Detail from: STEPPING OUT, 2021, charcoal and graphite on paper, 5ft'8" x 3ft'8"
DEFAULT SETTING, 2016, charcoal and graphite on paper, 37" x 46.25"
“It’s an insane way to draw, but the resulting detail and luminosity is worth the amount of effort. My drawings take longer to create than a painting of equal size and detail.” —Laurie Lipton
A collection of new, astounding drawings by artist Laurie Lipton.
Laurie Lipton draws on canvases that are improbably large, using only pencil and charcoal. The images she renders present our modern world in scathing critique.
The artwork is part of three ongoing series entitled Techno Rococo, Post Truth, and May You Live in Interesting Times.
In these she addresses social media, unchecked consumerism, intellectual decline, environmental catastrophe, and soul-crushing isolation, especially during the Covid-19 pandemic.
Her sprawling phantasmagorias have earned her a broad constituency of fans and collectors, from scholars and aficionados of the Flemish and German Renaissance, to savvy contemporary gallerists and collectors, to filmmakers such as Terry Gilliam and James Scott (who directed the award-winning 2016 documentary about her, Love Bite) and finally to a massive and loyal social-media following. Includes introductory essay “Laurie Lipton and the Golden Thread” by Richard Speer.
978-0-86719-888-1
LAURIE LIPTON was born in New York and began drawing at the age of four. She was the first person to graduate from Carnegie-Mellon University in Pennsylvania with a Fine Arts Degree in Drawing (with honors). She has lived in Holland, Belgium, Germany, France, the UK and has recently moved to Los Angeles after 36 years abroad. Her work has been exhibited extensively throughout Europe and the USA.
Lipton was inspired by the religious paintings of the Flemish School. She tried to teach herself how to paint in the style of the 16th century Dutch Masters and failed. When
traveling around Europe as a student, she began developing her very own peculiar drawing technique building up tone with thousands of fine cross-hatching lines like an egg tempera painting. “It’s an insane way to draw”, she says, “but the resulting detail and luminosity is worth the amount of effort. My drawings take longer to create than a painting of equal size and detail.”
“It was all abstract and conceptual art when I attended university. My teachers told me that figurative art went ‘out’ in the Middle Ages and that I should express myself using form and shapes, but splashes on canvas and rocks on the
floor bored me. I knew what I wanted: I wanted to create something I had never seen before, something that was brewing in the back of my brain. I used to sit for hours in the library copying Durer, Memling, Van Eyck, Goya and Rembrandt. The photographer, Diane Arbus, was another of my inspirations. Her use of black and white hit me at the core of my Being. Black and white is the color of ancient photographs and old TV shows… it is the color of ghosts, longing, time passing, memory, and madness. Black and white ached. I realized that it was perfect for the imagery in my work.”
MY SOCIAL MEDIA SELF, 2019, charcoal and graphite on paper, 37.5" x 56"One was heard to ask, “Where have all the real artists gone?” A question proposed during a period of civilization when there are more fine arts art ists and art students than any time in history. This leaves us with the question: What is the definition of “real artist.” The word “real” is the problem here.
This dialogue takes us back to an obscure event in 1953; the release of a book titled “Seduction of the Innocent” by Doctor Fredric Wertham. This was a serious in dictment that affected the graphic language allowed to be presented to the American public for years to come. In the case of comic books, the result was a Senate hearing and investigation under the pretext that salacious comic books could fall into the hands of children, creating juvenile delinquency followed in later life with perversion.
You’re asking yourselves: “What have comic books got to do with high culture fine art?” Inadver tently quite a bit, but first fine art should be fully understood as it was in 1953. Let me further preface this text by explaining that it would be my belief that all art is inherently good and what is thought of as bad art is a violation of subjective reasoning.
That being said, I can now explore darker aspects of what people call “taste.” The international and American art scene during the late nineteen forties and early fifties was reveling in the progressive joys of nonobjective (totally abstract) art. A wonderful freedom that art liberators had been aiming for since the beginning of the twentieth century. This achieve ment democratized the arts to the
point where thousands of hopeful artists could throw off the bonds of traditional disciplines: primar ily drawing, craftsmanship and surface perfection.
Over time this graphic freedom created an unfortunately sizable class of skilled artists who need ed to apply their talents in other directions.
arts (commercial art). Since it was a slow process, nobody was up in arms about it.
At any rate, commercial illustra tion already had a long and color ful history; its glory period being between the 1890s and 1945.
So, disenfranchised artists always had this to fall back on although
One must understand that comics in general were for children andmoral standards had to be tightly observed. The forefather of comic books was the Sunday funnies section in newspapers. In fact, originally comic books were called “funny books.” But as they evolved they slowly moved into what would be the genesis of today’s graphic novels.
