Print Ain’t Dead Yet (Continued)

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What happens if you cross the paper-technology of Esopus withthe typographic quirkiness of the now defunct Nest? The offspring might be the bi-annual Vintage MagazineMagazine. Inspired by Fleur Cowles’ Flair (1950-51), thesecond issue of Vintage (out now) is an eclectic mix of graphic,printing and written elements. The cover is embossed (letterpress style)with an open spine bound with a ribbon and the interior is filled withan array of special paper effects (pop-ups, booklets, and even an airsickness bag containing a booklet devoted to shopping bags).

The creation of editor and publisher Ivy Baer Sherman,the limited-run second issue, devoted to the “historic impact of art,music, fashion and food,” “riffs” on an ode by Gary Giddens to themanual typewriter. The cover “celebrates the tossed-away drafts ofpre-digital writing by opening up to a poem printed on a piece ofhand-crumpled paper.”

Typographically awkward with its share of way too many clunky and legibly-challenged layouts, Vintagenonetheless is curiously engaging in terms of its tactility. For me itrepresents the end-of-print era magazine, where spectacle is the meansto trigger interest in the text. I was particularly interested in KateWinick’s article on New York’s storied Carlyle Hotel, and the unusualarticle on Laurent Grimod de la Reyniere (1758-1837), the first “publicfood critic.” While the magazine doesn’t hold together as a totalentity, the individual parts have a certain flair.

Vintage is $20 per issue, and worth collecting, not just to read and view, but as an example of this “Ain’t Dead Yet” period.

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