Published by Reel Art Press/BMG Books. By The Zombies. Foreword by Tom Petty. Text by Scott B. Bomar, Cindy da Silva. Contributions by Brian Wilson, Carlos Santana, Paul Weller.
Released 50 years ago, and celebrated in this new book, the Zombies' final album Odessey and Oracle is a masterpiece of '60s rock
I remember first hearing 'She’s Not There' on the radio in my bedroom. So ethereal. So spooky ... the DJ said it was The Zombies from England. 'Of course,' I thought. 'That is exactly what a zombie rock group would sound like.'” -Tom Petty
To mark the 50th anniversary of the recording of their classic Odessey and Oracle album, The Zombies have assembled an eclectic collection of rare and unseen photos, original artwork and personal memories that offer readers an intimate snapshot of one of the more influential bands to emerge from the UK music scene of the 1960s.
The superbly illustrated book includes handwritten lyrics for 22 songs. From early hits “She’s Not There” and “Tell Her No,” through every song on Odessey and Oracle—including the hit single “Time of the Season” —and all the way up to today, each selection is accompanied by a running oral history by original band members Rod Argent, Colin Blunstone, Chris White and Hugh Grundy.
Renowned artist Terry Quirk, who created the look of Odessey and Oracle, designed the book’s cover and contributed new artwork throughout, while Vivienne Boucherat created a unique piece of art to accompany each of the 22 songs. Additionally, The Odessey is rich with reflections from music journalists, friends and fans, including Tom Petty, who wrote the foreword, Brian Wilson, Carlos Santana, Susanna Hoffs, Paul Weller, Graham Nash, Clive Davis, Nate Ruess of FUN and members of Cage the Elephant and Beach House.
Published by Damiani. Edited with text by Claudia Zanfi. Text by Sasha Frere-Jones, Bill Owens.
The turbulent, iconic festival captured in previously unpublished images
Bill Owens: Altamont 1969 presents a new and previously unpublished series of photographs of the Rolling Stones’ infamous concert at the Altamont Speedway in California.
The Altamont Speedway Free Festival has become an emblem of the upheavals and aftershocks of a decade of change. At Altamont, Owens captured a generation’s desire to stand up and raise its voices against the war in Vietnam, against segregation and racial discrimination, against authority in general.
The lineup at Altamont featured the Stones, Jefferson Airplane, Carlos Santana and many others; Owens was hired by the Associated Press to cover what promised to be a huge rock concert. But when Owens arrived at the Altamont Speedway with “two Nikons, three lenses, thirteen rolls of film, a sandwich and a jar of water,” he witnessed one of the defining moments of the late ‘60s. At Altamont the utopian hopes and innocent conviviality of the 1960s gave way to tension and a deadly violence; as the Stones continued to play and much of the crowd remained oblivious, an 18-year-old African American boy named Meredith Hunter was killed by the Hells Angels hired as concert security. This book captures the festival’s agitational energy that manifested itself in slogans and billboards, sit-ins and demonstrations and concerts that were treated as collective rites.
Bill Owens (born 1938) made his name in 1973 with the publication of Suburbia, one of several monographic studies he undertook into the customs of middle-class America. Whether documenting the American suburbs or the cultural revolutions of the 1960s, Owens has always approached photography with a perspective grounded in the observational methods of the social sciences; he imagines himself as a “visual anthropologist.”
The official 50th-anniversary book on the festival that epitomizes the '60s
This is the official 50th-anniversary celebration of Woodstock, by the festival's co-creator and co-founder, Michael Lang. A large illustrated edition, it includes hundreds of photographs and documents accompanied by Lang's fascinating memories and insights into the most famous and influential festival of all time, with images of Jimi Hendrix, The Who, Crosby, Stills Nash & Young, Richie Havens, Creedence Clearwater Revival, Santana, Janis Joplin, Joan Baez, Country Joe McDonald and the Grateful Dead. The ephemera from Lang's largely unseen archive include the original designs and plans for the event, correspondence, set-lists, information on artists' fees and much more. This wealth of information is accompanied by the best photographs of the event by famous and unknown photographers such as Ralph Ackerman, John Dominis, Bill Eppridge, Dan Garson, Barry Z. Levine, Elliott Landy, Lee Marshall and Baron Wolman, and notably featuring the archive of Henry Diltz. Diltz was the only official photographer at Woodstock and was there for two weeks, from an empty field of cows to first construction, crowds arriving and the aftermath. He also captured onstage performances and behind-the-scenes moments with the many artists involved. Woodstock is an exuberant volume that conveys the vision, hard work and elusive magic that made up "three days of peace and music."
Published by Hatje Cantz. Edited with text by Florian Habicht. Text by Heather Cremonesi, Valerie Mendes.
