The Dam

Phil Jackson
Brad Westcott
Jocko Weyland

"Bored with the routine, the toothbrush by the sink, folding the laundry, going to Safeway to buy the same goddamn groceries you do every time. You get a chance to escape the mundanity and what are you going to do? Not do it? Even if itís perilous and unadvisable? No, you owe it to yourself and the seven others youíve thrown your lot in with. Are you going to be the namby-pamby that bails out? No again, though inwardly you canít help think maybe itís not a great idea as you warily stand on the edge of the almost-cliff ready to follow in the footsteps of people you like but donít really know that well and also arenít sure about their capacity for common sense or concern for their own well-being. Thoughts, reservations, decisions to be made. Then you momentarily reflect on how infrequently one immerses themselves in peril and how that is living, and to deny that is doing yourself a regrettable disservice. So you decide to go on despite plenty of warning signs that you probably should not."
36 pages. Photographs by Phil Jackson and Brad Westcott, story by Jocko Weyland. Color and black and white. $8


Ines Picchetti

For eons Tandil’s Piedra Movediza precariously balanced on the side of a hill until the three hundred-ton rock fell and broke in 1912.  Though not pictured, that shifting stone “floating between the clouds and earth” acts as muse to a kindred spirit let loose in this enchanting and beguiling collection of images and text. Picchetti is an embroiderer with a conceptual bent, a graphic designer of no small renown in Santiago and Buenos Aires, whose diversified artistic sensitivity flowers sequentially on these pages. A celebration of printed matter, memory, pattern, kitsch, and nature, including Senor Picaflor the lion who with the frogs and rabbits sings in a choir heard at dawn.  Childhood is one underlying preoccupation, from the seven smiling youngsters in Plaza Huincul during the 1970s to kids’ shiny craft papers scattered over an anonymous Asian face on the cover. Vintage postcards, hallmarks of correspondence and longing, make frequent appearances, as do a couple from long ago wearing matching elk sweaters, princesses, a crudely sculpted Santa Claus, and leaves mirroring an arrangement of salt and pepper shakers and a jar of Nutella. Rulers and paperclips, Llama topiary, Sativa and geometrical diagrams, and a corset in formal agreement with the modernist interior of a room at the Albergues de Carretera road hotel in Spain.  Also present: Imperio, a classic bar with delicious pizza and good beer festively lit up at dusk in Chacarita, an apparent dream catcher over a waterfall, Todos Los Santos Lake, an elderly woman’s pelvic mound facing off against a majestic, withered tree, while two not so young lovers embrace by St. Petersburg’s waterfront in a photograph by Eleonora Margiotta. Meanwhile UFO-like heraldic forms populate the embroidery anchoring all this disparate but related pictorial phenomena. Flying saucers and the Buenos Aires planetarium, designed by Enrique Jan, come into being as textures comprised of typographic signs, extraterrestrial craft made out of “fonts” that repeat patterns in the process of leaving the virtual domain for the actual. Space lace, symbols, tokens, and secret, hermetic codes. Writing, mail, motif and decoration, epistolary pleasures, herein travel and restlessness interact with domestic contentment in a harmonious succession of elements both homespun and elegant.   
62 pages, color cover and inside front and back cover, four inside color pages. $8.

