{"title":"San Francisco Art Book Fair 2026","description":"","products":[{"product_id":"copy-of-destroy-all-monsters-geisha-this","title":"DESTROY ALL MONSTERS \/ Geisha This","description":"\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eDestroy All Monsters\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eGeisha This  \u003c\/em\u003e\u003cspan\u003e1997\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ePaperback, 28 x 22cm\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThird edition of 2000\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eBook Beat Gallery, New York\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis book is a compilation of the first six issues of Destroy All Monsters magazine (1975-1979). This work is from the third revised edition of 2000.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: Excellent, as new. Mint copy in florescent hot pink cover designed by Niagara.\u003c\/p\u003e\n\u003cp\u003e'Geisha This' combines images from the DAM collage trash-art magazine published 1975-1979, along with rare photos and other artworks by DAM. The 3rd revised edition has a cover printed in silver metallic ink on florescent hot pink covers. The Destroy All Monsters collective are the artists Mike Kelley, Jim Shaw, Cary Loren and Niagara.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eWith inserts, poster, interviews, news-clippings and an original clear plastic unreleased flexi record, this is the definitive DAM document. Hundreds of photos are gathered in this one volume along with band histories (DAM liner notes, notes on the history of DAM magazine, discography, flyers, lyrics, text of DAM interviews itself, record reviews, artwork from the 1970s era DAM and unpublished material. Each book contains one original hand-made psychedelic splatter painting. A total of three editions of “Geisha This” were made. Each edition cover was printed in different colors, collated by hand in a different sequence with different and altered content, similar to the DAM magazines made in the 1970s.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003ci\u003eDestroy All Monsters\u003c\/i\u003e\u003cspan\u003e started out as an anti-rock band: four midwestern art students - Jim Shaw, Mike Kelley, Cary Loren, and Niagara - with a mission to subvert the airwaves. Between 1975 and 1979, they produced six issues of DAM Magazine, a barrage of Kelley's perverse cartoons, Shaw and Loren's wild Xeroxed collages, and shots of the band; Niagara did a lot of the cover designs, and everything was crudely printed on cheap paper. \"The images that drove us were the strange combinations of film noir, monster movies, psychedelia, thrift-shop values, and the relentless anarchy of an over-stimulated pop culture\", recalls Cary Loren. This compilation is the definitive DAM document: hundreds of drawings, photos, Xeroxed artwork, reviews, profiles, and personal manifestos - plus a flexi-record bound into the book.\u003c\/span\u003e\u003c\/p\u003e","brand":"DESTROY ALL MONSTERS","offers":[{"title":"Default Title","offer_id":45065776038169,"sku":"","price":450.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Folio_001_543e279a-b4f0-4770-9aec-a1db22d2dca5.jpg?v=1682401542"},{"product_id":"destroy-all-monsters-killing-me-softly-limited-edition","title":"DESTROY ALL MONSTERS \/ Killing Me Softly","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003eDestroy All Monsters\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eKilling Me Softly  \u003c\/em\u003e1995-96\u003cbr\u003eBound printed paper, box, mixed media\u003cbr\u003eNumber 218 from the edition of 250\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis work is signed and numbered. Packaging includes a clear vinyl 7\" record, housed in a fur lined box with a monster sticker designed by Mike Kelley. This work is sealed with a Band-Aid and tape and remaining fur inside box. This is also known as \"The Monkey Fur Box\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: Excellent, as new. Unopened. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTracklist: \u003cbr\u003eA Killing Me Softly\u003cbr\u003eB Detroit Rock City\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eBass – Greasy Carlisi\u003cbr\u003eGuitar – Art Byington, Cary Loren, Jim Shaw (4)\u003cbr\u003ePercussion – Mike Kelley\u003cbr\u003eReleased in an edition of 250 copies on clear vinyl and housed in a fur lined box with a monster sticker designed by Mike Kelley.\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eDestroy All Monsters\u003c\/span\u003e\u003cspan\u003e started out as an anti-rock band: four midwestern art students - Jim Shaw, Mike Kelley, Cary Loren, and Niagara - with a mission to subvert the airwaves. Between 1975 and 1979, they produced six issues of DAM Magazine, a barrage of Kelley's perverse cartoons, Shaw and Loren's wild Xeroxed collages, and shots of the band; Niagara did a lot of the cover designs, and everything was crudely printed on cheap paper. \"The images that drove us were the strange combinations of film noir, monster movies, psychedelia, thrift-shop values, and the relentless anarchy of an over-stimulated pop culture\", recalls Cary Loren. This compilation is the definitive DAM document: hundreds of drawings, photos, Xeroxed artwork, reviews, profiles, and personal manifestos - plus a flexi-record bound into the book.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv data-v-7eb1e0c8=\"\" class=\"details_section ds_three with-result\"\u003e\n\u003cdiv data-v-7eb1e0c8=\"\" class=\"ds_financials show-bid-controls\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"DESTROY ALL MONSTERS","offers":[{"title":"Default Title","offer_id":45066124951833,"sku":"","price":1650.