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This landmark publication accompanies a major retrospective exhibition of Takashi Murakami’s paintings. Although other volumes on Murakami in English address the crossover between his fine art and commercial output, this book presents the first serious consideration of his work as a painter. It provides a sustained consideration of the artist’s relationship to the tradition of Japanese painting and his facility in straddling high and low, ancient and modern, eastern and western, commercial and high art. Lavishly illustrated with large-scale images of works that span his art student days to now—many reproduced together for the first time—the book contextualizes Murakami’s output in postwar Japan with essays that situate the artist in relation to folklore, traditional Japanese painting Nihonga, the Tokyo art scene in the 1980s and 1990s, and the threat of nuclear annihilation. The volume includes essays by curator Michael Darling, Michael Dylan Foster, Chelsea Foxwell, Reuben Keehan, and Akira Mizuta Lippit, as well as a biography and exhibition history, selected bibliography, and index.
Death & Rebirth - An Evangelion Fanzine
Softcover risograph printed zine, 28 pages. Measures 8 x 10 inches.
A beautiful homage to Hideaki Anno’s Neon Genesis Evangelion - a collaborative fan zine featuring artworks from 18 different artists printed in red and blue ink. A fun exploration of what Evangelion means to so many.
Featuring work by Anabel Colazo, Beto Irogoyen, DARKMEATNOW, Diigii Daguna, Genie Ink, Jake Terrell, Jan Buragay, Jane Mai, Kelly K, Linnea Sterte, Loïc Locatelli-Kournwsky, Luis Yang, Mel Tow, Patrick Crotty, Sabii Borno, Sarula Bao, Tia Roxae, & Wren McDonald
Good For Health Bad For Education - An Akira Fanzine
Softcover risograph printed zine, 36 pages. Measures 8 x 10 inches.
A beautiful homage to the beloved anime film, Akira - a collaborative fan zine featuring artworks from 17 different artists printed in red and blue ink. A fun exploration of what the film means to so many.
Featuring work by Natalie Andrewson, Aseyn, Sarula Bao, Jan Buragay, Anabel Colazo, Patrick Crotty, Sophia Foster-Dimino, JuicyForce, Hanna K, Kelly K, Wren McDonald, Molly Mendoza, Giannis Milonogiannis, Naleb, Mel Tow, Jake Terrell, & Sam Vanallemeersch. Edited and printed by Wren McDonald.
Giant RISObots - John Pham - Epoxy (Issue 6) Zine
Paperback, 8" x 10"
John Pham is incredible. Follow the ongoing saga of a space pilot crash landing. Some of the most beautiful Risograph prints we have seen.
This piece is part of Giant RISObots, a group exhibition of risograph prints at GR2 Gallery running from February 15th, 2025 to March 4th, 2025.
In-Person Viewing is available at GR2 Gallery: Open Friday 12:00 pm - 4:00pm, Saturday 12:00 pm - 5:00 pm, and Sunday 12:00 pm - 4:00 pm.
SIGNED! - Sketch by Katsuya Terada Book
This book includes a signed book plate.
Soft cover, 512 pages.
A GIANT 512-page collection of Katsuya Terada’s RAKUGAKI sketches and illustrations.
The one and only legendary illustrator Katsuya Terada, a.k.a. RAKUGAKING (The Sketch King), well known as a pioneer who is always seeking new ideas and motifs for his drawings, has finally revealed his RAKUGAKI sketches and illustrations, long kept only in his sketch book.
Although most illustrations in this collection have appeared in Terada’s previous international exhibitions (e.g., Giant Robot in Los Angeles), never before has any book collected so many of his RAKUGAKI. This is the best and most comprehensive collection of Katsuya Terada’s pencil sketches, making it a must-have book for both his hardcore fans and also to illustrators in general.
Stubs: 2001-2010 by John Jaewon Kim
Paperback, 56 pages, measures 5 x 8 inches. Edition of 100.
Uncovering a personal stash of collected ephemera can unleash a torrent of once-held ideals, longstanding hang-ups, and misdirected pursuits. In Stubs: 2001–2010, John Kim tackles head-on a stack of old concert ticket stubs spanning a decade. Each story revisits a stub, and his indie-rock-snob perspectives—at times self-deprecating, more often comedically judgmental—are punctuated with unabashed fanboy regard for pop acts and romantic interests alike.
With a backdrop of post-grad and early career pressures and relationships, the volubly recounted backstories and recollections of specific shows, from disappointment distilled (Modest Mouse at the Wiltern, 2005) to the acoustically sublime (The Breeders at the Fillmore, 2002), demonstrate how fandom and obsessions ease, or at least mark, transitions and time.