From the Fire
to the Wind
the Water
and the Earth
we Return

Mark Hubbard

From the Fire to the Wind the Water and the Earth we Return finds skatepark builder, artist and musician extraordinaire Mark Hubbard expanding into even further realms beyond those first seen in The Water and the Sand, published in 2006. That compendium of designs, drawings, renderings, and ephemera gave full voice to an idiosyncratic sensibility that in this new volume manifests itself at an amplified magnitude, combining copious evidence of uncanny gifts for three-dimensional draftsmanship and an exploration of the spatial (both in terms of volume and the actual space of the universe), freemasonry, and numerological patterns and convergences. Fine-tuned and minimalist depictions of skateable objects such as “The Scroll,” “Volcano,” “Eggstention,” along with the contradictory yet alluring “Semi-Unskateable Structure” are interspersed with graphic investigations involving the occult significance of the Philadelphia Grand Lodge’s Norman Hall Room, the number 144, the 33rd degree, and the links between Denton County, Texas, Denver and the Winkelman Reservoir. A north-south-east-west (black of winter, purple of spring, red of summer, blue of autumn) chart with the star of David at its center is just the beginning, a stepping stone to Hubbard’s hieroglyphical ciphers relating to the sacred geometry of pyramids, domes, monuments and steeples, the diameter of black holes at the center of planetary bodies, and the quest to “nullify the weight of enormous stones” using a flywheel consisting of U-shaped magnets divided into twenty-four parts. From arcane esoterica to the real world of aesthetically astounding and eminently rideable concrete sculptures that rival Alberto Burri’s “Grande Cretto” in scale, this covers the spectrum from the anthropomorphic “Nollie Nosebash Nose Gap” and a mermaid fountain to a olive tree-bisected dome for Tel Aviv and a balls-out bomb drop off the rail into the halfpipe at a Zuma Beach contest in 1997. A secular yet mystical tendency verging on the Cabalistic runs through these mysterious diagrams, complimented by brick and mortar fantasia. Also included are the stark verisimilitude contained in expressive tales of despair and survival that are Grindline The Band’s lyrics, a vintage cover of Wez Lundry’s Pool Dust (that promises “Hate, vitriol, bile, and nonsense”) and photos by Mike Swim, Mark Scott, Scott Smiley, Joey Tershay, and Jay Iding.
Color cover and inside covers, 46 pages, $8.

“Broken bottles, shattered dreams, this disease bleeds through my knees, infected elbow, oil and grease, the toxic wasteland down the street, abandoned house, abandoned pool, we scoped the alleys we’ll find some tools, a sludge bucket, a Slurpie cup, I’ll use my shirt, to mop it up” – “Broken Bottles“

Grindline the Band
(Moor Grier, drums, Mike Chenoweth, bass, Chad Madman, guitar, and Mark Hubbard, guitar & vocals)

Black Paintings

Chris Churchill

Lovers in tender or potentially pornographic embrace, a woman (or man?) stretching with arms up alternates as a shape-shifting monster, ghosts of centurions, hands wrapped around a pen in multiple Pavel Tchelitchew-like diverging lines, crossing and squiggling and shaking, an exploding figure of many pencil-seared rays buttoning a shirt, Aloe plants, a laughing sitting skeleton inside of a another shirt, faces in triplicate, two people in conversation on a bench, and a Madonna’s head – or is that a lover? Purple, lilac, rose, salmon, coral, baby blue, black. Black but a black of color and light. An overabundance of white light equals death which in turn equals a pure void. This is not meant as a record but instead presents another way of seeing what is present though has become obscured or hidden from view in process. Mining both figuration and abstraction to combine the two opposing tendencies, hiding the representational in the non, Churchill’s resulting drawings and paintings included herein are a feedback loop made up of their mutual interaction. Let the artist now incant five names: Walter Benjamin, William S. Burroughs, Allen Ginsberg, Haruki Murakami, and Walt Whitman. Let these names shed light through the power they contain and transmit that luminescence. Counting the grains of sand is as important as naming all the stars. The Art of the Past, The Art of the Future, This Now-Moment we are living in, the moments of the work’s making. The old gods buried deep in weeds, everything is deep in weeds, deep in memory. The places Surrealism has hinted at are here. Walk through a door that was always there, always open since cave paintings, reach into this source of collective experience, the vision of the birth of all things before there was an eye that might see it, before rods and cones, before time, the origin, the Aleph, from which all things are visible at all times. 28 pages, 11 x 8 1/2”, color cover, color and black and white inside pages, pink paper centerfold. $8.

