by Arthur Miller The Battle Hymn of Jeffrey Weinper by Pfc. Jeffrey Weinper I Remember Superman by Francesca Milano '69: A Great year Any Way You Look At It: Photographs by Horn/Griner AVANT GARDE No. 5: November 1968 Contents Cover "Seascape #17" by Tom Wesselman Front Lines Letters to the Editor "No More War!" Posters: includes work by Lou Myers, Ron and Karen Bowen, James Grashow, Billy Apple and Robert Coburn, Harvey Stewart and Lawrence Corby, Daniel Schwartz, Hirokatsu Hijikata, Keiichi Tanaami, and Hans Butler In the Whitehouse Doghouse by Ralph Schoenstein On the Psychology of World Order by Jerome D. Frank, M.D. Tom Wesselman: Pleasure Painter: 4 pages of color reproductions The New Sears Catalogue: A Book Review by L. Eric Hotaling Son of "Hair": Photographs by Roger Denim Ron Cobb: Daumier of the New Left The Honorable Discharge of Pvt. Sam by Gary Youree Living High on the Hog Farm: Photographs by Julian Wasser Brain Damage: Sorcery as Art: Photographs by Ira Cohen and Bill Devore AVANT GARDE No. 6: January 1969 Contents Cover photograph "In Full Bloom" by Dewayne Dalrymple Front Lines Letters to the Editor And Now: The Evolution Revolution by R. Michael Davidson Melle's Melees: 10 pages of color reproductions from the Dutch painter Breaking Out: A Black Manifesto by Dick Gregory, Photograph by Art Kane Tomorrow's Classics by Leslie M. Pockell: Fascinating list of books destined to become classicsasome did and some didn't! Phil Ochs: Kipling of the New Left by Peter Schjeldahl The President's Golden Zipper by Fred Rayfield The Sexual Revolution: A Running Commentary: Two Photographs by Ralph M. Hattersley, Jr. Sylvan Hart is Alive and Well in the Wilderness by J. Randal My Father-To-Be-Ness and You by Robert Joe Stout The Last Act by Roald Dahl Gas Over Madison Avenue by Gordon Carlson AVANT GARDE No. 7: March 1969 Contents The Spirit Of 1976. Photograph By Carl Fischer Front Lines Toward A New Spirit Of '76 Compiled By Leslie M. Pockell The Decline And Fall Of The Female Breast By Warren Boronson Appeal Of Folk Singing: A Landmark Opinion By Justice William O. Douglas The Black Power Failure By James R. Scofield Paul Wunderlich's Painted Women Thoughts Of Chairman Jerry By Peter Schjeldahl The Satyricon Of Petronius: A New Take By Edgar Bunning Sculpture A La Rorschach. Photographs By William Watkins Pennebaker: Truth At 24 Frames Per Second By Hal J. Seldes O Precious Balls, Farewell! By Jean Genet The Demise of Death By R. Michael Davidson Pussy Galore! Cat Drawings Of Guy Bourdin AVANT GARDE No. 8: September 1969 Contents Special Issue devoted to Picasso's Erotic Gravures with 46 reproductions of the artist's work: "Avant-Garde is proud to have been chosen as the medium through which these engravings are to be shown to the world." All of the works were created between March 16 and October 5, 1968. Simultaneous exhibitions of the engravings occurred at the Galerie Louise Leiris in Paris and at the Art Institute of Chicago. Exhibits were also scheduled for Toronto, Berlin, and Zurich. Introduction The Artist and His Model The Circus The Brothel The Voyeur The Muses The Orgy AVANT GARDE No. 9: November 1969 Contents Cover illustration "Samson and the Harlot in Gaza" by Ernst Fuchs Letters to the Editor America in Distress by Nobel Laureate George Wald Fuch's Femme Fatales In Defense of Adolescents by Warren Boroson Deserted Island: Photographs by Wilton S. Tifft: haunting photos of a deserted Ellis Island Convention: A Play by Dan Greenburg John Yoko in Concert: At Home With the Lennons by Irma Kurtz She Stoops to Conquer: Photographs by Gunter Rambow Is the Red Cross Pro-Nazi? by Warren Boroson Beasts in Love: Three Poems by D.H. Lawrence Jews, Catholics, and Protestants Compared by Warner Brown Ultra-Violet in Infra-Red by Eliot Elisofon AVANT GARDE No. 10: January 