Utilizing found images from textbooks along with his own geometric patterns, Matthew Craven’s collages and illustrations seek to create a new handmade universe, juxtaposing imagery from different cultures and time periods to celebrate commonalities. Photographs of archaeological remains and the natural world are overlaid on colorful textiles drawn on the back of vintage movie posters, to create a hypnotic and mesmerizing vernacular of symbols and designs. Featuring an introduction by LACMA curator Leslie Jones, PRIMER is the first publication of Craven’s art and a reconfiguration of traditional historical narratives inspired by obsessive formations.
Anthology Editions uncovers and fashions cultural narratives as books, music collections, online experiences, and exhibitions. Stories of every caliber and color communicate and resonate within the new canon Anthology Editions seeks to establish.
The Hidden History of
In the heyday of B-movies, low-budget television and scrappy genre filmmaking, producers looking for a soundtrack reached for library music: LPs of stock recordings for any mood. Initially regarded as an inexpensive alternative to traditional film scores, library labels became treasure troves for record collectors, and much of the work became recognized as extraordinary. Unusual Sounds is a deep dive into this hidden musical universe from writer and filmmaker David Hollander. The book features histories, interviews, and extraordinary visuals from the field’s most celebrated creators, along with original art by Robert Beatty and a foreword by George A. Romero—whose use of library music in Night of the Living Dead changed film history.
In August of 1970, a 28-year-old Lou Reed quit the Velvet Underground, moved home to Long Island, New York, and embarked on a fascinating alternate creative path: poetry. Do Angels Need Haircuts? is an extraordinary snapshot of this turning point in Reed’s career. Gathering poems, photographs and ephemera from this era (including previously unreleased audio of the 1971 St. Mark’s Church reading), and featuring a new foreword by Anne Waldman and an afterword by Laurie Anderson, this book provides a window to a little-known chapter in the life of one of the most uncompromising voices in American popular culture.
Volume One & Volume Two
Artist Peter Coffin began his work with the iconic designs of LA’s Colby Poster Printing Company in 2008. Over the years, he solicited friends to contribute their dream concerts—invented lineups for impossible gigs—and combined them with the print shop’s famously eye-popping poster backgrounds, resulting in Imaginary Concerts: a stirring, two-volume celebration of music’s vast conceptual universe. Featuring 160 concert lineups from a roster of artists, authors and daydreamers including Yoko Ono, Larry Clark, Quasimoto, Genesis P-Orridge and dozens of others, Imaginary Concerts: Volumes One and Two transport the reader into an uncannily evocative, nostalgia-tinged and personally revealing realm of musical what-ifs.
The Library of Julio Santo Domingo
Julio Mario Santo Domingo was a collector and visionary who filled his homes and warehouses with the world’s greatest private collection related to the subjects of drugs, sex, magic, and rock and roll: a library of more than 50,000 items featuring works by Andy Warhol, Timothy Leary, Sigmund Freud, the Marquis de Sade, Charles Baudelaire, Allen Ginsberg, the Rolling Stones, Aleister Crowley, and many more. This extraordinary collection is vividly documented in the beautifully-designed Altered States: The Library of Julio Santo Domingo, an unprecedented insight into the effect of drugs on life, politics and popular culture that’s comprehensive and fantastical, informative and hallucinatory all at once.
A Dance with Fred Astaire covers the 94 years Jonas Mekas has spent weaving himself inextricably into the fabric of postwar culture, featuring a dizzying cast of cultural icons both underground and mainstream. Told in Mekas’ warm prose style and illustrated with rare personal materials, this is a revealing visual autobiography of a genuine culture hero.
The Psychedelic Worlds of
Paul Major has lived resolutely on the vanguard of musical culture for nearly a half-century; as a pioneering record collector turned eminent rock and roller, his influence is vast, far-reaching and woefully unsung—until now. Feel the Music traces Paul’s singular trajectory from his early days in the Midwest, through his years in the New York punk scene, and headlong into his trailblazing career as a connoisseur of the weirdest records of all time.
London Punk Eyewitness
When punk first broke in the UK in 1976, music journalist John Ingham was on hand to document the very heart of the scene. Spirit of 76 provides a previously unseen view of the beginning of the punk movement, with portraits of the Sex Pistols, The Clash, Subway Sect and The Damned at the very beginnings of their careers.
In Party In The Back, celebrated skateboarder Tino Razo has documented — and shredded — abandoned backyard swimming pools throughout Southern California. The resulting body of work, showcased here for the first time in Tino’s book, elevates itself beyond a bunch of thrill-seekers navigating the suburban landscape, juxtaposing renegade sessions by world class skateboarders with dramatic architectural photographs of a lost American dream. Party In The Back is a lyrical photo-eulogy for this disappearing pool culture, bathed in the golden Southern Californian light.
An enhanced edition of the Rizzoli publication, God Save Sex Pistols offers an unseen visual history of the incendiary punk band. Co-edited by noted writer Jon Savage and premiere Sex Pistols archivist Glenn Terry.
Flying Saucers Are Real! is a catalogue of the Jack Womack UFO library and a history of one of the 20th century's most pervasive subcultures. The collection presents an unknown wealth of images taken from mid-century flying saucer books and extensive text by author-collector Womack outlining the history of the UFO phenomenon and opining on the selections.
In Times Square
Artist Jane Dickson is a deep-rooted and central voice in New York City’s complex creative history. In the late 1970s and early ’80s, she was part of the movement joining the legacies of downtown art, punk rock, and hip hop through her involvement with the Colab art collective, the Fashion Moda gallery, and legendary exhibitions including the Real Estate Show and Times Square Show. In the midst of this groundbreaking work, Dickson lived, worked and raised two children in an apartment on 43rd Street and 8th Avenue at a time when the neighborhood was at its most infamous, crime-ridden, and spectacularly seedy. Through it all, Jane photographed, drew and painted extraordinary scenes of life in Times Square. These works, many of which are reproduced here for the first time, include candid documentary snapshots, roughly vibrant charcoal sketches, and paintings created on surfaces ranging from sandpaper to Brillo pads. Featuring a foreword by Chris Kraus, Jane Dickson in Times Square is a time machine back to a New York City that was truly wild: lawless, manic, sometimes squalid, sometimes magnificent.
Artist Joe Roberts has spent more than a decade honing a deeply unique and unapologetically hallucinogenic style of art. Through paintings, drawings and mixed-media works, Roberts navigates a world of cosmic imagery, pop cultural detritus, and shifting geometric forms, bringing to life both the creeping unease and the uncanny humor of the psychedelic experience. Collecting over 100 new and recent works along with an introduction by Hamilton Morris (Hamilton’s Pharmacopeia), We Ate the Acid is the latest product of Roberts’ visionary journeys and a testament to his expansive, singular imagination.