Objects Also Die

“Observe its honesty, dignity, and moral courage; itís drawn all the necessary conclusions from its own total loss of function. Objects also die my friend. And if they also must die, then thatís it, better to let them go. It shows far more style, above all. Donít you agree?" So says MicÚl in the most well known of the Il romanzo di Ferrara. Grappling with that question and the necessity of letting go is the motive animating the panegyric essay ďObjects Also Die,Ē Doug Magnusonís filmic memorial of the same name, and the two fused together with extra material that makes up Objects Also Die. Designed by Myron Hunt and built in 1920, The Ambassador prevailed at 3400 Wilshire Boulevard in the City of Angels through innumerable guests, six Oscar ceremonies, one assassination of a presidential hopeful, and countless unrecorded collective and personal histories before being demolished to make way for a school in 2006. Through the prism of the hotel and San Diegoís El Cortez and The Stanley in Estes Park, Colorado, this compendium explores the loss of the Ambassador by delving into the conundrum of dealing with the death of inanimate things that have taken on a life of their own. The draw at The Ambassador was communion with unknowable bygone times and that singular stillness pervading rooms where no one has been for a long time, a kind of mildly illicit romanticist exploration of seductive ruins. Magnusonís elegiac, calm, dry-eyed yet poetic nineteen minute documentation is accompanied by George Dragunsís affecting and occasionally spooky soundtrack, and the collection also includes Greg Magnusonís spectral photographs of the beautiful decrepitude that defined the hotel in its last days. F. Scott and Zelda Fitzgerald (and the bungalow they set fire to), the Cocoanut Grove, the Venetian Ballroom are all included, along with ephemera and mementos related to its seventy-year run. With guest cameos by Ronald and Nancy Reagan, Charles Manson, Alice Cooper, Norma Shearer, Art Nyhagen (the hotelís doorman from 1946-89), and Dominique Sanda and Helmet Berger in Vittorio de Sicaís adaptation of
The Garden of the Finzi-Continis
. 44 pages with a color cover and DVD, $15.

Compared with memory, all possession, in itself, can only seem disappointing, banal, inadequateÖ"
- Giorgio Bassani, The Garden of the Finzi-Continis.

Watch & Listen
Watch & Listen

The Queen in
The Dance Party
Mary Dennis

“Those who have aroused serious accident will be sent to related department for punishment”

Next door to McDonalds there's a fast food chain called Kung Fu that sells noodles and has Bruce Lee instead of Ronald McDonald as a spokesman, a family lives and gardens in an empty lot until disappearing one day when the bulldozers arrive, and three men chase down an old woman with a Styrofoam cooler full of flowers, tackle her, rip her cooler apart, grab her flowers, and calmly walk away. True life stories from this Singapore- born, American-raised, Beijing-based author whose liminal status gives these accounts their punch, profundity, and humor. This endlessly fascinating and confusing megalopolis that is Dennis’ current hometown provides an alternately comedic and tragic backdrop for these seventeen short stories. Sights, sounds, and smells of ultra-vivid experience come through with full force, from absurdly mangled linguistic foibles of doing voice recordings of “Japan Cuisine Restaurant” dialogues in the title story, to the heart wrenching futility of giving a few bills to a woman crying over her dying daughter in the street, to the improbable existence of “ligers” at the Harbin Tiger Park. Attentive to detail and an authentic reflection on the mixed emotions and startling perceptions the city constantly elicits, they cover an arc of adaptation from first contact through mystification to more bewilderment, and then some level of quasi-understanding. An astute and perceptive mix of the nonsensical and the deeply affecting, this is a topsy-turvy and sometimes hilarious world of little monks brought in from the Shaolin temple so there would be something cool to look at, finding out that “Jazz was produced by the American Blackmen who were brought to the Southern states as slaves,” wrestling with the dilemma of an intimidating pile of skewered chicken livers, cartilage, and tripe, listening to MC Hotdog to learn Chinese and reading his Chinese character Chinese character YO CHECK THIS OUT Chinese Chinese MOTHAFUCKA liner notes, and buying a bicycle from a shady character in a back alley, naming it Bluey, and then getting it stolen three days later.
52 pages, with a centerfold photograph by Wayne Liu. $8.

from "Wrapped in Red"

