"Ten exponents of contemporary art are the protagonists of the exhibition 'Senzamargine. Passages in Italian Art at the Turn of the Millennium,' an original panorama of the country's artistic geography between the twentieth and twenty-first century, and one that sets out to reflect its multiplicity and differences. Through the essays of an international group of critics and scholars, this volume offers an exhaustive introduction to the work of the ten artists, offering new interpretations and points for reflection on which to base a rewriting of the canon of the art of the last few decades. Against the background of the need for a new account of the Italian experience, one that also looks beyond the nation's borders and is able to draw attention to the coexistence within it of individual traditions, lines, and vectors that cannot be traced back to a common root or 'identity.' A pluralistic trait that constitutes not just one of the most significant aspects of Italian artistic production but also the vital contribution that it is able to make to the deterritorialized scenario of contemporary culture, considered in all its hyperbolic global simultaneity"--Page 4 of cover.

The first edition of this dictionary, compiled by F.J.M. Wijnekus and published in 1967, was the result of years of systematic collection and preparation of thousands of terms and expressions which were until then not to be found in any other dictionary. The material was correlated for use in his daily work and, as the reputation of his private collection spread, there was an increasing demand for access to these findings. Until 1967 there was no comprehensive multilingual dictionary on the subject; former publications were incomplete and out of date and lacked clear definition - often leading to disastrous misunderstandings. Furthermore, the subject of printing, paper and ink technology had never been dealt with, in dictionary form, in relation to other aspects of the graphic industry.This new work, prepared by F.J.M. Wijnekus and his son, has been considerably up-dated. Much time has been devoted to checking the material against the most reliable and authoritative sources. The usefulness of the work has been further enhanced by the addition of Spanish and Italian to the original languages of English, French and German.The first edition was received with much enthusiastic praise and this new dictionary will undoubtedly continue to be an invaluable tool for all those working with the printed word in the widest sense. It is a reference work which should be in the hands of all those in any way connected with the printing industry, paper manufacturers, ink manufacturers, printers, bookbinders, publishers, lithographers, lay-out men and graphical research institutes.

The first overview of the unique encounter between artists and the prominent Marxist current Workerism, also known as Operaismo During the 1960s and 1970s, Workerism and Autonomia were prominent Marxist currents. However, it is rarely acknowledged that these movements inspired many visual artists such as the members of Archizoom, Gordon Matta-Clark and Gianfranco Baruchello. This book focuses on the aesthetic and cultural discourse developed by three generations of militants (including Mario Tronti, Antonio Negri, Bifo and Silvia Federici), and how it was appropriated by artists, architects, graphic designers and architectural historians such as Manfredo Tafuri. Images of Classsignposts key moments of this dialogue, ranging from the drawings published on classe operaia to Potere Operaio’s exhibition in Paris, the Metropolitan Indians’ zines, a feminist art collective who adhered to the Wages for Housework Campaign, and the N group’s experiments with Gestalt theory. Featuring more than 140 images of artworks, many published here for the first time, this volume provides an original perspective on post-war Italian culture and new insights into some of the most influential Marxist movements of the twentieth and twenty-first centuries worldwide.