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/317_1_artists_books_ephemera_from_an_important_private_collection_march_2023_destroy_all_monsters_three__rago_auction.png?v=1682403613"},{"product_id":"raymond-pettibon-tripping-corpse-four","title":"RAYMOND PETTIBON \/ Tripping Corpse Four","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eTripping Corpse Four  \u003c\/em\u003e1984\u003cbr\u003eOffset print of ink on paper, 28 pages\u003cbr\u003e22 x 14cm, 1st edition \u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: Used, good. \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age, gentle marks to covers from c\u003c\/span\u003eoffee cup and some slight bending to corners. Slight wear to spine but otherwise good.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEdition: #303 of 500 (Approximately 400 from the edition were destroyed), n\u003cspan data-mce-fragment=\"1\" itemprop=\"description\"\u003eoted in red ink in Pettibon's hand on the front cover.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45330952683801,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_05.jpg?v=1690717301"},{"product_id":"copy-of-raymond-pettibon-tripping-corpse-5","title":"RAYMOND PETTIBON \/ Tripping Corpse 6","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eTripping Corpse 6  \u003c\/em\u003e1985\u003cbr\u003eOffset print of ink on paper, \u003cmeta charset=\"utf-8\"\u003e28 pages\u003cbr\u003e22 x 14cm, 1st edition \u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: Used, very good.\u003cspan\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning from age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEdition: #103 of 500 (Approximately 400 from the edition were destroyed), noted in red ink in Pettibon's hand on the front cover\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45332708065561,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_02.jpg?v=1690712622"},{"product_id":"copy-of-raymond-pettibon-tripping-corpse-four","title":"RAYMOND PETTIBON \/ Other Christs","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eOther Christs  \u003c\/em\u003e1982\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003ePhotocopy of ink on paper, 28 pages \u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEdition: #349 of 500 (Approximately 400 from the edition were destroyed), n\u003cspan itemprop=\"description\" data-mce-fragment=\"1\"\u003eoted in red ink in Pettibon's hand on the front cover.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45958157369625,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_06.jpg?v=1690717528"},{"product_id":"copy-of-raymond-pettibon-other-christs","title":"RAYMOND PETTIBON \/ Asbestos","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eAsbestos  \u003c\/em\u003e1982\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eOffset print of ink on paper, 28 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eEdition: #491 of 500 (Approximately 400 from the edition were destroyed), n\u003cspan data-mce-fragment=\"1\" itemprop=\"description\"\u003eoted in black ink in Pettibon's hand on the front cover.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45958298272025,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_07.jpg?v=1690717864"},{"product_id":"copy-of-raymond-pettibon-asbestos","title":"RAYMOND PETTIBON \/ The Observable World","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eThe Observable World  \u003c\/em\u003e1985\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOffset print of ink on paper, \u003c\/span\u003e28 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEdition: #48 of 500 (Approximately 400 from the edition were destroyed), n\u003cspan data-mce-fragment=\"1\" itemprop=\"description\"\u003eoted in red ink in Pettibon's hand on the front cover.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45958686179609,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_08.jpg?v=1690718617"},{"product_id":"copy-of-raymond-pettibon-the-observable-world","title":"RAYMOND PETTIBON \/ Freud's Universe","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eFreud's Universe  \u003c\/em\u003e1982\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eOffset print of ink on paper, 28 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEdition: #142 of 500 (Approximately 400 from the edition were destroyed), n\u003cspan data-mce-fragment=\"1\" itemprop=\"description\"\u003eoted in red ink in Pettibon's hand on the front cover.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45958825574681,"sku":"","price":750.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_09.jpg?v=1690718862"},{"product_id":"copy-of-raymond-pettibon-freuds-universe","title":"RAYMOND PETTIBON \/ American Lynch Law","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eAmerican Lynch Law  \u003c\/em\u003e1985\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eOffset print of ink on paper, 28 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEdition: #25 of 500 (Approximately 400 from the edition were destroyed), noted in red ink in Pettibon's hand on the front cover.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45958925811993,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_10.jpg?v=1690719086"},{"product_id":"copy-of-raymond-pettibon-american-lynch-law","title":"RAYMOND PETTIBON \/ Like Death Valley","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eLike Death Valley  \u003c\/em\u003e1985\u003cbr\u003eOffset print of ink on paper, 28 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEdition: #165 of 500 (Approximately 400 from the edition were destroyed), n\u003cspan data-mce-fragment=\"1\" itemprop=\"description\"\u003eoted in red ink in Pettibon's hand on the front cover.