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As the Age of Aquarius morphed into Discomania and Reaganomics, pioneering underground cartoonist S. Clay Wilson discovered a new generation of punks and misfits in America and abroad who appreciated his point of view. He found new outlets for his artwork in outré galleries and fringe publications, and continued to contribute to the surviving remnants of the underground, including the never-say-die classic anthology, Zap Comix. He made two tours of Europe, collaborated with William Burroughs and Ken Kesey, appeared on MTV, and had several highly acclaimed exhibitions in Seattle, Los Angeles, and New York. The Checkered Demon became ascendant among his creations ― the prolific headliner of a series of comic titles that followed his adventures around the earth and across the galaxies. This is the second of a three-volume series reprinting his best comics and chronicling his life in a series of prose chapters. Demons and Angels features his two solo comics, 2 and 22, strips fromCocaine Comix, Knockabout, Weird Smut, and all his stories from Zap Comix #6–11. Strips in obscure mags like Jump Start, Mondo Montana, Deadbeat, Too Fun Too Huge, Boiled Owl, Maggot-Zine, andWeird Smut are also included, as well as many never published privately commissioned watercolors and paintings produced for his discriminating art collectors.
The is the definitive account of the boldest and most audacious of the legendary underground cartoonists: the taboo busting, eyeball blistering S. Clay Wilson. This first volume contains all of his underground comic stories from Zap Comix, Snatch, Gothic Blimp Works, Bogeyman, Felch, Insect Fear, Pork, Tales of Sex and Death, and Arcade magazine as well as the many adventures of the Checkered Demon, Star-Eyed Stella, and Captain Pissgums, and even his earliest collaborations with William Burroughs. Also: selections from his teenaged and college years, both in comics and painting form. First person accounts from his peers, as well as Wilson’s own words, offer a revealing portrait of the artist who hid his shyness behind brash behavior and bluster. This first of a three-volume biography and retrospective gets to the heart and soul of an artist who lived his dreams and his nightmares.
This book includes all of the cartoonist's work from Zap Comix #12 through #15; stories published in the horror anthology Taboo; the three appearances of his outrageous, race-bending character Meadows from Weirdo; illustrations for Grimm and Andersen fairy tales; as well as book jackets and album covers. Plus, dozens of privately commissioned paintings, including the Seven Deadly Sins (Just Say Yes!) and inner landscapes peopled with pirates, ogres, leprechauns, Cyclops, the Baby Jesus, and his favorites players, Captain Pissgums, Star-Eyed Stella, and the Checkered Demon. It also includes an even score of remarkably rendered paintings, both unpublished and virtually unseen, that he created between the 2006 publication of The Art of S. Clay Wilson and The Night the Lights Went Out in 2008, when Wilson’s career spiraled out of control.
The last of the Zap artists to be anthologized, Wilson has always been the most extreme. His wild stories of pirates, bikers, and deviants, centering around the character of the Checkered Demon, have kept their humor and philosophical bent while keeping their author far from mainstream comics publishing.
THE ART OF S. CLAY WILSON is the long-awaited career retrospective of the most extreme of the Zap cartoonists of the late 1960s. A self-described ""graphic agoraphobe,"" Wilson draws manically dense scenes of lurid mayhem that rank among the seminal works of underground, counterculture American art. It's all here, from the classic chronicles of the Checkered Demon to salacious stories about the pirates, prostitutes, and poets that inhabit Wilson's divinely depraved world.The definitive collection of the art of legendary Zap comic artist S. Clay Wilson.Features 200 full-color images, including new work and previously unpublished prints commissioned for private collections.Introduction by R. Crumb touts Wilson's role as one of the originators of underground comix."Wilson was the strongest, most original artist of my generation that I had yet met. . . . There was something very familiar about the drawings, yet something entirely new, never before seen! It looked like folk art, like old-time tattoos, like some high school hotrodder's notebook drawings. They were rough, crazy, coarse, deeply American."-from R. Crumb's introductionReviews"To hell with Capt. Jack Sparrow, when are they going to make a movie about Cap'n Pissgums and his Pervert Pirates?. . . Even the least of the prints throb with diabolical energy and are ornamented by the kind of hardboiled captions you wish could be turned into movie dialogue."-San Jose Metro". . . rather rude (but very welcome). . . it's mesmerizing work, and hugely influential as well."-PW Daily
The Blighted Eye is the most copious, the most diverse, and the most lavish compilation of original comic art ever published ― all from the mind-boggling collection of Glenn Bray. Bray was an enthusiast of marginal or outsider American pop culture when he started to collect original comic art in 1965 ― a time when very few people, including the artists themselves, truly valued the original art. Bray has, over the last nearly 50 years, amassed the most eclectic collection of original comic art in private hands. The book features work by a pantheon of cartooning masters, including Charles Addams, Carl Barks, Charles Burns, Al Capp, Dan Clowes, Jack Cole, R. Crumb, Jack Davis, Kim Deitch, Will Elder, Al Feldstein, Virgil Finlay, Drew Friedman, Chester Gould, Justin Green, Rick Griffin, Bill Griffith, Matt Groening, George Grosz, V.T. Hamlin, Jaime Hernandez, George Herriman, Al Hirshfeld, Graham Ingels, Bernard Krigstein, Harvey Kurtzman, Gary Panter, Virgil Partch, Savage Pencil, Peter Pontiac, Charles Rodrigues, Spain Rodriguez, Charles Schulz, Gilbert Shelton, Joost Swarte, Stanislav Szukalski, Irving Tripp, Chris Ware, S. Clay Wilson, Basil Wolverton, Wallace Wood, Jim Woodring, Art Young, and ― it should go without saying ― many more.
For the first time, all fourteen issues of Johnny Ryan’s career-defining comic book series Angry Youth Comics (2000–2008) are collected in one place: all the comics, the covers, and even the contentious letters pages, in one toilet-ready brick. Johnny Ryan’s utterly unpretentious, taboo-tackling is an infectious and hilarious bombardment of political incorrectness, taking full advantage of the medium’s absurdist potential for maximum laughs. In an age when the medium is growing up and aspiring to more mature and hoity-toity literary heights, Ryan builds on the visceral tradition that cartooning has had on our collective funny bone for over a century.

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