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ALSO KNOWN AS v1[/url]

12ozPROPHET presents ALSO KNOWN AS - a 190 page, full-color, perfect-bound, graffiti-obsessed, street culture bible. Its focus is on dear and dirty destruction; the glorious variety of fuck-you graffiti that offers no attempt to make friends. Each copy of ALSO KNOWN AS VOLUME 01 is individually numbered and comes with a kiss-cut sticker sheet, a special fold-out poster, vinyl stickers, and much more. Instant classic status guaranteed.

 

Featuring:

Futura 2000, Kaws, Todd James aka Reas, Crude Oil, Ket, KR, Desa, Cope2, Jee, Ovie, Ghost, Miss17, 323, Skrew, PJay, Skuf, Jest, Earsnot, Seph, Zeus, Veefer, Cap, Os Gemeos, Dero, Noah, Virus, Rebel, Ces, Giant, Merz, Dalek, Crae, Hope, Dash Snow, Miguel Diaz de Lopez, Peter Sutherland, Raven, Demo, Presscott McDonald, Adorn, Peter Rentz, Evan Hecox, jeffstaple, John Duda, Steve Harrington, Kimou Meyer, Max Vogel, Ryan Waller, Harsh Patel, Marco Cibola, Noah Butkus, Pete Christofferson, Dan Funderburgh, Pres Rodriguez, Struggle Inc. & many more.

 

Softcover, appx 9" x 9", 190 full-color pages, kiss-cut sticker sheet, assorted vinyl stickers, 2 fold-out posters, and more. Individually numbered and specially packaged in resealable bag. Neutral cover version is part of an edition of 7000 copies.

 

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dont know why anyone hasnt bumped this one yet but ive read a number of graff books and still think this one is byfar the best. its really well put together and i love the pictures. yall should really get it, its a good read and look at.

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coming soon featuring these writers:

AROE (UK), C.B.S (DE), DUMBO (IT), HONET (FR), KEGR (DK), O’CLOCK (FR),

OS CURURUS (BR), RATE (USA), ROCKY (ES), SCAN (CA), SMASH (CH), THE E.R.S (BE)

 

“12 graffiti writers, 2 years, 600 unpublished Polaroids”

 

Trace de rouge à lèvres shows the everyday life of 12 graffiti writers. Consciously, and therewith in contrast to usual graffiti publications, it uses the peculiar medium of Polaroid.

The idea was to send a Polaroid camera and about one hundred Polaroid photos to graffiti writers of different nationalities, with the task to shoot their everyday life, and to give them complete freedom in the choice of the motifs. It surely is this kind of freedom which makes this book so special, but also the fact that all these unpublished photos were made especially for the book.

In the beginning of this 21st century graffiti seems taking a line which is totally against its original motivation. On one hand this might be caused by more severe penalties, on the other it is also due to the increasing incorporation of the media and business. Thus we decided to present such artists who devote themselves to this art in a committed way. They don’t succumb to this commercial pressure and bring new life into this movement.

 

 

Lipstick Traces … Trace de rouge à lèvres

Punk, Lettrism, Surrealism, Dadaism … Graffiti

 

Trace de rouge à lèvres is the French translation of Lipstick Traces, the title of a book written by Greil Marcus describing the alternative movements of the 20th century, like Punk, Lettrism, Surrealism, and Dadaism. The author analyses the Protest Culture which had developed in Europe and which in his eyes was the origin of those alternative movements. Metaphorically, he entitles them scars of history. After we have read this book, we thought that graffiti could also have been part of it.

Thus we decided to give birth to the project Trace de rouge à lèvres, to – in a modest way, of course – complete the book of Greil Marcus and to give him an additional chapter. We want to show that graffiti has become one of those scars of history, too.

 

In the beginning graffiti was considered as being impulsive, marginal, was not understood, and even treated as a fools’ act. Graffiti wasn’t made to endure or to institutionalize itself. But then, some long time later, people esteemed it as an essential part of a whole generation and suddenly graffiti seemed disinfected, so people could incorporate it. Its commercial potential became a sales argument, especially in fashion and advertising.

Nowadays we read on walls or hear people say “graffiti is dead”. It really seems as if the original thought of graffiti no longer exists. But there are still some persistents who live out their art and ideas, who keep certain aesthetics, and take distance to the evolution of graffiti.