Vince Aletti

The male gaze going where it wasn’t supposed to during the charged subterranean years after World War II and before the mid-1960s. That is, not at women. Compiled from a personal trove by critic and curator Vince Aletti, this collection of photographs showcases multiple archetypes from sailors and leather-jacketed rough trade to fresh-faced lettermen and nascent movie stars. Poetic pairings as aphrodisiac, unspooling like a visually syncopated scrapbook of young male pulchritude. Dudes who were cool and looked cool without trying too hard. Blue-collar, white ethnic, from another time and place, and with an air of un-self-consciousness woefully missing in this day and age. The taboo and suppression of the era mixed with the thinly veiled and sometimes completely unmasked homoerotic nature of these striking portraits evinces a different world that burbled beneath mainstream society prior to today’s anodyne homogenization on one hand and muscle queen grotesquerie on the other. At play is a refreshing almost wholesome lubricity that pays tribute to decidedly not cheesy handsomeness in all its iterations. Pomade and brilliantine abound, as do moles, salient collarbones, strong necks, smooth chests, hairy chests, shiny backs, nice biceps, heavy brows, wide lips, Roman noses, and dark eyes. The opposite of perfect, and that’s a big part of their appeal and what makes them perfect. Eyebrows cocked, bemused, defiant, wistful, coy, smoldering, vulnerable, though just as often happy, smiling and unguarded. Hand to chin, staring into space, in profile. Bowling shirts, checked jackets, cardigans, wide collars, hats tilted back insouciantly, and bulges below the belt. Some are living incarnations of the bawdy characters in Paul Cadmus’ “The Fleet’s In,” dangling cigarettes and looking tough, while a few seem to have come straight out of a college yearbook, like the fellow holding a copy of the classy early 1960s soft-core hardcover magazine Eros. Kustom Kar Kommandos, Caravaggio, Tom of Finland, and the less baroque side of George Platt Lynes all come to mind, but more universally this is a celebration of eternal male attractiveness. It ends with a banger on the last page with a shirtless dark-skinned stud sporting a sun hat, and includes an appearance by a Warren Beatty lookalike and a cover shot of Sal Meneo in all his Rebel Without a Cause glory. 50 pages, color cover and inside front and back covers, $10.

Focus Photo Finishers
Mark Gonzales

Catalogue published in conjunction with Mark Gonzales’s “Round N’ Round” exhibition at New York’s Franklin Parrasch Gallery in October and November 2009, this two volume compendium of drawings, postcards, poems, painted-over newspapers, and photographs by or depicting Mark Gonzales covers an international correspondence spanning more than a decade beginning in 1993. Geographically emanating from such diverse points as San Francisco, Tonga, Paris, Berlin and New Zealand, all were sent in a consistent and copious correspondence between those locales and Manhattan and Brooklyn. Both a primer and survey of Gonzales’ wide-ranging artistic exploits, and a graphic and photocopied link to the newer sculpture and video in “Round N’ Round,” the material in Focus Photos Finishers includes, but is by no means limited to: altered fashion advertisements, drawn and written on postcards picturing Herbert Huncke, Robert Johnson, and a Russian circus bear (amongst other subjects), a portrait of Emily Dickinson, four-time world champion surfer Mark Richard’s autograph on the title page of Thomas Hardy’s The Mayor of Casterbridge obtained during a flight from Los Angeles to Auckland, a cloth skateboard patch presented to Gonzales in Czechoslovakia prior to the fall of the Berlin Wall, representations of 2nd Century B.C. Parthian statues, faxes sent from High Speed Productions featuring a drawing of Michael Jackson complaining “I’ve never been so Insalted,” a photograph of Lee Ralph next to a palm tree, aphoristic texts (“God called out loud but not one would hear him so he went underground he’s low key"), and numerous drawings displaying the full spectrum of Gonzales’s varied and unmistakable styles. Contained together in a transparent plastic wrapper, volume one is 8 ½ by 5 ½,” 14 pages with a color cover and pink pages, volume two is 8 ½” by 7 ½,” 34 pages with a color outside and inside cover and a color centerfold. Edition of 100, $20.

View Installation

“The king of the zoo is the man with the food”

Gil Gonzalez

Gil Gonzalez was born in Iquitos, Peru sometime in the late 1960s and grew
up between Lima and Miami before settling in Boca Raton as a teenager. All
evidence points to his artistic endeavors beginning in this period, where he
reportedly honed his style while working as a busboy at Café Bellino.
Records show that he graduated from Pope John Paul II High School in 1987,
but after that the arc of Gonzalez' life is more a matter of conjecture than
fact. He seems to have made his way to Southern California, supporting
himself by working in restaurants and for the G T swimming pool cleaning
firm in Hawthorne. The proximity of Hawthorne to South Gate might have
fueled the persistent rumors that Gonzalez is the brother of skateboarder
and artist Mark Gonzales, though their surnames are spelled differently and
Gonzales stridently denies the connection. Sometime in the mid-1990s
Gonzalez was institutionalized for several weeks at the Valley Convalescent
Center in El Centro, but the trail goes cold after that, and in fact he was
completely unknown until these works were found in a Tecate twelve-pack box
next to a shed by an empty swimming pool in Torrance in 2007. Gonzalez'
varied, twisted and scatological output does not have an close analogy in
contemporary art, outsider or otherwise, and his inscrutable and id-gone
awry world of shit, skulls, dogs and cats, the mysterious "Daisey
Devillanese," self-destructive elephants, "Honkey Nutz", and $3
incontinence-inducing soybean bean burgers exists in a realm totally of his
own making, a profane yet unexpectedly touching extra-dimensional universe.
Discovered by pure chance, this effervescence of an exceptional artist¹s
unconscious mind is being unleashed upon a public possibly unprepared but
also maybe unknowingly receptive to his one-of-a-kind achievement. 49
pages, color cover and centerfold, $8.