1970 Contents Cover photo by Thomas Weir Letters to the Editor The Dr. Who Called the A.M.A. the "American Murder Assn." by Warner Brown The Most Hated Man in America compiled by Leslie M. Pockell: lumiaries including John Cheever, Melvin Belli, Herbie Mann, Andy Warhol, Reinhold Niebuhr, Kurt Vonnegut, George Gallup and Noam Chomsky among others say who they hate The Virgin Forest: Photographs by Thomas Weir The Handwriting on the Wall by Warren Boronson Democracy by Telephone by Vincent Campbell Israel Captured: Photographs compiled by Cornell Capa: includes work by Leonard Freed, Izis, Paul Schutzer, Moshe Lapidot, Cornell Capa, David Seymour, Robert Capa, and David Pearlmutter Hundertwasser: Postcards from Pandemonimum: 4 pages of color reproductions The Bigger They Are, The Harder I Fall by Max Hess AVANT GARDE No. 11: March 1970 Contents Cover lithographic image by John Lennon Letters to the Editor Wedded Bliss: A Portfolio Of Lithographs by John Lennon The Sins Of Their Fathers Compiled by Diane E. Bent The Case For Extending The School Year by Warren Boroson Gustav Klimt: Lost And Found Coming: Molecular Mastery Of The Brain by David Rorvick A Day For A Lay by W. H Auden The World's Most Powerful Critic by Ted Townsend Oragenitalism: A Book Review by Anatole Lerer The Silent Majority. Photographs by Julio Mitchel Wasted Yen by Ralph Schoenstein Thalidomide, Cyclamates, And Now . . . Caffeine? by Warner Brown Behind The Lines by Jeanne Devries AVANT GARDE No. 12: May 1970 Contents Cover illustration by Jorgen Boberg Dial-A-Hawk: A Ringing New Form of Anti-War Protest Laid on Fire Island by Gary Youree The Mystery of Jorgen Boberg The Second Most Hated Johnson on America by Warren Boroson Bell's Belles: Photographs by Hugh Bell The Gang-Bang on the Underground Press Why "Hair" has Become a Four-Letter Word by Warner Brown Jack the Raper: Third in a Series Entitled "The Lust Battalion" Letters to the Editor AVANT GARDE No. 13: Spring 1971 Contents Portraits of the American People. A Monumental Portfolio of Photographs Photographs. Alwyn Scott Turner: 56 pages of full-page black and white photographs. AVANT GARDE No. 14: Summer 1971 Contents Cover illustration "Hommage a L'Ecole de Fontainebleau" by Lambert Wintersberger Letters to the Editor The Sexual Symbolism of the American Flag by Warner Brown High Time: Photographs by Mary Ellen Mark: 23 black and white photos of junkies on 7 pages. Mary Ellen Mark makes the most horrific subjects look elegiac. "The Machine I Hate the Most" compiled by Dorothy Bates: the opinion of luminaries such as David Frost, Clive Barnes, Saul Steinberg, Christopher Isherwood, Rod Sering, Allen Ginsberg, Isaac Bashevis Singer, Roy Lichtenstein and Al Capp among others Madness to his Method: Paintings by Dieter Schwertberger Strong Medicine by Warren Boroson Concerning the Maids of Brobdingnag by Lemuel Gulliver (as told to M.S. Winecoff) Way-Out Westbeth: Photographs by Leonard Freed On the Septuaquibquennial of Psychoanalysis by Frederick L. Boyle Belles-Lettres by Anna and Anthon Beeke, Peter Brattinga, Ed Van Der Elsken, and Geert Kooiman: a photo-alphabet composed of nude women Unwinding in London by Seymour Krim From the 1980 AIGA Medal Profile: "Coming to terms with Herb Lubalin's work takes you quickly to the heart of a very big subject: the theory of meaning and how meaning is communicated -- how an idea is moved, full and resonant, from one mind to another. Not many have been able to do that better than Lubalin. "Typography is the key. It is where you start with Lubalin and what you eventually come back to. However, "typography" is not a word Lubalin thought should be applied to his work. "What I do is not really typography, which I think of as an essentially mechanical means of putting characters down on a page. It's designing with letters. Aaron