Originally published for a 2022 New York Times article on “The Joys (and Challenges) of Sex after 70,” this photographic series by Marilyn Minter explores the almost uncharted territory of sex late in life. Intimate, fantastically bold, sometimes shocking and very Marilyn Minter in the best way, these photographs cast an uninhibited look at “unconventional” bodies and challenge our traditional and often stereotyped vision of sex.Ultimately, these joyful, empowering and body-positive images remind us that the frontiers of sexuality are unlimited and that we can choose the type of pleasure we want at every stage of our lives. An afterword by acclaimed New Yorker writer Naomi Fry dwells on the feminist implications of Minter's work as it addresses the issues our society faces when it comes to ageing.In paintings, videos and photos, Marilyn Minter (born 1948) has been exploring the intersection of desire, feminism and modes of representation since the late 1960s. She has had solo exhibitions at White Columns in New York and the San Francisco Museum of Modern Art among other locations. Her retrospective Pretty/Dirty was presented in 2016 at the Contemporary Arts Museum Houston and MCA Denver, before travelling to the Orange County Museum of Art and the Brooklyn Museum in New York.
The follow up to the critically acclaimed 'Untitled. Street Art in The Counterculture. Untitled II the irreverent book of street art has again been created without the collaboration of the artists and certainly without the permission of the wall owners. There are blatant statements that embody outrageous lies, articles laced with satire, plus cynical synopses of attempts to commercialize street art and make it fashionable via celebrity endorsement. Consideration is given to the question What the hell is it about the color grey that makes it appeal the powers that be and their ridiculous minions? and Outsider Art is it an expression of artistic impulse without interference from the idea of personal gain? All of this amongst a collection of graffiti collected from all over the world and preserved on these pages before the legions employed to destroy them chip them off the walls. Artists featured include Miss Van, Dan Witz, Ron English, Obey, Banksy, Blek le Rat, Swoon, Os Gemeos, and Herakut.
I'll Kick You In The Head With My Energy Legs depicts the coming of age, travels and traits of a group of skateboarders from London, who managed to escape the grips of a nine-to-five. Each character offers a different dynamic to the ongoing story; be it walking along the sludge covered beaches of the river Thames in search of an American visiting friend who happened to be taking an emergency shit' after accidentally drinking an entire bottle of laxative, or a journey to the hospital to fix a dislocated elbow, or playing with a dead pigeon.
n 2004, before the advent of social media as a global phenomenon, photographer Patrick O'Dell launched the celebrated blog 'Epicly Later'd', dedicated to documenting the adventure and mayhem of the NYC skate/music/downtown scene. Two decades later, the influence of O'Dell's work is apparent, and the original photographs still astonish. Compiled by O'Dell and editor Jesse Pearson, this title collects the best of the blog into a body of work that's evocative wildly compelling.Patrick O'Dell is a photographer, photo editor, filmmaker, and skateboarder from Columbus, Ohio. In addition to the creation of the seminal photoblog Epicly Later'd, his work includes serving as a photographer for Thrasher magazine and photo editor for Vice. He also created and produced the webshow and television adaptations of 'Epicly Later'd', and is an acclaimed director of music videos and the film 'Dumb: The Story of Big Brother Magazine'.
The Ugly Australian Underground documents the music, songwriting, aesthetics and struggles of fifty of Australia’s most innovative and significant bands and artists currently at the creative peak of their careers. The book provides a rare insight into the critically heralded cult music scene in Australia.
The author, Jimi Kritzler, is both a journalist and a musician, and is personally connected to the musicians he interviews through his involvement in this music subculture. The interviews are extremely personal and reveal much more than any interview granted to street press or blogs.
They deal with not only the music and songwriting processes of each band, but in some circumstances their struggles with drugs, involvement in crime and the death of band members.
Unprecedented in scope, this book is the definitive story behind the most explosive and influential art form of the last 100 years. The book traces the evolution of the style from its early freight train days to its big-city boom on the streets of New York City and Philadelphia to its modern-day influences, and features profiles and behind-the-scenes stories gleaned from over three-years' worth of interviews with graffiti's most prominent names as well as its lesser-known pioneers. Authors Roger Gastman and Caleb Neelon provide an insider's perspective on the most popular trends and styles that have dominated the scene for the last 50 years, and provide a thorough examination of the regional differences among major American hubs - New York, Los Angeles, the Bay Area, Chicago - and under-the-radar scenes in cities, like Washington, D.C., Boston, Miami, New Orleans, and Albuquerque.