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45959014220057,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_11.jpg?v=1690719306"},{"product_id":"copy-of-raymond-pettibon-like-death-valley","title":"RAYMOND PETTIBON \/ At First Watching","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eAt First Watching  \u003c\/em\u003e1989\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eOffset print of ink on paper, 28 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEdition: #32 of 70, n\u003cspan data-mce-fragment=\"1\" itemprop=\"description\"\u003eoted in black ink in Pettibon's hand on the front cover\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45959060750617,"sku":"","price":1200.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_12.jpg?v=1690719583"},{"product_id":"copy-of-raymond-pettibon-at-first-watching","title":"RAYMOND PETTIBON \/ Wein, Weib, und Gesang","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eWein, Weib, und Gesang  \u003c\/em\u003e1985\u003cbr\u003eOffset print of ink on paper, 28 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eEdition: #179 of 500. \u003cmeta charset=\"utf-8\"\u003e(Approximately 400 from the edition were destroyed), noted in red ink in Pettibon's hand on the front cover. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45959096434969,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_13.jpg?v=1690719978"},{"product_id":"copy-of-raymond-pettibon-wein-weib-und-gesang","title":"RAYMOND PETTIBON \/ Virgin Fears","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eVirgin Fears  \u003c\/em\u003e1983\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eOffset print of ink on paper, 35 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eEdition: #358 of 500. \u003cmeta charset=\"utf-8\"\u003e(Approximately 400 from the edition were destroyed), noted in red ink in Pettibon's hand on the front cover. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45959144767769,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_14.jpg?v=1690720350"},{"product_id":"copy-of-raymond-pettibon-the-navigators-wives","title":"RAYMOND PETTIBON \/ Kismet's Account","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eKismet's Account  \u003c\/em\u003e1984\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eOffset print of ink on paper, \u003c\/span\u003e35 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eEdition: #277 of 500. \u003cmeta charset=\"utf-8\"\u003e(Approximately 400 from the edition were destroyed), noted in red ink in Pettibon's hand on the front cover. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45959212138777,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_16.jpg?v=1690721259"},{"product_id":"copy-of-raymond-pettibon-kismets-accountant","title":"RAYMOND PETTIBON \/ New Girl","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eNew Girl  \u003c\/em\u003e1986\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eOffset print of ink on paper, 35 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eEdition #37 of 500. \u003cmeta charset=\"utf-8\"\u003e(Approximately 400 from the edition were destroyed), n\u003c\/span\u003e\u003cspan itemprop=\"description\" data-mce-fragment=\"1\"\u003eoted in red ink in Pettibon's hand on the front cover.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45959260471577,"sku":"","price":750.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_17.jpg?v=1690721491"},{"product_id":"copy-of-raymond-pettibon-new-girl","title":"RAYMOND PETTIBON \/ Cars, TV Rockets, H-Bomb--You Name It","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eCars, TV Rockets, H-Bomb--You Name It  \u003c\/em\u003e1985\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eOffset print of ink on paper, 35 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eEdition: #313 of 500 (Approximately 400 from the edition were destroyed), noted in red ink in Pettibon's hand on the front cover. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45959297761561,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_18.jpg?v=1690721811"},{"product_id":"copy-of-raymond-pettibon-cars-tv-rockets-h-bomb-you-name-it","title":"RAYMOND PETTIBON \/ I Will Sign Anything (Signed)","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eI Will Sign Anything  \u003c\/em\u003e1991\u003cbr\u003eOffset print of ink on paper, 35 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age and coffee cup stain on the cover.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEdition: #40 of 75 (Signed), \u003cmeta charset=\"utf-8\"\u003eNoted in red ink in Pettibon's hand on the front cover.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45959498989849,"sku":"","price":1250.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_19.jpg?v=1690722163"},{"product_id":"copy-of-raymond-pettibon-i-will-sign-anything-signed","title":"RAYMOND PETTIBON \/ console, heal, or depict...","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003econsole, heal, or depict...  \u003c\/em\u003e1984\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eOffset print of ink on paper, 35 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eEdition #236 of 500. \u003cmeta charset=\"utf-8\"\u003e(Approximately 400 from the edition were destroyed), noted in red ink in Pettibon's hand on the front cover.