Buried deep under sand sits a library the size of a small city, owned by the eerily powerful Mr. Wish and protected by roving bands of toughs and lethal sentient vehicles. When a small but heavy interdimensional spider demands access to the vault, poor William Softkey, with assistance from the gravity-experimenter Gigglewindow sisters, is hired to deal with the problem. Rendered in the artist’s trademark stark linework—against a backdrop of paranoid techno-fantasy, strange emblematic beings, and woozy halftone patterns—William Softkey and the Purple Spider is acclaimed cartoonist CF’s second dreamy narrative published under the Anthology Editions banner.
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.
Under the Banner of Concern is a compilation of drawings and poetry from acclaimed artist and musician Tim Presley. Featuring art from Presley’s 2019 exhibition in Chicago and Los Angeles—Under the Banner of Concern—the black ink drawings merge abstracted and expressionistic brush and line work, the latter of which breaks down figures into simple forms. Characterized by Presley’s “every figure” symbology in their emptied out flat bodies and hollowed eye sockets, these figures are represented as both sexualized and mask-like. In addition to his exhibited drawings, the book will also feature previously unreleased artwork, as well as new poetry from Presley.
A Visual History
Born out of a union of club bands on the burgeoning Austin bohemian scene and a pronounced taste for hallucinogens, the 13th Floor Elevators were formed in late 1965 when lyricist Tommy Hall asked a local singer named Roky Erickson to join up with his new rock outfit. Four years, three official albums, and countless acid trips later, it was over: the Elevators’ pioneering first run ended in a dizzying jumble of professional mismanagement, internal arguments, drug busts, and forced psychiatric imprisonments. In their short existence, however, the group succeeded in blowing the lid off the budding musical underground, logging early salvos in the countercultural struggle against state authorities, and turning their deeply hallucinatory take on jug-band garage rock into a new American institution called psychedelic music. Writer Paul Drummond has gathered an unprecedented catalog of primary materials—including scores of previously-unseen band photographs, rare and iconic artwork of the era, items from family scrapbooks and personal diaries, new and archival interviews, dozens of contemporaneous press accounts, and no shortage of Austin Police Department records—to tell the complete and unvarnished story of a band which, until now, has been tragically underdocumented. Before the hippies, before the punks, there were the 13th Floor Elevators: an unlikely crew of outcast weirdo geniuses who changed culture.
More than any party, parade, team, or disaster, New Orleans is the people. The ones who persevere, survive, strengthen, and transform the city in all its unceasing vibrancy. For nearly a decade, photographer Akasha Rabut has documented this thriving culture. In Death Magick Abundance, her first book, she reveals the city’s spirit through the pink smoke of the Caramel Curves, the first all-female black motorcycle club; alongside the Southern Riderz, urban cowboys on horseback in the streets; and many others who represent the next generation of New Orleans. Seeking to interpret and preserve a sacred cultural heritage while redefining itself against a constantly shifting landscape, Death Magick Abundance is a conduit for the love and unending beauty of New Orleans and its people to flow to the rest of the world.
Dream Dance: The Art of Ed Emshwiller is a catalog released in conjunction with the artist’s first major monographic exhibition at Lightbox Film Center and the Rosenwald-Wolf Gallery in Philadelphia. With an immensely diverse body of creative work in film, video, and visual art, Ed Emshwiller is perhaps one of the most significant yet under-recognized artists of the latter half of the 20th century. Emshwiller’s career spanned abstract expressionist painting, commercial illustration, film, video and computer art, and collaborations with dancers, choreographers, and composers. Highlighting his visual and fine art background, this catalog includes early paintings, notes, film stills, sketches, ephemera, and many early science fiction cover paintings. Including artwork by Robert Beatty, Dream Dance is a full scale investigation of Emshwiller’s legacy, presenting his multidisciplinary oeuvre to a new generation of audiences.
Photographer Jonathan Higbee spent years painstakingly documenting fleeting juxtapositions on the streets of New York. These intersections of passers-by, street signs, billboards, and more take on new meaning and life through the lens of Higbee’s camera: as a dancer on a stage of trash, graffiti unfurling from a backpack, to even a giant casually walking the streets of the city. Each photograph captures the wit, joy, and surrealism of everyday life in a sometimes chaotic world. Featuring new photographs, as well as seminal photos from his initial series, Coincidences is Higbee’s self-professed love letter to New York and its moments of serendipity.
Illustrator, musician and self-described “comic stripper” Brian Blomerth has spent years combining classic underground art styles with his bitingly irreverent visual wit in zines, comics, and album covers. With Brian Blomerth’s Bicycle Day, the artist has produced his most ambitious work to date: a historical account of the events of April 19, 1943, when Swiss chemist Albert Hofmann ingested an experimental dose of a new compound known as lysergic acid diethylamide and embarked on the world’s first acid trip. Combining an extraordinary true story told in journalistic detail with the artist’s gritty, timelessly Technicolor comix style, Brian Blomerth’s Bicycle Day is a testament to mind expansion and a stunningly original visual history.
In 1968, Magnum photographer Dennis Stock took a five-week road trip along the California highways, documenting the height of the counterculture hippie scene. These black and white photos were compiled to create California Trip, originally published in 1970, and became an emblem of the free love movement that continued to inspire throughout the decades. In print for the first time since its 1970 publication, California Trip is a faithful reproduction of Stock’s timeless work.
Crude Intentions is a collection of true stories of women’s experiences with sexual harassment and assault, illustrated by over thirty talented female artists from around the world. First-person experiences are interwoven with secondary accounts that are filtered and interpreted through the eyes of another woman to emphasize the collective female experience. This zine features work from illustrators including Tara Booth, Frances Cannon, Amber Vittoria, Kristen Liu-Wong, Sibba Hartunian, Aurélia Durand, and many more.
Is the World
Legendary skateboarder and artist Jerry Hsu started his blog Nazi Gold in 2009 as a repository for the cell phone photos he’d been collecting alongside his more traditional photography and film practices: shots of friends and strangers, roadside curiosities, and anything else that seemed to merit instant sharing with both peers and the public. In the ensuing years, the site grew from an exercise in visual note-taking into a uniquely hysterical embodiment of both Hsu’s keen artistic sense and his razor-sharp wit. Documenting his journeys through the high and low trappings of our culture, Hsu’s work captures everything from bootleg t-shirts and bathroom stall graffiti to unexpected truths and the occasional startling moment of humanity. An unerringly creative and endlessly clever chronicle of the deep ironies of our modern world, The Beautiful Flower Is the World collects the best of Hsu’s blog photography into a compelling and immersive whole.
The character of Pierrot, the archetypal “sad clown” of artistic tradition, has served as a beacon of inspiration for vanguard figures from Picasso to Kenneth Anger to David Bowie. In the new 56-page zine Pierrot Alterations, the acclaimed underground artist CF approaches this mythic figure through an enigmatic haze of bizarre characters, dreamlike action and stunning visuals. Presented in vivid color with wit and inventiveness, Pierrot Alterations continues CF’s bold experiments with graphic storytelling and with the print medium at large./p> CF (Christopher Forgues) is an artist and musician born in 1979. Called one of the two “most important cartoonists of [his] generation” (Art in America), he is best known for his association with the maverick Providence, RI underground arts scene, and for his graphic novel series Powr Mastrs. His work has appeared in acclaimed anthologies like Kramers Ergot and The Best American Comics as well as mainstream publications like The New York Times.
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.
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.
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.
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.