Almost News

“Rolling open with a satisfying whoosh, the solid overstuffed drawers would reveal upright cardboard files whose condition ranged from crispy brand new to disintegrating scraps. “Schauffler, Jr;, William G. Col. Airforce D E A D 10/22/51,” for instance, on the Personality side, or on the Subject side: “Toys: Historical,” “Models: Ships and Submarines,” or “Portugal: Industry: Misc.” There were “Hands,” “Magicians and Mind Readers,” “Brushes,” and “Monocycles.” Everything was broken down into a thousand, a hundred thousand, a million different categories, subgroups, subsets, and variations. There were wild unfulfilled notions that had been photographed in the planning, the making, the testing, or the aftermath, curious pursuits, causes, philosophies, social issues, ideas, and adventures never dreamed of.” Catalogue for “Almost News” at KS Art, New York, February-April 2009. 46 pages, $10

Installation Views

“One young aquarium fan in Hamburg, Germany, solved the problem of transporting a pair of goldfish from his home to that of a friend by placing them in a water-filled plastic bag and fastening it to the handlebar of his bicycle, as above. The ride joggled the fish a bit -- but they arrived safely.”



Desirée Hammen

"People who have the package in their hands are the best."

Catalogue for Desirée Hammen’s one-night exhibition at the Elk Gallery on Crosby Street, December 20th, 2008, “Insieme” brings together all (and more) that was on display that cold sleety evening, including examples of Hammen’s painstakingly handcrafted clothes that mix fineness and grit with the spirit of sidewalk detritus that animates much of her intuitive couture, and vestments done in conjunction with the Painted collective. Also featured are willing strangers and the cigarettes they gave as part of “Share,” the idiosyncratic domesticity of the “Home Sweet Home,” and evidence of mask wearing at an “Animal Farm” event/birthday party in Mölnbo, Sweden. The fruits of inventive collaboration, trash appreciation, and exquisite craftsmanship comingle in these lush photographs, showcasing art and raiment as unexpected surprise and the action, reaction and randomness of unscripted social discourse. The crooked and weathered ten-foot long stick discovered near Smith Street and W. 9th in Red Hook that Hammen dressed in a one-of-a-kind sewed coat is on the last page, in situ. 40 pages, full-color, $12.

Installation Views


Nothing... yet...

Artus de Lavilléon

"Un homme obsedé est un homme possede du demon"

Catalogue for the "No Deposit ­ No Return (I¹m Not an Underground Artist)"
exhibition at the Elk Gallery on Guanghua Lu in Beijing, April 2008.
"Nothing...Yet..." is the bastard offspring of a collaborative miscegenation
between Elk and Deadpan, overflowing with de Lavilléon¹s witty, scabrous,
incisive drawings that mix social commentary, true life experience, comely
females, alternately hilarious and angst-ridden personal revelations, and a
healthy dose of raunchiness. Spawned by Spring Festival fireworks and
discussions over baozi in Sanlitun, this tome is both a record of the
artist's six-month stay in the northern capital and document of the process
that led to "No Deposit ­ No Return" materializing on the walls surrounding
a mini-ramp in a downtown Beijing warehouse. French skate-punkism and
Situationist détournement and "customization" with Debordian comic book
overtones, told through image and text depictions of Chinese Hip-Hop kids,
guilty visits to McDonalds, punk snobs, workers eating lunch, old skaters,
art collectors, dead cowboys and washed-up boxers, along with attendant
rants, aphorisms and dialogue. Guest appearances by Mao Zedong, Andy
Warhol, Karl Lagerfeld, Minnie Mouse, Marc Jacobs and Chen Wenling, along
with written musings and dialogue cut-ups from Breathless by de Lavilléon
and Jocko Weyland's essay "Wasting Time to Be Free (Je crois que je
gagne!)" Lushly illustrated, provocative, and the definitive printed
manifestation of the Art Posthume declaration "You must not do to be, you
must be to be." C'est la vie.
90 pages with a color cover, in English, French and Chinese. $12.

