Key selling points
• No fewer than 900 images, from uncredited artworks
to the über-famous, including pieces by (Brits) Jamie
Reid, Malcolm Garrett, Barney Bubbles, Linder Sterling,
Peter Gravelle, and Peter Saville, and by US artists
such as Arturo Vega, John Holmstrom, Raymond
Pettibon, Winston Smith, Lindsey Kuhn, Pushead,
Gary Panter—and many more.
• Chronological coverage, from pre- and proto-punk
design to contemporary hardcore and international
underground material, organized into 7 chapters:
Proto-Punk; Punk Explosion; New Wave & Post-Punk;
DIY Punk; International Punk; Hardcore & the
Extremes; Punk’s Not Dead. Coverage extends well
beyond the US and Britain—from Switzerland to
Colombia, and from Belgium to China.
• Features previously unpublished material by Arturo
Vega (Ramones), Peter Gravelle (Sex Pistols/Damned),
and Jamie Reid (Sex Pistols), together with rare and
unseen posters, flyers, ephemera, and record sleeves
by Winston Smith, Raymond Pettibon, Pushead, and
many, many, other punk artists and designers.
• Quotes from artists featured throughout, plus
interviews with a range of key movers and shakers.
• Text by Russ Bestley (co-author of Up Against the
Wall: International Poster Design (Rotovision, 2002),
with additional text by Alex Ogg (co-editor of the
journal Punk & Post-Punk), and with US poster
selection by Dennis Loren (Oakland-based rock poster
designer and member of The Rock Poster Society).
• Authors’ extensive media contacts and reputations
guarantee comprehensive reviews and publicity—
tie-in exhibition at the London College of
Communication, University of the Arts, London (tbc)
Punk came to international prominence between
1976 and 1977, but this book considers the movement
in its entirety, from the proto-punk and early punk bands
such as the MC5, the Velvet Underground and the
Ramones, to the groups of the American and British punk
“explosion”—the Sex Pistols, the Damned, the Clash, and
more—and from the host of new artists the movement
spawned around the world over the ensuing decades,
including more mainstream bands such as Green Day,
Rancid and the Offspring in the 1990s, through to
the new generation of anarcho punk/hardcore bands.
Although largely associated with a music scene
originating in the US and Britain, punk’s wider influence
is also traced across a number of underground scenes in
Europe, Eastern Europe, Australia, South East Asia, South
America, the former USSR, Scandinavia, China, and Africa.
Celebrating as it does a wide range of punk design
in vinyl cover art, posters, flyers, fanzines and other
ephemera, The Art of Punk highlights the impact of the
movement primarily within graphic design and print,
while also considering its impact on wider popular
culture. Punk was based on immediacy—an often
inspired amateurism and underground, close-knit
communities that burned brightly but were not intended
to extend beyond the gig, the event, the scene, the
moment. Punk songs tended to be short, fast, and
aggressive, and the oft-repeated credo, “. . . if it can’t
be said in three minutes, it’s not worth saying,” was
adopted as standard practice, extending in turn to an
entire ethos for the whole subculture.
The book is arranged chronologically, and by genre
within chapters, and features more than 900 visual
examples both by uncredited artists and internationally
renowned designers and design groups, with interviews
with, and commentary by, many of the artists concerned.
Each chapter opens with an overview of the period/genre
being covered in that chapter, while featured throughout
the book are new and unpublished interviews with:
John Holmstrom (Punk magazine), Arturo Vega
(Ramones), Jamie Reid (Sex Pistols), Malcolm Garrett
(Assorted Images), Marc Zermati (Skydog Records), Mick
Farren (Deviants), Andrew Matheson (Hollywood Brats),
photographer Peter Gravelle (Sex Pistols/Damned, etc),
Winston Smith (Dead Kennedys/Green Day).
Other feature topics include the Sex boutique and
Roxy club in London, UK, the San Francisco and LA
scenes, colored vinyl, D Beat, import and export records,
punk exploitation, and the DIY spirit of independence.
Images include previously unpublished material by
Arturo Vega, Peter Gravelle, and Jamie Reid, together
with rare and unseen posters, flyers, ephemera, and
record sleeves by Winston Smith, Raymond Pettibon,
Pushead and many other punk artists and designers.
Free of conformity, free of aspiration, punk was
one of the truly individual art forms to have emerged
in the last fifty years. This book will inform, educate,
and enthrall those who missed out on one of the most
important, yet underestimated, design revolutions of
the twentieth century.