Around the period of the Kore an War (1950) publishers began to appeal to a small but growing intelligent older audience. With this increasingly dedicated readership imagination started to expand into more dramatic directions. One of these older influences was comic’s more lurid cousin, pulp magazines, which were also the roots of science fiction. With this older market some comic publishers stepped away from puerile material like happy animals and innocent infantile buffoonery. Entertainment Comics was probably the most famous of the advanced comic book publishing groups.
However, the art world still resented comics. ...
Excerpt from the Preface of Ink, Blood and Linseed Oil by Robert Williams.
Hardcover•160 pages• 7¼ x 10½”
Black and white illustrations
Introduction by Gwynned Vitello
Early Juxtapoz Prologues 1994-2006, Quantitative Remarks & Manifestos by Robert Williams
Postscript by Darius A. Spieth Ph.D. ISBN 978-0-86719-887-4•$28.00
With a masterful career spanning decades, Robert Williams has been a part of the most influential art movements of the past 60 years.
In addition to being one of the seven original Zap Comix contributors, Williams’ influence on alternative art is immeasurable.
In the early 1990s, Robert Williams persuaded the publisher of Thrasher to start an art magazine.
Juxtapoz magazine launched in 1994, and shook the art world establishment by presenting the popular underground—out with academic art shows and in with street art, comix, tattooing, erotic photography, figurative painting, illustration, and more.
These art forms were celebrated, and the magazine found a wide and hungry audience. With each issue came an insightful editorial, penned by the godfather of lowbrow, Mr. Bitchin’ himself, Robert Williams.
These essays, 22 years’ worth and a few more, are collected in “Ink, Blood, and Linseed Oil.” They are presented for your enjoyment, bewilderment, and for furtherance of a discussion of the philosophy of art.
A new collection of writing on art from Juxtapoz founder Robert Williams
HOT ROD RACE, 1976,
A collection of Robert Williams’ paintings from past shows at the Tony Shafrazi Gallery in New York.
The images range from Williams’ familiar lowbrow and biker culture, stretching deep into a faux science of quantum mechanics leaving the viewer in a world of scientific mindplay.
After singlehandedly becoming the model of Lowbrow art, Williams has now penetrated the inner sanctum of the fine arts movement.
Hardcover•200 pages 978-0-86719-516-3•$49.95
Limited Slipcase Edition 978-0-86719-637-5•$125
A collection of 60 Robert Williams’ paintings. Hot rods, monsters, girls in bikinis and taco stands are among the prominent elements.
“The chromatic chaos disseminated by Robt. Williams in this multimedia book is about as masterful as it can get in the wood-pulp page-trade. Heisenberg’s Sur-Realities involved continual change and self-determined subjective, bizarre singularities. Heisenberg learned this from Robt. Williams. So who deserves the Nobel Prize?”
—Dr. Timothy Leary, from the Introduction
Hardcover•96 pages 978-086719-402-9•$49.95
THE ROOSTER’S LAMENT, 1974,
canvas, 20" x
Saddle Stitched•24 pages 0-86719-238-0•$6.95
Robert Williams (born March 2, 1943) is an American painter, cartoonist, and founder of Juxtapoz magazine. Williams was part of the Zap Collective, along with other underground cartoonists such as Robert Crumb and Gilbert Shelton. His mix of California car culture, cinematic apocalypticism, and film noir helped to create a new genre of psychedelic imagery.
A reprint edition of the classic book of Robert Williams paintings, drawings and comics. This edition is enhanced with newer, more vibrant and accurate color images. This hardcover edition has a faux leather cover and debossed and tipped in cover imagery as well as foil stamping features.
This book is the first to featuring the amazing artwork of Robert Williams, containing an overview of Williams’s early work until 1979. T-shirt designs, comics, posters, and all paintings are accompanied by a text commenting on them and introducing Mr. Williams to the public.
The Lowbrow Art of Robt. Williams Color
(top) PSYCHIC PEDESTRIANS ON A SPIRAL HORIZON (BARYCENTER), 1970, oil on canvas, 20" x 30" (left, middle) SCRIMSHAW SKULL, 1979, oil on canvas, 16" x 19" (left, bottom) IN THE LAND OF RETINAL DELIGHTS, 1968, oil on canvas, 43½" x 54¼" (above) COOCHY COOTY and 1966 T-Shirt design for Ed Roth.
George Barris is indisputably the “King of the Kustomizers,” the most phenomenal kustom car builder ever.
Barris began making custom cars in the early 1940s with his brother Sam.
George bought a German-made twin lens reflex Rolleiflex camera and began photographing cars as a way to promote his business. It then became a way to educate other kustomizers.
Barris recorded and wrote howto stories offering information and photos on kustomizing techniques, sharing his work as well as that of other builders from all over the country.
George captured thousands upon thousands of moments in time when the beauty, style or sheer outrageousness of an automobile was visible only to a gathered crowd.
George Barris’ artful documentation of early car culture serves as an important chronicle of custom car history,
capturing the best the best of burgeoning hot rod and kustom kulture.