"Putain de tatouage de merde! C'est que ca fait un malde chien!"

Installation Views



Rick Charnoski

"Poorman's wealth, brother to death,
The balm of woe - the indifferent judge between high and low."

Taking pictures of sleepers is like bird watching. Rick Charnoski is a
sleeper watcher nonpareil, documenting everything from poetic New York
subway slumberers to four women enjoying a quick vehicular nap. "Sleepers"
is comprised of amazing photographs showing people of all sorts and stripes
dozing on benches, planes, trains and on the grass, interspersed with
Charnoski's handwritten textual commentary such as "In Japan They Sleep
Too" and "Meanwhile in LA, a person adapts to the bum-proof bench with a
yoga mat." In addition quotes from various sources, including Noam Chomsky's
notorious nonsensical sentence "Colorless green ideas sleep furiously" are
liberally sprinkled through this one of a kind book. Also: sidewalk
explosions (melting like soft cheese in the hot sun), different sleeper -
same spot, the fire nap, and an incredible double down in Greenpoint.
60 pages with a color cover and 4 inside color pages, $8

"Sleep is the state of natural rest observed in most mammals, birds, fish,
as well as invertebrates such as the fruit fly Drosophila."


La Perruquière

Gloria Toyun Park

"WIG (1) Subs. An artificial head of hair, from the French Perruque and
through the forms, Peruke, Periwyk and Periwig, became wig by 1765, as a
result of the elision of the first two syllables. See also Periwig.
'Beneath an ample wig he tucks his hair.' 1760. (Woty)" - From James Stevens
Cox, The Illustrated Dictionary of Hairdressing and Wigmaking, 1966

Catalogue for the comprehensive exhibition "La Perruqueière" (The Female
Wigmaker) at the Elk Gallery on Pico Boulevard in Los Angeles, May-June 2007.
Includes documentation of Parks's wigs, drawings, rock pieces, appearances at
Wigstock, the performances "She, Sublime" and "Hypothermic Runway Rack" and
stills from her films and videos. With photographs of the artist and her
work by Patrick McMullen, Bill Cunningham, Angelika Grundler, Andreas
Bleckmann, Misa Martin, and Jocko Weyland's essay "From Ahgashee to
La Perruquière: Gloria Toyun Park Returns to Koreatown." Related imagery
by James Stevens Cox, Yi In-Mun, and Ashley Bickerton.
48 pages with a color cover and four inside color pages.

"Hair is potent because it defines our sexuality - though hair
has no gender" - Gloria Park

Installation Views


The Regency



"Climb over the fence and go directly south along the side of the building...
use the chair to climb over the wall...please be advised that by
attending the exhibition you will be trespassing and thereby are subject to
the possible consequences of breaking the law...also keep in mind that
you will have to climb two five-foot high walls and that sensible shoes are
recommended due to debris and other obstacles...The Regency does not
have bathroom facilities, though that does not necessarily mean you can't go
to the bathroom there."

Catalogue for one-day exhibition at The Regency apartment complex (R.I.P.) in
Hollywood on March 4th, 2007. Includes artwork by Nicole Andrews, Gerardo
Castillo, Rick Charnoski, Bill Daniel, Frank Grow, John Brinton Hogan, Sue
Huang, Brian Kennon, Julie Lequin, MachineHistories, Doug Magnuson, René
Margritte, Coan Nichols, and various unidentified Regency visitors and
44 pages with eight inside color pages and a foldout color
back cover,
a Divine sticker by William McCurtin, and a CD of
Daniel Pineda's sound piece "Whirlpools@Regency," $15

"Perhaps the Regency now was officially dead; but it sure had
been a nice wake." --Kate Wolf

Installation Views

Now I Hate Summer


"Malibu is summer....summer is ruined. Now you have to share your summer
vacation with everybody - I hate to share my time with working slobs. Summer
has had it. You have to share it with everyone else. Now I hate summer: for
four months out of the year now I have to sweat it out." --Miki Dora