Burns called it, 'typographics,' and since you've got to put a name on things to make them memorable, 'typographics' is as good a name for what I do as any." "Lubalin was a brilliant, iconoclastic advertising art director -- in the 1940s with Reiss Advertising and then for twenty years with Sudler and Hennessey. Recipient of medal after medal, award after award, and in 1962 named Art Director of the Year by the National Society of Art Directors, he has also been a publication designer of great originality and distinction. He designed startling Eros in the early 60s, intellectually and visually astringent Fact in the mid-60s, lush and luscious Avant Garde late in the same decade, and founded U lc in 1973 and saw it flourish into the 80s. "But it is Lubalin and his typographics -- words, letters, pieces of letters, additions to letters, connections and combinations, and virtuoso manipulation of letters -- to which all must return. The "typographic impresario of our time," Dorfsman called him, a man who "profoundly influenced and changed our vision and perception of letter forms, words and language." "Lubalin at his best delivers the shock of meaning through his typography-based design. Avant Garde literally moves ahead. The Sarah Vaughn Sings poster does just that. Ice Capades skates. There is a child in Mother Child, and a family in Families. If words are a way of making meaning, then the shapes of their letters give voice, color, character and individuality to that meaning. "The shock of meaning, in Lubalin's artful hands, delivers delight, as well, delight that flows from sight and insight. "Lubalin," praises Dorfsman, "used his extraordinary talent and taste to transform words and meaning from a medium to an inextricable part of the message? and in so doing, raised typography from the level of craft to art." And it is in his paper U lc that a lot of threads in Lubalin's life and career get pulled together. It is publication dedicated to the joyful, riotous exploration of the complex relationships between words, letters, type and meaning -- an ebullient advertisement for himself as art director, editor, publisher and purveyor of the shock and delight of meaning through typography and design. "Right now," he said, "I have what every designer wants and few have the good fortune to achieve. I'm my own client. Nobody tells me what to do." And 170,000 subscribers which, with a conservative pass-along estimate, yields 400,000 readers, benefit. "Herb Lubalin's unique contribution to our times goes well beyond design in much the same way that his typographic innovations go beyond the twenty-six letters, ten numerals and the handful of punctuation marks that comprise our visual, literal vocabulary. Lubalin's imagination, sight and insight have erased boundaries and pushed back frontiers. "As an agency art director, he pushed beyond the established norm of copy-driven advertising and added a new dimension. As a publication designer, he pushed beyond the boundaries that constrained existing magazines -- both in form and content. In fact, some said he had pushed beyond the boundaries of "good taste," though in retrospect that work is more notable today for its graphic excellence than for its purported prurience. Lubalin helped push back the boundaries of the impact and perception of design -- from an ill-defined, narrowly recognized craft to a powerful communication medium that could put big, important ideas smack in the public eye. "And finally, he pushed back what were believed to be the boundaries of design for entire generations of designers who were to follow. For such a quiet, gentle person to have accomplished so much is testimony indeed to the power of ideas in the hands of a master. "[Copyright 1981 by AIGA] AS IS AS SHOWN ? 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