It’s this kind of writer which we want to present in Trace de rouge à lèvres. The 12 artists in the book are beyond the established, and keep graffiti in motion. They kept a certain spontaneity by refusing any compromise and defying the latest incorporation.

 

We decided not to analyse the topic in written but to let photos speak because we wanted to keep true to our own perception, which lies in the image. We though asked the 12 writers to answer 3 questions, in order to expose their point of view regarding the topic of the book.

 

1. Which distance do you take regarding the history of your generation and how are you going down in it?

 

2. Which circumstances, facts, and influences made of you the person you are today? In other words, where do you take the power for your artistic practice from?

 

3. How did you approach the “task” of shooting photos throughout 2 years?

 

 

Graffiti and Polaroid

Graffiti and Polaroid: Two things which are very dear to our hearts and which we unite in this book. Therefore we profit from our more than ten years experience with graffiti and Polaroid.

The choice of the artists was based on several criteria: their geographical background, their graffiti style, their generation, and their media presence. On one hand we want to present a geographical and cultural diversity. That’s why we dealt with artists of different origins (English, Swiss, French, Belgian, Italian, Spanish, American, Canadian, German, Danish, Brazilian). On the other hand the choice is also based on their style, because we surely want to present a large range of styles, but mostly don’t want to loose sight of the actual idea of graffiti: the illegal, beyond the latest trend of Street Art, communicated by Internet.

The 12 writers were also chosen because most of them are rarely presented in magazines or books. For us this was a very important point because we want to show artists whose works are rarely or never shown.

Lastly, we chose writers of different generations – from the 90s to the year 2000.

Therewith Trace de rouge à lèvres offers a modest, international review of a marginal graffiti art which resists and protests continuously.

The book can also be seen as a reaction on the usual graffiti publications, because most of them only show the finished graffiti – pieces and chromes – but rarely what’s going on aside. But we want to emphasize the artists’ surroundings, their everyday life, their families, friends, homes, their travels, and anecdotes … Catching snapshots and instant photos of their lives to leave marks …

Snapshots … Polaroids, the connection was made! Because we think that the Polaroid is the right medium for this kind of photography, and we also want to oppose to the popularity of digital photography. The taken photos are unique, can not be reproduced, they have their own particularities, and have a very special quality, similar to a style of the 70s or 80s. Furthermore we chose this kind of photography to give the book a graphical unity, because every picture has the same, clinical format.

 

The realization

After having decided to realize the project, it became clear to us that it had something uncertain and that it was also committed to coincidence, because we didn’t know what the content of the book would be. But it’s those difficulties and those risks which made the project so special and interesting.

It was not always easy to communicate with the different artists, because they all have different personalities, they operate differently, and are not always right available … This is also one reason for the long period of the project: We received the first photos in May 2006, the last ones in August 2007, some never attained their destination, and for others the camera had to be sent three times (because it had arrived damaged or had been confiscated by Police).

A peculiarity is that we didn’t give any instructions regarding the motifs of the pictures. Thus some photos are banal, botched, blurred, under- or overexposed, scratched, scuffed, or have written notes on … Nevertheless those amateur photos, whose technical aspect is disregarded, show reality and have a special meaning to the artists because they are instant shots of their lives.

The freedom in the choice of the motifs was given to stick close to the idea of graffiti and alternative movements, but also to show a timeless content: spontaneous, subversive, defying the system, motley.

 

Layout

We chose a clear and clean layout for the book, comparable to the ones of art and photography collections to clearly emphasize the artists’ photos. Thus the book distinguishes from countless other graffiti books, because the partly dry and sketchy images and the clear, clean layout of the book are in deliberate contrast to each other.

The texts are in English and French to allow a greater understanding and diffusion of the book (whereas we renounced the translation of the captions of the images to keep the original title in form and language).

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coming soon featuring these writers:

AROE (UK), C.B.S (DE), DUMBO (IT), HONET (FR), KEGR (DK), O’CLOCK (FR),

OS CURURUS (BR), RATE (USA), ROCKY (ES), SCAN (CA), SMASH (CH), THE E.R.S (BE)

 

The 12 writers were also chosen because most of them are rarely presented in magazines or books. For us this was a very important point because we want to show artists whose works are rarely or never shown.

 

:lol:

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