Martha Cooper is one of the world’s foremost photographers of urban culture. She documented the early history of a youth culture that would become known as Hip Hop, and helped spread it all over the world with the photographs in the groundbreaking book Subway Art (1984), to date one of the most sold art books ever.
Graffiti has spread to the far corners of the earth and in the process has become the biggest art movement in history and every graffiti writer began his or her writing career with a tag. Developing an original, consistently written name is the primary act for a writer. The photos in Tag Town, dating back to the 60’s, introduce us to the origins of New York style graffiti. Tags and pieces share a common heritage and by understanding one, you can understand the other. For those who learn to read tags, a world of aesthetic expression and communication opens up. Tags are a universal language – the jazz of lettering. Tag Town also contains rare photos of work on the street by Jean-Michel Basquiat, Keith Haring and Kenny Scharf, artists whose tag-inspired work helped found the rapidly growing street art movement. The accompanying text is based on interviews with New York graffiti pioneers Blade, Part 1 and Snake 1. Martha Cooper has specialized in photographing urban art and architecture in New York City for thirty years.
A short clip of investigative journalist Greg Palast speaking at the Bowery Poetry Club, NYC. There was a panel of guests / victims from other countries there to share their stories on the horrific crimes of the multinational Barrick Gold Mine Corp. Pretty riveting stuff I must say! The Bush crime family strikes again….
I’ve been keeping up with Palast as much as possible after reading his highly acclaimed book, Armed Madhouse. Highly recommended
“The greatest investigative journalist in America.”
—ALAN CHARTOCK, NATIONAL PUBLIC RADIO
“The type of investigative reporter you don’t see anymore—a cross between Sam Spade and Sherlock Holmes.”
—JIM HIGHTOWER
We are now offering a free PDF download of our very first self-published book, The Elizabeth Kent Story. Compiled and designed between 1999 and 2002 the book is a collection of pages, both individual and collaborative, from the members of GH avisualagency, formerly Graphic Havoc. The Elizabeth Kent Story was originally offered as a limited and numbered edition of 1000 and has been sold out for years.
Download the file and enjoy a glimpse into our early publishing endeavors.
[...] J. Penry, one of our favorite illustrators, is now offering his services as a pet portraitist. Now you too can own a precious artwork depicting your furry beloved rendered in Penry’s signature style, with a dash of panache and whimsy. Eventually Penry hopes to collect all these portraits in a book. Won’t that make a lovely keepsake? Contact J. Penry for more info and pricing. [...] VIA: http://www.viceland.com/int/v15n2/htdocs/pet_portraiture.php
Also check out J’s first book, Castles and Christians. Castles and Christians by J. Penry, with forward by Jeffrey Jensen $24.006. 625 x 8.875 inches, Paperback, Gatefolded Cover 96 color pages, Limited edition run: 1,200. ISBN: 0 9716702 1 8. Grab a copy from the newly launched GHava{Press} online shop.
Stefán Kjartansson has a new display face available called Black Slabbath. We had a chance to use a dub plate / cdr last summer on a poster and felt like it handled very well, getting the crowd at PS1 and agnes b. jumping. (thanks Israel) It really is the heaviest typeface in the world and has razor thin lines cutting through geometric shapes. Nigel says to turn it up to 11 in adobe illustrator for best results.
Review by Brian Sholis [...]By contrast, unremitting pain characterizes the pictures in Darfur: Twenty Years of War and Genocide in Sudan, edited by Leora Kahn for the nonprofit organization Proof: Media for Social Justice. The volume presents the work of eight acclaimed photojournalists and the beseeching testimony of aid agency workers, noted writers, and a handful of celebrities; proceeds from its sales will be donated to Amnesty International and the Genocide Intervention Network. If the chilly formalism of the North Korea pictures testifies to the Dear Leader’s control over his population and his country’s visitors, the presence of so many emaciated, fly-ridden bodies mere inches from the camera lenses indicates that whatever order once held in this arid African plateau has now irredeemably collapsed. Yet the photographic depiction of even the most lawless, unprecedented situation adheres to decades-old visual convention: a regular alternation of somber black-and-white and vividly colored pictures; a preponderance of children and the elderly; stark outlines of malnourished, brittle bodies graphically contrasted with sand and dirt; and long lines of displaced people stretching into the distance.[...] via pring mag.
Brian Sholis is an editor at Artforum and is the coeditor of The Uncertain States of America Reader (Sternberg Press, 2006).