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In 1973, the group established a screen printing studio in a firewood cellar in Benczur Street, whose activity, aside from creating series by studio members, also included the reproduction and distribution of works by other artists (Max Bill, Lajos Kassak, Nicolas Schoffer and Victor Vasarely, among others).
As part of its program, the studio also engaged in research on the aesthetic quality of industrial materials and the critical examination of visual sign systems used in art - the latter of which closely coincided with Imre Bak's semiotic research in folk art, conducted in the second half of the '70s. Imre Bak's early screen prints (which were often one-offs or reproduced in very small numbers) also bear the marks of this process - in terms of painterly quality, they barely differ from his tempera paintings.
Initially, Bak was more interested in experimentation with the technique. From the late '70s onward, however, the focus of his activity shifted more toward varying his motifs, both in terms of colour and composition.