THE HISTORY OF AMERICAN GRAFFITI is packed with over 1000 photographs-the majority of which have never before been seen - from more than 200 photographers, most of whom also created the artwork. The authors have spent the better part of the last five years interviewing key figures in the graffiti world throughout America - from the bedrock cities of New York City, Philadelphia, and Los Angeles to the lesser-known, but equally important hotspots of Cleveland, Baltimore, and Phoenix. Approximately 90 percent of the art in this book has never been published, and was sourced directly from the artists who lived the scene, giving the book a raw street vibe as authentic as the history it documents.
The foreword is by legendary graffiti artist, Taki 183. Considered one of the founding fathers of the graffiti arts movement, Taki 183 has never before contributed writing to any book or newspaper/magazine article on the subject. Next year, 2011, marks the 40 anniversary of the 1971 New York Times article written on Taki 183-"Taki 183 Spawns Pen Pals"-that ignited the movement in New York City and cast Taki 183 as the world's first famous graffiti artist. His official Web site is http://taki183.net.
When punk first broke in the UK in 1976, music journalist John Ingham was on hand to document the very heart of the scene. Struck by the music, fashion and sheer iconoclasm of a little-known outfit called the Sex Pistols, Ingham conducted the first interview with the band, partied with its members and even bailed Sid Vicious out of jail; he also witnessed and documented the group’s evolution at legendary gigs shared with other pioneering punk bands in their earliest days, including the Damned, the Clash, Subway Sect and more. The result is Spirit of 76: London Punk Eyewitness, a revelatory collection of photography and fly-on-the-wall reportage showcasing the punk movement from its most raucous, bewildering beginnings. Containing the only color photos from British punk’s first wave alongside Ingham’s inimitable prose, this volume constitutes a rare from-the-trenches report on the UK punk explosion from one of its original participants. Here is the story of a year made up as it happened, lived with excitement and the belief that you could make the future whatever you wanted it to be.
“I think Volvox is really outside of most things and most categories. That’s what attracted me to them immediately. You know, what are we listening to? What is this? Who are these people? That’s the stuff that I love and they were just outside of everything, outside of the experimental scene for sure. Even though people in the scene were supportive of them and loved them. I just think they were very very different. It was just very strange.” - Oren Ambarchi
Volvox were one of the most extraordinary bands ever to emerge from Melbourne, or in fact anywhere else. Unfortunately for the rest of the world, during their short existence (1991 to 1996) they never played outside of said city. Luckily for you dualpLOVER and SPILL have taken it upon themselves to re-issue their back catalog in an effort to preserve the recorded history of one of Australia’s true outsider outfits and to help its legacy grow outside of the few who saw them play or brought the original cassettes.
Describing the unsettling nature of the Volvox sound is somewhat difficult without pointing out one unmistakable feature, the vocals style of Anthoney Riddell (aka 'Lester Vat'), their all-stumbling neurologically damaged front-man, whose infamous fall at the Redfern squats in the late 80s left him in a coma for months, and then with a significant movement disorder. However unlike other bands that have had physically or mentally-impaired members, his involvement was in no way token. Anthony was actively involved in the Sydney noise scene long before his accident, most notably with his project The Good Chamber who some Sydneysiders may remember through the Cosmic Conspiracy tape label. The bands line up also included Dave Taskas (GRONG GRONG) , Glenn Norman, Christine Thirkell + various guests.
Ex Used condition
“Juxtapositions: BBC documentary on sex addiction, vintage S&M magazine, True Detective magazines, and citation of an academic publication dealing with suicides among people living near railway lines. This fall I think you’re riding for—it’s a special kind of fall, a horrible kind.”
Simon Morris was born in Blackpool, Lancashire in 1968. In his fourth book for Amphetamine Sulphate he plays a rock journalist whose sensory floodgates have been forced open wide due to grief and loss. We explore the nature of time, the differences between epiphany and apophenia, buried childhood memories, the 1980 and 1981 output of Queen and how it shadows the death of John Lennon. For fans of PKD and Pynchon. Adults Only.
Morris’s masterpiece, no doubt about it. The nostalgic and melancholic tone really resonated with me, and the writing itself was very striking. All of this made for a very haunting and powerful reading experience. It was similar in tone and execution to the incredible Sea of Love, but with significantly more doom and gloom shadowing everything. It all felt very final (and unfortunately proved to be). A beautiful, albeit somber, reading experience.
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