Venice, CA — L.A. Louver is pleased to present an exhibition of prints by Los Angeles artist Alison Saar. For the past 30 years, Saar has maintained a robust printmaking practice, creating more than 90 prints over the course of her career. Addressing issues of race, gender and spirituality, Saar’s lithographs, etchings and woodblock prints are evocations of her sculptures, powerful depictions of figures carved from wood or cast in bronze, that are articulated with found objects – material artifacts enriched with a narrative all their own. As such, a focused selection of sculptures will be installed in dialogue with Saar’s prints, in L.A. Louver’s second floor gallery and open-air Skyroom. As an activity maintained in connection to and in tandem with her sculpture making, Saar undertakes printmaking with the same tangible approach to unconventional materials and methods. Cast-off objects like old chair backs and found ceiling tin become the foundations for etching or lithography plates. Carved panels used for woodblock prints echo the techniques established in her hewn wooden forms. A direct comparison between Saar’s sculptures and prints can be seen in the juxtaposition of White Guise Print (2018-19), a woodblock print of a woman holding an iron dripping with blood, and Sugar (2018), a sculpture of a young girl clasping a machete, her figure carved from wood and surfaced with reclaimed ceiling tin. Both are similarly expressed with the same forward stance, simple dress and cotton branches tethered to their hair. But more than subject matter, they possess a corporeal presence, embodied through an assertive use of materials and a continuity of mark-making across mediums. Saar created these as part of a series inspired by the character of Topsy from Harriet Beecher Stowe’s Uncle Tom’s Cabin. However, in Saar’s revisionist account of the story, the slave girl spurns any attempts at pacification and instead takes up arms using her tools of labor. In addition to printing on paper, Saar repurposes worn fabrics that she has collected over time, embracing tears and stains that point to evidence of use. When conceiving these prints, Saar considers the nature of the cloth to inform the content of the imagery. In Redbone Blues (2017), a striking portrait of a young man is printed directly onto a vintage handkerchief, his likeness an imaginary rendering of the handkerchief ’s original owner. Breach (2017) portrays a nude female figure steering a raft through rising waters, burdened by her belongings. Saar applied the imagery onto fabric sourced from linen seed sacks, a material not unlike the sandbags used to fortify the levees during the Great Mississippi Flood of 1927. This subject was initially realized in a large sculpture that Saar created prior to the print. The translation from a three-dimensional to a flat representation affords Saar FOR IMMEDIATE RELEASE January 2020 Media Contact: Darius Sabbaghzadeh Email: [email protected] White Guise Print, 2018-19, woodcut, relief, shellac-stained paper, handtainted iron, 55 x 27 1/2 in, (139.7 x 69.9 cm) 29 January – 29 February 2020 Reception for the artist: Wednesday, 29 January, 6-8pm the opportunity to further establish surroundings, atmosphere and environs. Saar states, “Making a 2-D work meant I could introduce all these other things that couldn’t be part of a sculpture… Here, I could dictate that context, create a scene, a tableau, a narrative.” For Saar, printmaking has become an integral part of her artistic practice, where she can experiment and collaborate with master printmakers from Tandem Press, Tamarind Institute, Mullowney Printing and others. Moreover, the process offers Saar the ability to holistically contemplate themes addressed in her sculptures and paintings. “Printmaking allows me to step back from the real physical work of sculpting,” says Saar. “I think of making prints as an intermezzo, a time to go back and reflect, and maybe rework ideas. Carving woodblocks can be tiring, but it’s nothing like the chainsaws. Making prints has become a resting period, like a lave tet, or a cleansing of the mind.”

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson

https://www.youtube.com/watch?v=UIv_b5oVVrU&feature=youtu.be

A new Film by Eric Minh Swenson

SHOW Gallery exhibited “Charcoal Collection” by Corran Brownlee at their new contemporary art space in Hollywood from March 1st to April 6th, 2018. As the artist in residence for the month of March, Corran worked on a new body of work in the mezzanine studio at SHOW Gallery while his 15 original charcoal drawings were on display in the main exhibition space.

During Corran’s residency he was also experimenting with the creative tools available on the PicsArt app, which now has over 100 million monthly active users. Corran did a 24 hourCharcoal Collection by Corran Brownlee editing challenge with PicsArt’s global community to remix his original “Mermaid” drawing. There were over one thousand submissions that can be viewed here: https://picsart.com/challenge/ircmysticalmermaid. The remix video of Corran’s top picks was shown as a video installation at the Gallery during the exhibition.