Catalogue for exhibition at the Elk Gallery in New York running from December
2006 to January 2007. Includes Craig Stecyk's essay "Victims of
Circumstantial Evidence, or, You'll Never Hear Surf Music Again", Jocko
Weyland's "Hydro-Knight Templars" and artwork by Billy Al Bengston
Rick Charnoski, Judy Chicago, Anthony Friedkin, Rick Griffin, Robert Irwin,
John McCracken, Joe Quigg, Ed Roth, Anne Truitt and Von Dutch, with two
poems by Francis Picabia.
44 pages with color centerfold and foldout back cover, $10.

"Waves are the ultimate illusion. They come out of nowhere, instantaneously
materialize and just as quickly they break and vanish. Chasing after such
fleeting mirages is a complete waste of time. That is what I choose to do
with my life." - Miki Dora

Installation Views

Teen Book

Kate Haug
Nicole Andrews


"I love you, forgive me, I am love, I am a heart." The poetic truths of high
school journal keepers, both actual and transformed by Haug five years after
graduation. Dispassionate terseness belied by those undeniable poetic truths
as raw feeling seethes right below the surface. Listlessness and
dissatisfaction commingle with possibility in California's Central Valley
during the mid-1980s. Tallow factories, wineries, speed, Chevelles, alcohol,
blowjobs, boys that smell like chlorine, Caprices, Taco Bell, Corvettes, and
lots of driving. "One night we all drove to Manteca to get some speed. We
drank the whole way there - traveling up the 99 north from Modesto. For some
reason the car seems small in my memory even though I know it was big. It is
probably because I passed out along the way." Interlaced with Haug's stories
are Nicole Andrews' evocative, haunting drawings of pools, men in bars,
couples kissing, and solitary figures blankly confronting the viewer. A
perfect compliment and foil to the text, Andrews' wayward characters embody
an overarching sense of aimlessness, of time going by without anything
happening, and the irrevocable passing of youth's expectations. Completed in
1997 but never published, Teen Book is finally, deservedly, seeing the light
of day. With front and back cover photos taken in Modesto by the
incomparable Marcy Robinson.
48 pages, $6


The Water and The Sand

Mark Hubbard

An early and crucial participant in the Burnside Project, Mark Hubbard has
subsequently - in his capacity as head of Grindline Skateparks - been
responsible for the construction of over 50 outstanding and seminal
skateparks in the United States. Though his work in concrete is justifiably
world famous, his preparatory drawings, schematics, and writings collected
in this volume are less well known. Included are plans later manifested in
three dimensions at Orca's Island, Washington and Mammoth Mountain,
California, just to name two pilgrimage sites, as well as bewildering M.C.
Escher-like mazes, designs for multi-media projection devices, photographs
of the Grindline crew at work, archival newspaper articles, fantasies by
teenage attendees of city council hearings, prose poems from the road and
Northwest Indian influenced color artwork. Imbued with an individualistic
and uncommon sensibility, these drawings completely transcend their
practical origins by the fact that almost all of them have been realized as
actual, built concrete wonderlands enjoyed by adherents from around the
globe. A comprehensive, mind-boggling artistic outpouring brought together
in one place that forms an unorthodox biography of a true visionary and folk hero.
52 pages. $6.


Thomas Hauser

Primarily known for his paintings, drawings and mosaics, Thomas Hauser’s photography constitutes a rich new vein in a twenty-year career of restless, single-minded artistic exploration. Saturated colors and pitch-perfect compositions buoy achingly pretty flower studies, Naples at night, seemingly deserted buildings and little brightly-hued cars, mysterious balloons, ominously draped chairs and cameras of all sorts, interspersed with something else entirely. That, the primary focus of this volume, is an intense concentration on the baroquely multi-hued world of female undergarments, panties that is, both by themselves and worn on, pulled down around or stretched tight over the barely concealed pudenda of one very unselfconscious model. A close-up, unflinching, unsentimental look at one woman’s body, they are also wildly colorful and celebratory and anchor a collection that manages to find the beauty and terror of the sublime in the mundane as well as the agonizingly pulchritudinous. Offensive to some, controversial to others, certainly, but also mesmerizing and strangely incendiary.
All-color, 40 pages. $15.