Young London, permissive paradise: Habicht’s images capture the uninhibited spirit of the 1960s
The iconic black-and-white photographs of Hamburg-born photographer Frank Habicht (born 1938) reflect the spirit of the Swinging Sixties in London. In the 1960s, the conservative postwar years in England gave way to a period of upheaval, with a younger generation dreaming of an unconstrained life, one full of free love, peace and harmony. On the streets of the British capital, Habicht began photographing the profound social and political changes that were underway.
Habicht, who has lived in New Zealand since 1981, has produced photographs for many international magazines and newspapers, such as the Guardian, Die Welt, Camera Magazine and Twen. His photographs were recently exhibited at the Barbican in London, and he has made portraits of music and film greats such as Mick Jagger and the Rolling Stones, Jane Birkin, Christopher Lee and Vanessa Redgrave.
Frank Habicht: As It Was collects Habicht’s photos from the 1960s in an opulent book. A unique collection of images of the swinging, groovy, hippie and psychedelic ‘60s in London, it offers an eye-opening contribution to the history of a country that is currently undergoing yet more social transformation.
Published by Kant. Edited and with text by Jan Ságl. Preface by Lenka Bucilová. Interviews by Petr Volf.
In mid-1960s Czechoslovakia, prior to the Soviet invasion, the hippie ethos reigned supreme. Photographer Jan Ságl (born 1942), now well known for his photographs of Paris, was on hand to document the communes, bands and performances of the time. He photographed the scenes around the artist Zorka Ságlová, the art theorist Vera Jirousová and bands such as the Primitives Group, the Plastic People of the Universe, DG 307, Aktual and others. In the spring of 1976, while Ságl and his wife were holidaying at their weekend cottage, the police cracked down on the circle around these bands, searching homes, interrogating "suspects" and making arrests. Ságl returned home just in time to hide his photographs, which would otherwise have led to many further arrests. They remained hidden, and were eventually thought lost, until 2012, when Ságl unearthed the images--compiling them in this astonishing, massive panorama of an otherwise undocumented Czech counterculture.
Published by Walker Art Center. Edited with text by Andrew Blauvelt. Text by Greg Castillo, Esther Choi, Alison Clarke, Hugh Dubberly, Ross Elfline, Craig Peariso, Tina Rivers Ryan, Catharine Rossi, Simon Sadler, Felicity Scott, Lorraine Wild with David Karwan. Interviews by Adam Gildar, Susan Snodgrass, Elizabeth Glass.
Hippie Modernism examines the art, architecture and design of the counterculture of the 1960s and early 1970s. The catalog surveys the radical experiments that challenged societal norms while proposing new kinds of technological, ecological and political utopia. It includes the counter-design proposals of Victor Papanek and the anti-design polemics of Global Tools; the radical architectural visions of Archigram, Superstudio, Haus-Rucker-Co and ONYX; the installations of Ken Isaacs, Joan Hills, Mark Boyle, Hélio Oiticica and Neville D'Almeida; the experimental films of Jordan Belson, Bruce Conner and John Whitney; posters and prints by Emory Douglas, Corita Kent and Victor Moscoso; documentation of performances by the Diggers and the Cockettes; publications such as Oz and The Whole Earth Catalog; books by Marshall McLuhan and Buckminster Fuller; and much more.
While the turbulent social history of the 1960s is well known, its cultural production remains comparatively under-examined. In this substantial volume, scholars explore a range of practices such as radical architectural and anti-design movements emerging in Europe and North America; the print revolution in the graphic design of books, posters and magazines; and new forms of cultural practice that merged street theater and radical politics. Through a profusion of illustrations, interviews with figures, including Gerd Stern of USCO, Ken Isaacs, Gunther Zamp Kelp of Haus-Rucker-Co, Ron Williams and Woody Rainey of ONYX, Franco Raggi of Global Tools, Tony Martin, Clark Richert and Richard Kallweit of Drop City, as well as new scholarly writings, this book explores the conjunction of the countercultural ethos and the modernist desire to fuse art and life.
Published by Reel Art Press. Foreword by Shepard Fairey. Text by Peter Doggett. Afterword by Joan Baez.
The life of a symbol, in the streets and on the subway—a plea for a peaceful world
Jim Marshall: Peace collects the beloved photographer’s previously unseen “peace” photographs, taken mainly between 1961 and 1968. Photographing across America, Marshall charted the life of a symbol, documenting how the peace sign went from holding a specific anti-nuclear meaning to serving as a broad, internationally recognized symbol for peace. Marshall captured street graffiti in the New York subway, buttons pinned to hippies and students, and West Coast peace rallies held by a generation who believed, for a brief moment, they could make a difference.
The Campaign for Nuclear Disarmament (CND) symbol, also known as the peace sign, was designed in 1958 by Gerald Holtom for the British Campaign for Nuclear Disarmament. When the design spread from the UK to the American anti-war campaign, it caught the eye of Marshall, who saw himself as an anthropologist and journalist documenting the changing times of the 1960s. In between official assignments, Marshall started photographing the symbol and peace rallies as a personal project. He tabled these images on an index card in his archives labeled “Peace,” where they remained, until now.