Each piece in Charcoal Collection is a scene from an untold story. The narrative is hinted at, but never revealed. The artist draws the viewer into a still and silent world, devoid of colour, where their imagination is given free rein. The viewer becomes the storyteller. And like any good story, these ghostly, romantic images linger in the mind.

Much of the scene remains hidden beneath a heavy layer of charcoal, inviting the viewer to look for answers in the shadows. The subjects themselves are lifted out of the darkness, as if projected from a dream. Often turned away from the viewer, they exist in their own world, unaware of our scrutiny.

Where are they going? Who, or what, are they waiting for? The questions hang in the air, waiting for us to provide the answers.

For twenty years Corran Brownlee has used his craft to realize the vision of other filmmakers and storytellers from fight sequence storyboards for Jackie Chan to concept images for James Bond opening titles. This collection allows us to journey into his own world.
Instagram: @corran_brownlee

Show Gallery is an art gallery and artist residency showcasing LA-based and international contemporary artists located in the heart of Hollywood.

Instagram: @showgallery

Eric Minh Swenson shot a short film at SHOW Gallery during Corran Brownlee’s residency. 

“David Kordansky Gallery is pleased to announce GO HANG A SALAMI IM A LASAGNA HOG, an exhibition of new work by Calvin Marcus. The exhibition will be on view November 1, 2019 through January 11, 2020. An opening reception will be held on Friday, November 1 from 6:00 pm until 8:00 pm. 

GO HANG A SALAMI IM A LASAGNA HOG is Marcus’s second exhibition at the gallery and his most extensive and immersive in any venue to date. The gallery has become a “rabbit hole”: four bodies of work—including paintings, sculpture, and photography—unfold across its three exhibition spaces, with only one way in and one way out.

Unexpected shifts in scale, and the uncanniness these shifts engender, are a feature throughout Marcus’s practice and a pronounced theme for the show. This idea is initially raised in the first gallery, where a group of new paintings evoke watercolor pictures at a heroic scale. Whether a filmic depiction of a greyhound chasing a rabbit or a cartoonish rendering of a mortal forearm contorting to shake hands with the divine, these objects balance, with heady precariousness, the washy immediacy and insouciance of a hobbyist’s sketches with the incisive line, poised composition, and physical and psychological gravity of serious painting.

The series, which debuted at the 2019 Whitney Biennial, marks an important development from Marcus’s prior serial production. Each painting attempts to achieve complete autonomy within its edges and is a vignetted universe unto itself. Capturing dream-like visions and snapshots of the absurdity of contemporary life, the paintings depict diverse subjects: animals, humanoid figures, and interior and landscape-like spaces. These singular representations share a sensibility, at once idiosyncratic and disarming, that immediately draws the viewer into the mysteries of the quotidian world. While the pictures retain an inherent openness and recognizability and can often be described succinctly in a few phrases, the paintings belie a prickly, even anxious subjectivity, denying the simple readings they seem to proffer. They also refuse to settle into any one genre, typology, or even medium; amongst one another, the works’ painterliness is a function of formal qualities shared with drawing, sculpture, and installation-based practices. Each, therefore, poses—with Marcus’s humorous brand of surrealism—as many questions as answers.

A second gallery funnels inquiry into two objects, a sculpture lit from within and a color photograph, the only elements in an otherwise darkened space. Each inverts the expectations of the prior room, recalibrating perception again. The sculpture is a small-scale replica of the exterior of an East Los Angeles storefront. Existing somewhere between a memorial and a facsimile, the object expresses a remarkable degree of fidelity, maintaining a working ventilation fan and lights, and retaining a sense of life on its own. The photograph seemingly portrays similarly mundane stuff: a meal of asparagus on a plate. This image, reminiscent of Surrealist photography, flips conventions of representation as it deceives the viewer using only analog means.