Time Kills

Evan Becker

Eros, fame, anxiety, Goya, humiliation, Robert Hughes, Pall Malls, hanged men, Chevrolet Caprices, aneurysms, comets and men in canoes daydreaming of murder. A cauldron of fear and loathing and Art Brut scrawling, Becker’s text exhortations and aphorisms ("Shape Up, Kid!" "Everythings Complex") stand alone or are joined to drawings that manage to be both part of the high art historical continuum and filled with savant atavistic rawness. Not nice, not pretty, but memorable, powerful and occasionally beautiful.
46 Pages. $6.


Mike O'Meally

From the globe trotting Australian best known for his outstanding skateboarding photos, a collection that expands on those achievements with images from around the world on the cusp of the 21st Century. Everything is covered from burning cars, cryptic signage, crucifixes and discarded TVs in America’s heartland to elephants in Africa, Asian policemen, cane toads and Cairo Foster grinding a rail in front of the Cairo Supreme Court building. O’Meally’s ever curious and attentive eye produces a picture poem of new age's action, heroics, terror and the quiet moments in between.
34 pages. $6.

Famous for Never
Two Other Stories

Peter Nolan Smith


Peter Nolan Smith is a New England-born former
nightclub bouncer and diamond dealer who now lives in
Thailand. The self-professed "failurologist" narrator of
"Famous for Never", "Gay Boy" and "One RPM" is both
to-the-point and toughly poetic as he vividly evokes
1980s New York, Paris and Hamburg as well as
contemporary Watchic Pond and Pattaya. Jean-Michel Basquiat,
Klaus Nomi, Brigitte Bardot and Rock Hudson make
appearances; so do Anita Bryant, perennial Red Sox
scapegoat Bill Buckner and a pseudo-anarchist teenager
who goes by the name Bakunin. Prodigious drug and
alcohol abuse, Studio 54, insanity, naked men
chained to trees in the woods, and refrigerator
destruction are just some of the elements in these
elegiac and celebratory paeans to lost fortunes,
the loss of loved ones and the redemptive powers of
street basketball and hope.
50 pages. $6.

Merry Christmas
Beijing, China

Johnee Kop

A sampling of Johnee Kop’s extensive photographic output over a three year period in Beijing and other regions of China. Copious amounts of self-portraiture are paired with a number of unknown photographers’ records of Mr. Kop’s daily activities. Ex-skateboard pro, ex-Chokebore drummer and now a tennis coach (and second highest ranked amateur tennis player in China, 18-and over division), Kop’s vision of his adopted homeland and his place in it is strange, beautiful and impossible to categorize.
Not for the faint of heart.
28 pages $6.


Today Your Love
Tomorrow the World

Thurston Moore
Jocko Weyland

Catalogue for Thurston Moore’s and Jocko Weyland’s fall 2005 "Today Your Love, Tomorrow the World" exhibition at KS Art on Leonard Street in New York. Moore’s collages reconstituted from Creem and Rockscene (amongst other sources) and Weyland’s close-up photographs of hardcore-era record covers are reproduced, as are contributions by Jack Brewer, R. Elis, Charles Henri Ford, Godlis, Bob Greun, Lazlo Maholy-Nagy, Dave O, Raymond Pettibone, Pushead, Kerry Schuss and Fred Tomaselli.
20 pages $6

Acrobats Shouldn't Fall
Other Poems

by John F. Weyland

Short and sometimes funny poems of sex,
regret, anxiety, nihilism and man's irrevocable
drive toward self-annihilation, along with
"The Slums of Naples," a longer evocation
of fear and loathing in post World War II Italy.
37 pages. $6

Lies Like Truth, or,
A Little Bit of Luck
and a Dash of Larceny

by John Godley

John Godley's probing, playful long form essay on the interrelated output and destinies of the master forger Elmyr de Hory, The Autobiography of Howard Hughes author Clifford Irving, Howard Hughes himself, and Orson Welles, who brought them altogether in F is for Fake, his masterful cinematic meditation on the the confluence of fakery and reality. First published in Bunnyhop Magazine's "Fake" issue in 2000, this is a complete and unabridged version of the little-known but seminal exploration of the compulsion to believe in coincidence, magic, masterpieces and professional liars. With added illustrations and photographs.
16 pages. $6.