Born in Chicago, Jim Marshall (1936–2010) grew up in San Francisco, teaching himself photography by portraying musicians in the coffeehouses of North Beach. After a brief stint in New York, Marshall returned to San Francisco, where he continued to cement his reputation as a formidably talented music photographer. Marshall holds the distinction of being the only photographer ever honored by the Grammys with a Trustees Award for his life’s work.
Shepard Fairey was born in Charleston, SC and received his Bachelor of Fine Arts in Illustration at the Rhode Island School of Design in Providence, RI. As a student there he created the “Andre the Giant has a Posse” sticker that transformed into the OBEY GIANT art campaign, which has changed the way people see art and the urban landscape. His work which includes the 2008 "Hope" portrait of Barack Obama, now owned by the Smithsonian’s National Portrait Gallery. In addition to his guerrilla street-art presence, the artist has executed more than 75 large-scale painted public murals around the world. His works are in the permanent collections of The Museum of Modern Art, the Victoria and Albert Museum, the Smithsonian’s National Portrait Gallery, the Boston Institute of Contemporary Art, the San Francisco Museum of Modern Art and many others.
Published by MFA Publications. Text by Lauren D. Whitley.
The 1960s saw a revolution in fashion that was born, like most things new and hip in that era, of youth rebellion in the streets. For the first time, designers didn’t dictate the trends. Instead, the latest looks trickled up into the top fashion houses (Halston and Yves Saint Laurent among them), by way of bohemian boutiques and avant-garde labels with names like Granny Takes a Trip and Cosmic Couture, and musicians like the Beatles, Janis Joplin and Jimi Hendrix. Defying easy definition but becoming an international phenomenon all the same, hippie fashion twisted and turned from trippy to retro and crafty to ethnic. The accompanying idea that one can express a personal style with clothing went against everything about the previous generation’s notion of matching suits or ladylike ensembles dictated by social class or profession. Sumptuous photography, dynamic design, and far-out images from the era make Hippie Chic a must-have book that goes past peace signs and patchouli to unearth how hippies forever changed the way fashion functions.
John Cohen was a founding member of the New Lost City Ramblers, one of the American folk revival's most authentic and respected musical groups. In the 1960s he made a series of photographs of the last years of Woody Guthrie's life, and early portraits of Bob Dylan on his arrival in New York, depicting two titans of American music at opposite ends of their careers. In the process, Cohen portrayed one of the great moments of American folk music history. The book contains other images from the 1960s, including the music scenes at Washington Square and on MacDougal Street in Greenwich Village, images of Jerry Garcia and the musicians in San Francisco's Family Dog, as well as the psychedelic Sky River Rock festival. In 1970, Dylan requested Cohen make another set of color photographs of him with a camera that could take photographs from a block away. He was portrayed walking unrecognized on the streets of the city and at a farm in upstate New York. The photographs were used in Dylan's album Self Portrait.
Published by Four Corners Books. Text by Julie Ault, Daniel Berrigan.
At 18, Corita Kent (1918-86) entered the Roman Catholic order of Sisters of the Immaculate Heart of Mary in Los Angeles, where she taught art and eventually ran the art department. After more than 30 years, at the end of the 1960s, she left the order to devote herself to making her own work. Over a 35-year career she made watercolors, posters, books and banners--and most of all, serigraphs--in an accessible and dynamic style that appropriated techniques from advertising, consumerism and graffiti. The earliest, which she began showing in 1951, borrowed phrases and depicted images from the Bible; by the 1960s, she was using song lyrics and publicity slogans as raw material. Eschewing convention, she produced cheap, readily available multiples, including a postage stamp. Her work was popular but largely neglected by the art establishment--though it was always embraced by such design luminaries as Charles and Ray Eames, Buckminster Fuller and Saul Bass. More recently, she has been increasingly recognized as one of the most innovative and unusual Pop artists of the 1960s, battling the political and religious establishments, revolutionizing graphic design and making some of the most striking--and joyful--American art of her era, all while living and practicing as a Catholic nun. This first study of her work, organized by Julie Ault on the 20th anniversary of Kent's death, with essays by Ault and Daniel Berrigan, is the first to examine this important American outsider artist's life and career, and contains more than 90 illustrations, many of which are reproduced for the first time, in vibrant, and occasionally Day-Glo, color.
BOOK FORMAT Paperback, 9.75 x 11.25 in. / 128 pgs / 100 color / 5 bw.
PUBLISHING STATUS Pub Date 3/1/2007 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2007 p. 62
PRODUCT DETAILS ISBN 9780954502522TRADE List Price: $29.95 CDN $39.95
AVAILABILITY In stock
in stock $29.95
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