The effects of exaggeration reach a crescendo in the final room, a terminus where four monumental paintings encircle the viewer. Each titled Stretch Sturgeon, the four pictures follow the same format: a five-by-twenty-two-foot canvas has been painted in watercolor washes of yellow and green to depict an impossibly extended fish. Recalling both naturalists’ field guide illustrations and the folk-art tradition of fishermen recording their haul, each painting also functions as surrogate human portraiture, as a trophy representing the angler who made this proverbial catch of a lifetime. Anomalous if not absurd, Marcus’s sturgeon stretch belief; indeed, they suggest tall tales by literal elongation. The length of each painting matches that of a novelty stretch limousine, and they follow a similar creation logic. The front and back (or head and tail) of a car bookend multiple middles of the same model, all welded together with custom touches to confirm seamless continuity. The resulting form is still at human scale, but beyond reason. Repeated four times, this expansion inches toward abstraction and the sublime.

As in much of his production, in GO HANG A SALAMI IM A LASAGNA HOG Marcus translates the vagaries of an interior, personal world into images and objects notable for their clarity and directness. By amplifying the peculiarities of his own vision and processes, he channels the contradictions of contemporary life. Through this, Marcus demonstrates how familiar and unfamiliar, large and small, and heroic and ordinary are no longer oppositional categories, but unified experiences in the collective awareness.

Calvin Marcus (b. 1988, San Francisco; lives and works in Los Angeles) has been the subject of solo exhibitions at The Power Station, Dallas (2017); Peep-Hole, Milan (2015); and Public Fiction, Los Angeles (2014). Recent group exhibitions include Whitney Biennial 2019, Whitney Museum of American Art, New York; The Trick Brain, Aïshti Foundation, Beirut, Lebanon (2017); Inaugural exhibition, Syz Collection, Banque Syz, Geneva (2017); and High Anxiety: New Acquisitions, Rubell Family Collection, Miami (2016). His work is in the permanent collections of the Astrup Fearnley Museet, Oslo; Musée d’Art Moderne de la Ville de Paris; Museum of Contemporary Art Chicago; Museum of Modern Art, New York; Walker Art Center, Minneapolis; and Whitney Museum of American Art, New York.” – per website

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson

“Regen Projects is pleased to announce its first solo exhibition by Los Angeles-based artist Alex Hubbard. On view will be a selection of new works comprising multimedia paintings and two handmade projectors streaming animated videos. Hubbard has often experimented with various media to extend the prescribed characteristics of both painting and video.

The moving image has always been an integral thematic of Hubbard’s practice. His early video works often render a series of alternating acts of construction and deconstruction across a flattened plane while proposing a visual allegiance to painting. With these new works comes a series of questions concerning the position of video in a post-YouTube era. The two projectors display referential animations – recycling elements of Hubbard’s past videos while alluding to the history of structuralist films. Each projector’s animations – one a surrealist landscape, the other a hand-drawn layered composition – feature colorful kinetic forms that play out on the gallery walls.

Hubbard’s paintings combine the language of abstraction with nontraditional, industrial materials like resin, fiberglass, pigmented urethane, and auto-body paint. In this series of paintings Hubbard has employed a new UV printing technology. Each composition is achieved through a multi-layered process of paint pours and printing. While still employing abstract compositions, traces of the figurative are present through cut-out prints of machinery and quotidian objects.

Alex Hubbard (b. 1975 Toledo, OR) received a BFA from Pacific Northwest College of Art. In 2003 he attended the Whitney Museum Independent Study Program. He lives and works in Los Angeles. 

He has been the subject of recent solo exhibitions including Rose Art Museum, Brandeis University, Waltham (2014); Hammer Museum, Los Angeles (2012); The Kitchen, New York (2010); and Midway Contemporary Art, Minneapolis (2009). Hubbard’s works have also been featured in group exhibitions at Weatherspoon Art Museum, University of North Carolina at Greensboro (2016); Norton Museum of Art, West Palm Beach (2016); Whitney Museum of American Art, New York (2015); Museo Experimental del Eco, Mexico City (2014); Hessel Museum of Art, Bard College, Annandale-on-Hudson (2012); Le Consortium, Dijon (2014); and the 2010 Whitney Biennial; among others.” – per website

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson

“Have you ever wondered what artists listen to while in the studio and what that tell us

about the artist? London based artist Pia Pack did and took her relocation to Los Angeles as an opportunity to get to know her new city and fellow artists. What Artists Listen To first season explores the soundtracks of Los Angeles female identifying artist’s lives through discussion of tracks on their curated playlist. Inspired by Kim Schoenstadt’s Now Be Here project, Pia decided to focus solely on female identifying Los Angeles artists for the first season of W.A.L.T.

