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Word: posterities (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
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Usage:

...expected Inga to be a pure Swedish import in the manner of all those Essy Persson pictures I never saw, but it appears to have been actively produced by an American named Gross who has managed to stick a poster from one of his previous efforts, Teenage Mother, in a scene at a local Swedish train station. I imagine he wants to tell us that Teenage Mother has made it as far out of 42nd Street as Stockholm, but don't you believe...

Author: By Tim Hunter, | Title: Targets and Inga | 1/7/1969 | See Source »

...from being sated, however, is the Czechoslovaks' irrepressible penchant for thumbing their nose at their occupiers. In a week when officials were solemnly (and often no doubt unhappily) marking the 25th anniversary of the Soviet-Czechoslovak Friendship Treaty, bookstores reported a heavy demand for a satirical poster: under a heading taken from a popular Christmas carol, "We bring you news [from Bethlehem]," five angelic boy carolers are pictured holding newspapers-each the party organ of an invading Warsaw Pact country...

Author: /time Magazine | Title: World: THEY MIGHT AS WELL BE GHOSTS | 12/20/1968 | See Source »

Besides using words as images, artists often use them with images--poster art is a prime example of such lingual-visual communication because its declared purpose is to communicate...

Author: By Deborah R. Warhoff, | Title: McClelland | 12/13/1968 | See Source »

...familiar McClellandisms (witty visual and literary interjections) enrich this poster. Plump black letters which form a compositionally important triangle read "Hundreds of boys across the sea: everything for democracy." The Boggie--an all-line quasi-doggie--stops at this poster before moving on to McClelland's Bayeux Tavestry, a facetious tapestry he designed for the Lampoon...

Author: By Deborah R. Warhoff, | Title: McClelland | 12/13/1968 | See Source »

...POSTER done last year for A Flea In Her Ear McClelland's art articulately advertises that the play was gay and bawdy and lively. His fuchsia and orange design, which includes an upside-down Art Nouveau lady with the usual flowing tresses, also proves his ability to organize a graphically coherent page. Highly original title letters with lacy curlings serifs and a plump curved "Georges Feydeau" add more Art Nouveau-type curvilinears appropriate to the late 19th century French farce...

Author: By Deborah R. Warhoff, | Title: McClelland | 12/13/1968 | See Source »

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