This is the first edition (and now out of print) of Wild Colonial Boys, published in 2012 and used as a resource by both Cold Chisel and their management (who dubbed it 'the bible').
This is the most extensive book published on an Australian band. Drum Media's Mike Smith described the book thus- '... text enhanced considerably by interviews with the various members he's undertaken as well as with various managers and former managers, radio DJs and so on. Lawrence has also been given access to the band's business records and diaries. His obvious obsessive attention to detail ensures readers get everything they could possibly want to know, from the back stories to songs recorded and otherwise to set lists from obscure gigs to European and US shows.'
Berlin is a particularly strong magnet for international street artists and its landscape is filled with artwork and signatures that are inventing new visual codes. But the impressions that these artists leave are inevitably fleeting, as their art falls victim to the city's unrelenting development. Luckily, the book Urban Art Photography serves as a permanent documentation and time capsule of both the creation and evolution of these constantly changing images.
2008
This item is in good condition but has wear and tear on cover. Please enquire for photos.
Midnight Oil are one of the most 'Australian' rock bands this country has produced.
Born from the Australian pub rock scene that gave us AC/DC, Cold Chisel and INXS, the Oils were able to break out of that scene without compromising themselves in any way. Indeed, their breakthrough overseas record was the most Australian album they made.
But it wasn't just the subject matter that made them fiercely Australian; it was their stubborn independence, and their refusal to play the rock'n'roll game and respect its rules and masters. But more than any of this is the adrenaline rush of an Oils show. Performances so intense that witnesses swore they had seen the greatest Oils gig ever! Such was the belief that something so powerful could surely not take place regularly.
When they took this overseas, audiences could often not understand a word they were saying, but musically they recognised a common language: powerful, unadulterated live performances.
There is no band whose live shows are spoken of with the same awe as the Oils.
Olaf Hajek is currently one of the world's most successful and well-known illustrators. His work can be seen in publications including the New York Times and the Guardian, in advertisements for companies such as Bacardi and Daimler Benz, as well as on stamps for Great Britain's Royal Mail. Despite the diversity of his clientele, Hajek makes no aesthetic compromises. His characteristic style is what makes his work appealing to a broad audience and range of clients. Now his personal work is garnering increasing attention on the international art market. Hajek's colorful illustrations and textured paintings are infused with a folkloristic na*vet and freshness. Masterfully melding influences from West African and Latin American art, he creates surreal juxtapositions of fairytale fantasies and disordered realities. His "magical realism" enriches the perspective of anyone viewing his work. Black Antoinette is a collection of Olaf Hajek's most recent work that was created over the last three years. Consisting mostly of advertising and editorial contracts, commercial portraits, and fashion illustration, the examples in this book showcase a remarkable style that has become more free and painterly during this time. In his foreword, Philipp Demandt, the head of Berlin's Old National Gallery, positions Olaf Hajek at the nexus of the seemingly opposing realms of art
and contract work.
Traditional tattoo art is rapidly changing, moving away from time worn or played out motifs and instead experimenting with new styles, motifs and subject matter. Combining pages of beautiful tattoos on skin, flash art and stories from the artists to create a snapshot of the evolution of a new iconography, Skin & Ink delivers.
Author: Koons, Jeff
This volume is published for Jeff Koons’ largest ever exhibition in Italy, developed in close dialogue with the artist, and presenting some of the most celebrated works of this master who, from the mid-1970s until the present day, has forged a reputation as one of the most important figures of the global contemporary art scene. The book gathers paintings and sculptures on loan from international collections and museums in order to explore the concept of 'shine'.Responsible for countless works that have entered the collective imagination, Koons regards 'shine' as a key feature of his artwork – from the postmodern reinvention of the readymade to works in perfectly polished metal that resemble inflatable toys. Indeed, "shine" is far more than an ornament: it is the very substance of these works, as this reflective property brings together appearance and essence.
Author: Frank Lammer
A cunning group of street artists is appropriating public spaces with astonishing artistic interventions. We Come at Night introduces the work of thirteen street artists whose artistic interventions are not only aesthetically motivated but also function as razor-sharp social, political and ironic commentary on its surroundings.
The best graffiti from all over the world is collected in 256 pages, shot by Romany WG (see also Beauty in Decay and Beauty in Decay II), the result of 5 years of travelling and taking photos of the best graffiti on the planet.
Not many names epitomise an era, but Mary Quant is such a name. Her life, her ideas, her style touched (and still touch) everyone. Mary Quant is fashion. Most people connect Mary with one thing - the mini skirt - that ground-breaking design that is as potent now as it was when it first appeared in the early sixties. But her influence carried way beyond those early frenetic black-and-white years. Now, towards the close of what has been one of the most influential and visionary careers in fashion's history, Mary Quant has written a memoir in her own inimitable style - a witty, unique account of her whirlwind life. It is a story like no other. But then there is only one Mary Quant.
This is the first title on Alain Gree's beautiful illustrations selected mainly from his work during the 1960s and 1970s. More than 200 works are showcased, many only available today in antique books. In addition, this title features Gree's original paintings, rough sketches and interviews. This collection will bring back treasured memories for adults who have grown up with Gree's colourful, cheerful books. The book also serves as a good reference for those studying illustration. Born in 1936, Alain Gree is a French illustrator, author and graphic designer. He has released more than 300 children's books since the late 1950s, when colourful and visually attractive educational books were rare. His educational books for children, often known as the PILOU series or the Achille et Bergamote series, have been translated into more than 20 languages and widely read all over the world. His illustrations have also been used in school textbooks, as well as in advertising posters.
Author: Dolores San Miguel
St Kilda, Melbourne, in the late 70s was the birthplace of a venue that would become the pulse of punk and new wave music in Australia, attracting Melbourne's most famous and infamous musicians. This title is a brutally frank memoir of what has become known as one of the most pivotal, fascinating and influential periods of Australian musical and cultural history. The story is illustrated with original flyers and candid photos.
Author: Paul Drummond
Before the hippies, before the punks, there were the 13th Floor Elevators: an unlikely crew of outcast weirdo geniuses who changed musical culture. Through a rich and diverse array of primary materials – including previously unseen band photographs, rare artwork, items from family scrapbooks and diaries, new and archival interviews, dozens of press accounts, (and many Austin Police Department records!) – this impressive volume tells the complete and unvarnished story of the band. 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 Hallasked 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.