“I love the project because for most artists music has gone hand in hand with their studio practice since the very beginning – it’s a bit like asking to see their dairies. As a listener, it further fleshes out the artists, it’s an insight into their artistic process.“ says creator Pia Pack. The live version will feature Alexandra Grant, Zeal Harris, Cole James, Alison Saar, Shizu Salamando, among others. Pia’s studio work focuses on the way people connect and interact, translating movements and mapping sounds into her artwork. At the centre of her practice is the desire to bring people together. Pia Pack studied fine art in London at Byam Shaw St. Martins School of Art,Wimbledon School of Art, and Hochschule für Künste, Hamburg. She recently completed her MFA at Bath School of Art.

The podcast will launch on 17 March on iTunes, please visit www.whatartistslistento.com for further information and the live version lineup.”

“Surrogates investigates the use and visibility of the female body. Each of the artists make work that can stand-in for different aspects of the female form in the physical, social, and political capacities. The artworks included discuss these ideas both through the representation of the physical body, but more interestingly highlight the anatomy’s ability to change shape. The body is part organism and part machine—a vessel for multiple identities. Surrogates features works that display the female body as both the self and the other.

The works included are from the early 1960s through the 1990s and cover a large swath of time that witnessed an evolution of feminist waves. The artists included not only predicted significant movements but also contributed to the changing discourse. The 1980s witnessed artworks that were critically engaged with mass-media’s role in the patriarchal construction of the “woman.” Kiki Kogelnik created one of her first works in the mid-1960s culling directly from advertisements and their portrayal of the female form. She astutely critiqued the image and dissected it’s construct by pulling it apart and reassembling it – sometimes reimagining it as a robot or some other artificial object. Additional works by Kogelnik, such as an acrylic hanging sculpture, portray body parts as modular replacements, suggesting a body that could survive the future was one that could regenerate.

Similar to Kogelnik, Lynn Hershman Leeson’s Phantom Limb series depicts the absorption of a female identity into technology by merging female bodies with machinery. Predating the advent of Photoshop, these black and white photo collages replace the limbs of a beckoning woman with objects such as electric plugs, televisions, clocks and cameras. The division of the individual into both the public and private self reflects a contemporary experience of life online. The female portraits appear as intimate documentation between a subject and a viewer, however the mechanic limbs open the privacy of the subject up to infinite sources of spectatorship. An influential media artist, Lynn Hershman Leeson makes sculptures, installations, and performances that are deeply engaged with and often leading the conversations in identity and biopolitics.”…

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson

Mining images from mass media, advertising and entertainment since the late 1970s, Richard Prince has redefined the concepts of authorship, ownership, and aura. Applying his understanding of the complex transactions of representation to the making of art, he evolved a unique signature filled with echoes of other signatures yet that is unquestionably his own. An avid collector and perceptive chronicler of American subcultures and vernaculars and their role in the construction of American identity, he has probed the depths of racism, sexism, and psychosis in mainstream humor; the mythical status of cowboys, bikers, customized cars, and celebrities; and most recently, the push–pull allure of pulp fiction and soft porn, producing such unlikely icons as the highly coveted Nurse paintings.

Richard Prince was born in 1949 in the Panama Canal Zone. Prince’s work has been the subject of major solo exhibitions, including the Whitney Museum of American Art, New York (1992); San Francisco Museum of Modern Art, California (1993); “Fotos, Schilderijen, Objecten,” Museum Boymans–Van Beuningen, Rotterdam (1993); Haus der Kunst / Süddeutsche Zeitung, Munich (1996); Museum Haus Lange / Museum Haus Esters, Germany (1997); “4×4,” MAK Center for Art and Architecture, Vienna (2000); “Upstate,” MAK Center for Art and Architecture, Schindler House, Los Angeles (2000); Museum für Gegenwartskunst, Basel (2001, traveled to Kunsthalle Zurich, Switzerland; and Kunstmuseum Wolfsburg, Germany); “American Dream, Collecting Richard Prince for 27 Years,” Rubell Family Collection, Miami (2004); “Canaries in the Coal Mine,” Astrup Fearnley Museum, Oslo (2006); “The Early Works,” Neuberger Museum of Art, New York (2007); Solomon R. Guggenheim Museum, New York (2007, traveled to Walker Art Center, Minneapolis; and Serpentine Gallery, London, through 2008); “American Prayer,” Bibliothèque nationale de France, Paris (2011); “Prince/Picasso,” Picasso Museum, Spain (2012); and “It’s a Free Concert,” Kunsthaus Bregenz, Austria (2014). Prince’s works are in the public collections of the Metropolitan Museum of Art, New York; Modern Art Museum of Fort Worth, Texas; Museum of Fine Arts Collection, Boston; Museum of Modern Art, New York; and the Victoria and Albert Museum, London.