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45959662141721,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_20.jpg?v=1690722604"},{"product_id":"copy-of-raymond-pettibon-console-heal-or-depict-1","title":"RAYMOND PETTIBON \/ Pig Cupid","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003ePig Cupid  \u003c\/em\u003e1985\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eOffset print of ink on paper, 28 pages\u003cbr\u003e22 x 14cm, 1st edition \u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEdition #143 of 500. \u003cspan data-mce-fragment=\"1\"\u003e(Approximately 400 of the edition were destroyed), noted in red ink in Pettibon's hand on the front cover. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe plaintive cover image of \u003ci\u003ePig Cupid\u003c\/i\u003e is captioned “Why do I dream of undertow when I don’t even know what it is?” This zine, by punk artist Raymond Pettibon, deals with violent love and toxic relationships. Many of the women within have been violated, deserted, shot, bought or sold, but Pettibon’s fluid line drawings capture the inexplicable pull of desire, even against a woman’s better judgement. Cupid, argues Pettibon, is a pig.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45960159592729,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_22.jpg?v=1690724091"},{"product_id":"copy-of-raymond-pettibon-pig-cupid","title":"RAYMOND PETTIBON \/ Bottomless Pond","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eBottomless Pond  \u003c\/em\u003e1986\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eOffset print of ink on paper, 28 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eEdition: #13 of 500 (\u003c\/span\u003e\u003cspan\u003eApproximately 400 from the edition were destroyed), noted in red ink in Pettibon's hand on the front cover. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45960321925401,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_23.jpg?v=1690724283"},{"product_id":"copy-of-raymond-pettibon-the-bible-the-battle-and-the-bomb","title":"RAYMOND PETTIBON \/ Short Teats, Bloody Milk","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eShort Teats, Bloody Milk  \u003c\/em\u003e1985\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eOffset print of ink on paper, 28 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eEdition: #127 of 500 (App\u003c\/span\u003e\u003cspan\u003eroximately 400 from the edition were destroyed), noted in red ink in Pettibon's hand on the front cover. \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45960509554969,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_25.jpg?v=1690724694"},{"product_id":"oscar-perry-greece-police-pumice","title":"OSCAR PERRY \/ GREECE POLICE PUMICE","description":"\u003cp\u003e\u003cstrong\u003eOscar Perry\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eGREECE POLICE PUMICE  \u003c\/em\u003e2024\u003cbr\u003eSoftcover,\u003cstrong\u003e \u003c\/strong\u003e73 pages\u003cbr\u003e18 x 12cm\u003cbr\u003eLandslide Books \u0026amp; Objects\u003c\/p\u003e\n\u003cp\u003eCondition: new\u003c\/p\u003e\n\u003cp\u003ePlaying fast and loose with language across 41 poems, Perry parboils the sublime in mundanity, irreverence and humour.\u003c\/p\u003e\n\u003cdiv class=\"page\" title=\"Page 7\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cem\u003e\"WE SHALL GO ONTO THE END \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThey are vaping on the beaches,\u003cbr\u003eThey are vaping on the landing grounds,\u003cbr\u003eThey are vaping in the fields and in the streets, They vape in the hills;\u003cbr\u003eThey shall never stop vaping, and even if,\u003cbr\u003ewhich I do not for a moment believe, this island or a large part of it were subjugated,\u003cbr\u003ethen the vapour beyond the seas would\u003cbr\u003ecarry on the wind, until, in God’s good time, The prior plane, with all its power and might, steps forth to inhale and exhale.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c!----\u003e","brand":"OSCAR PERRY","offers":[{"title":"Default Title","offer_id":49403623211289,"sku":"","price":38.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Folio_296_db28e846-bdb9-4f9a-b710-84375627c16d.jpg?v=1771475141"},{"product_id":"masahisa-fukase-wonderful-days","title":"MASAHISA FUKASE \/ Wonderful Days","description":"\u003cp\u003e\u003cstrong\u003eMasahisa Fukase\u003c\/strong\u003e \u003cbr\u003e\u003cem\u003eWonderful Days  \u003c\/em\u003e2015\u003cem\u003e\u003cbr\u003e\u003c\/em\u003eHardcover, 64 pages\u003cbr\u003e23 x 21cm\u003cbr\u003eRoshin Books, JP\u003cbr\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: New\u003c\/p\u003e\n\u003cp\u003eMasahisa Fukase and his wife, Yoko, began their new married life moving in to Matsubara-danchi residential complex of Soka, Saitama in 1964. they were soon joined by a Siamese cat named Kabo. 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The text is in Japanese.\u003c\/p\u003e","brand":"NOBUYOSHI ARAKI","offers":[{"title":"Default Title","offer_id":50736229941529,"sku":"","price":450.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Folio_753.jpg?v=1746251097"},{"product_id":"toshio-saeki-the-earliest-works","title":"TOSHIO SAEKI \/ The Earliest Works","description":"\u003cp\u003e\u003cstrong\u003eToshio Saeki\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Earliest Works\u003c\/em\u003e  2002\u003cbr\u003eHardcover, 124 pages\u003cbr\u003e22 x 15cm\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSeirinkogeisha, JP\u003cbr\u003efirst edition\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: Near fine\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe Earliest Works shows the beginning inspirations and efforts of Toshio Saeki. 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