His first work to appear in print was virtually concurrent with the beginning of auto enthusiast magazines known as “little pages” such as Hot Rod, Car Craft, Custom Cars, Hop up, Rod & Custom, Motor Life, Spotlite and others. Although much of his fame surrounds the incredible kustom cars he built, George’s endeavors as a photographer are an amazing facet of his life and work.
Brett Barris is the son of George Barris. He has worked in the entertainment industry for over 15 years, and as an art photographer for over 20. He began working for Barris Kustom in 2003 as marketing director until 2015. He developed the Barris Kustom website as well as products such as Barris Kustom bicycles, guitars, clothing, books, and DVDs. Brett contributes to Barris Kustom magazine articles, books, documentaries, and TV shows. He continues to keep the Barris legacy alive: restoring Barris Kustom vehicles, presenting awards and managing the Barris Kustom photo archives.
A treasury of images, the photographs in this volume capture the early parts of the kustom culture movement, when people wanted to stylize their cars and make them look more sleek, different, powerful and personal.
These incredible photos of early hot rods and custom cars were taken by the King of the Kustomizers himself, George Barris in the 1950s to early ‘60s.
Hundreds of photos including notable customizers from all over the country, in addition to Barris’ own creations. Many of these unique photographs have never been seen before.
George captured all the styles of the early era of customs and hot rods, both East Coast and West Coast, reflecting the wide range of trends and scenes. A beautiful collection seen through the lens of master customizer George Barris.
By Brett Barris
Hardcover • 160 pages •8.25” x 9.375”
Color and b&w photos throughout ISBN 978-0-86719-894-2•$29.95
“Nobody, not even professional photographers, knows as much about lighting as a sculptor.”
—Stanislav Szukalski
“His most famous creations, such as the Ala Kart and the Hirohata Merc, remain instantly recognizable on the car collector circuit to this day.”
—The Guardian
Bruce Gossett
Jeff Allison
Hamz Toons
Dennis McPhail
John Pantaleone
Dennis Jackson
Shawn Dickenson
Tommy Wren
Johnny Jalopy
Vince Ray
Madding
Ben Mckee
Mark Arnold
Micah Claycamp
Johnny Ace
Craig Robb
Ben Montes
Dave Sanders
Stephen Sandoval
Have fun koloring these famous Barris Kustoms with illustrations by some of the top artists in the industry!
A collection of 26 illustrations of select cars, the design styles range from lowbrow to semi-realistic. Each image reflects the Barris Kustoms style and honors what George, Sam and Barris Kustoms were all about.
Add your own paint job to these unique vehicles: Kopper Kart - Sam’s Merc - Emperor - Ala Kart - Silver Sapphire - Golden Sahara - Vox Mobile - Moonscope - Turbo SonicXPAC 400 - Beverly Hillbillies - Drag-u-la - Munster Koach - The CAR - Elvira Macabre Mobile - Red Foxx Wrecker - ZZR - Calico Surfer - Surf Hearse – Ice Cream Truck - Mail Truck - Alvin’s Acorn - Hirohata Merc
In European folklore, the Krampus is St. Nikolaus’s dark servant—a hairy, horned, supernatural beast whose pointed ears and long, slithering tongue gave misbehavers the creeps!
The Krampus terrorized the bad until they promised to be good. Some he spanked. Others he whipped. And some he shackled, stuffed into his large wooden basket and carted away, then hurled into the flames of Hell!
Such scenarios were delineated by skilled and imaginative Old World craftsmen, printed on penny postcards and disseminated throughout Europe.
The rare examples featured in Last Gasp’s line of Krampus products are the best history has left to offer.
Krampus: The Devil of Christmas Hardcover book 978-0-86719-747-1
24.95
Krampus Greeting Cards in Tin 978-0-86719-778-5 $ 24.95
Krampus 1000-Piece Puzzle 978-0-86719-884-3 $ 39.95
Krampus Playing Cards no. 2 978-0-86719-863-8 $ 6.95
Krampus Playing Cards no. 2 Display 10-pack 978-0-86719-864-5 $ 69.50
Krampus Sticker Collection in Tin 978-0-86719-865-2
Creepy Krampus Sticker Book 978-0-86719-791-4
Santa Greeting Cards in Tin 978-0-86719-870-6
18.95
12.95
19.95
Santa Playing Cards 978-0-86719-871-3 $ 6.95
Santa Playing Cards Display 10-pack 978-0-86719-872-0 $ 69.50
KRAMPUS
Gasp
777 Florida Street San Francisco CA 94110
Celebrating 50 Years of
Publishing
Eco-Horror Funnybooks
Lowbrow Fine Art
Punk Literature
Graphic Novel Memoir Underground Popular Culture
Mind Candy for the Masses since 1970
Cover image by Laurie Lipton
THE NEW NORMAL 2021, charcoal and graphite on paper 23.25" x 27.5"