Prince currently lives and works in New York.

https://www.youtube.com/watch?v=BOYGFS40YTY&feature=youtu.be

“The quotations in my works are like robbers lying in ambush on the highway to attack the passerby with weapons drawn and rob him of his conviction.” – Walter Benjamin, “One-Way Street,” 1928

Tanya Bonakdar Gallery is pleased to announce appear to use, a solo exhibition of Haim Steinbach, on view from March 16 – May 18, 2019 at the gallery’s Los Angeles location. For his first solo exhibition in Los Angeles in over a decade, Steinbach will present a new body of work including objects, sculptures, site-specific installations, wall paintings and language-based work.

Since the 1970s Haim Steinbach has developed a widely influential practice that redefines structures of presentation and investigates the relationship between object and art, object and architecture, culture and language, and collection and display. With nods to the tradition of Duchamp and the conceptual logic of Minimalism, Steinbach’s work redefines the status of the object in art.

In this new exhibition Steinbach builds a site-specific architecture, reconstructing the gallery’s space. Using exposed building materials, such as free-standing stud walls and plasterboard, the artist invites the viewer to rethink the ways in which architecture influences our understanding of object, context, surface, the human body, and the relationships forged between them. Steinbach utilizes these materials as both language and form, engendering an experience where the viewer is invited to navigate the space; raising an awareness to how the body functions in its surroundings, while exploring rhythm, repetition and seriality.

Entering the gallery, the viewer first encounters two works that highlight the artist’s ongoing exploration of language, color and narrative. Untitled (Pantone 17-5641) features a tin box supporting a green rectangle. Display #103—the band if it is white and black the band has a green string includes the quote from Gertrude Stein’s “Tender Buttons.” The quote is integrated into a wall, an architectural construct. It faces the tin box that sits in a handcrafted wooden box.

BY CHELSEA ESQUIBEL

WEEKEND RECAP: ADAM FRANZINO DEBUTS “MUSES” AT MILK LA

Last Friday, SoCal native & Milk fam Adam Franzino showcased his first solo photo exhibition, “MUSES”, at Milk Studios LA. Hundreds of guests attended the opening to view his work, which emphasizes the beauty of the supermodels and icons he photographs. 

The curation of the show “MUSES” centers on Franzino’s attraction to landscape backdrops and asymmetrical composition, with on-location editorials and behind the scenes snapshots. And”MUSES” isn’t just a show about natural beauty; the portraits on display also benefited the TONIE GARM FOUNDATION, as a portion of the proceeds from sales will go to this foundation to provide educational opportunities and advancement for girls in Africa.

Franzino moved to New York in 2005 with a background in fashion photography. After a decade of working in the industry, he has created countless iconic images and directed various projects for Victoria’s Secret, Harper’s BAZAAR, Vogue, and more.

We sat down with Franzino to talk more about the “MUSES” exhibit and his journey as an artist; read the full interview below.

How did your love for photography develop?

My love for photography developed from day one having a camera on program in high school to continuing to understand how to balance light properly. I love daylight and I love the way it can be shaped and once I started understanding that I became a huge light nerd. Watching movies pausing scenes and looking at photographers work I love trying to figure out how everything was being lit.

You do a lot of your work outside on location. How do you pick your locations? Do you prefer shooting outside? Are you inspired by your locations / environments?

I get asked this question a lot. Do I prefer studio or location. Like I said, I love natural light. I love locations because you have so much more to work with then just a set or a cyc. Sometimes I’ll be inspired by a location sometimes I’m Inspired by the fashion and then will find a location that works . But at the end of the day once I’m on location I let the light dictate everything. I follow the light all day and chose where I’m shooting and how to build the story around the sun.

Who are some of the most influential photographers / artist that you look up to?

I was real confused when I went on my own. I was inspired by so many different photographers and styles that I was having trouble knowing who I was. I had a meeting one day at American Vogue with Ivan Shaw who was the photo director at the time that made the light bulb go on. Without going into detail he pretty much said, “I think you’re a good photographer but you’re lost and all over the place.” Knowing my background where I was from and what he thought the strongest images in my book were he helped me hone in big time on developing my style. From that day on my favorite photographers and who I started studying more of was Herb Ritts, Peter Lindbergh, Patrick Demarchelier, Jeanloup Sieff and Helmut Newton to name a few. They have had major impact on me and my work.

Talk to us about your first exhibition, “MUSES”, what does this exhibition mean to you? I am sure all of your photos have a special meaning to you, but if you had to pick your favorite piece from “MUSES” what would it be and why?

“MUSES” is my very first solo show. I wanted to do it in LA, my hometown, in front of my family and friends. I wanted the people most important to me to be there since they have been there since day one through this insanely difficult journey of becoming a photographer. It was so special, 1,000 people RSVP-ed, the room was packed and people were taking pictures in front of my images and that was amazing to me. Each one of these images has a story behind it on the way we shot it or got the image in the end. For that reason I don’t have a favorite as I’m too close to these images and the stories behind them. I will say though, seeing them all hung and framed together was a moment for me for sure.

You have been a photographer for over 10 years, how did you pick what pieces of work you wanted to select for your first exhibition?

I have an archive of images over the years of all the personal work with these girls. Editing down to two or three of the same image is the easy part but choosing the actual image to hang not so easy. I have help editing as I’ll actually sit with the girls after and see what what images they are drawn too. I like their opinion. I like to see how they see themselves looking best. I’ll then ask a couple more people I work with and trust for their opinion and make the final select.

How do you see your photography developing as your career grows?

As my career grows I want my eye to grow. I’m constantly seeing more as I grow and shoot. I am accompanied by such legends in this field and even some of my old assistants that are now shooting on their own make me jealous with some of their images they are putting out. I like seeing that. It pushes me internally to constantly be better, to push harder to try and take better pictures. I was recognized on the night of my exhibition but now I forget that and jump back into this small sea with big names and try to become as good as them one day.

What is the biggest lesson you have learned throughout your years of photography?

My biggest lesson I’ve learned over the years is PATIENCE! I have none. I thought I was ready to be shooting major campaigns and editorials when I was 25 and if that would have happened I would have failed badly. This process of growing as an artist is important.  On the commercial side there are so many variables on a shoot day so many things thrown at you that no one can prepare you for. It’s all about watching that while assisting, understanding how this business works and then hopefully when your day comes you’ll step up and be ready.

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson

You’re invited to the “Dogtown – The Legend of The Z-Boys” book-signing event with C.R. Stecyk III, Glen E. Friedman, Jeff Ho, Peggy Oki, Tony Alva and others at Pizzanista in downtown Los Angeles on May 1, 2019. Friedman has put some serious work into making this new expanded edition of the Dogtown book bigger and better and it has more in it than ever, with incredible redesign and a surprise or two for you. 

DOGTOWN: THE LEGEND OF THE Z-BOYS BY C.R. STECYK III AND GLEN E. FRIEDMAN is due to be released on July 1, 2019 through Akashic Books. You can pre-order your copy now here. Copies will ship on or before June 15.

DogTown: The Legend of the Z-Boys 

In the early 1970s, the sport of skateboarding had so waned from its popularity in the 1960s that it was virtually nonexistent. In the DogTown area of west Los Angeles, a group of young surfers known as the Zephyr Team (Z-Boys) was experimenting with new and radical moves and styles in the water, which they translated to the street. When competition skateboarding returned in 1975, the Z-Boys turned the skating world on its head. DogTown: The Legend of the Z-Boys is a truly fascinating case study of how an underground sport ascended in the world. These are the stories and images of a time that not only inspired a generation but changed the face of the sport forever.

This volume has been described as “the DogTown textbook” and an indispensable companion piece to the Sony Pictures Classics film Dogtown and Z-Boys. Now spanning 1975–1985 and beyond, the first section of the book includes the best of the DogTown articles written and photographed by C.R. Stecyk III as they originally appeared in SkateBoarder Magazine. The second half compiles hundreds of skate images from the archives of Glen E. Friedman—many of which appear in the movie. (Stecyk and Friedman acted as executive producers and advisors for the film.)

The bigger, newly designed edition of this iconic skateboarding book, includes additional never-before-seen Glen E. Friedman photos and a new C.R. Stecyk III postscript.

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson