Böcker utgivna av Artbook D.A.P.

In the late 1990s, American comic artist Michael Kupperman bought a stack of men's magazines from the 1950s and 1960s, with titles like Sir!, Real Action and Man's Thrills. "They all had the owner's name stamped on them," Kupperman observed, "but the stamp is slightly illegible, so it's impossible to know if the name is C. Buechtel, C. Brockel, C. Buschol or some other variant. This man--I'm assuming it was a man--spent years acquiring lurid men's magazines and taking them apart, using the contents to form his own hybrid magazines with the pages from several reassembled inside the cover of one. With a grease pencil he'd cross out the headlines on the covers that didn't apply anymore, and stamp his name on the results, along with a number. Why was he doing this? It's not clear. It might have been a need to make the magazines seem like a serious collection, his re-editing emphasizing his sober interest in subjects such as modern fiction and wife-swapping. Maybe this was one way he justified collecting these lurid periodicals, to himself or a spouse. Or maybe it was a version of the impulse that drives many artists (and three-year-olds): a need to remake and impose personal order that comes from some very deep place." Pirate Nightmare Vice Explosion presents highlights from that collection, and takes place in a murky, monochromatic world where mysterious, energetic sin is always happening behind closed doors. Some of it is factual; some of it smells of heady invention. Michael Kupperman is the author of Tales Designed to Thrizzle, Snake 'n' Bacon's Cartoon Cabaret and Mark Twain's Autobiography 1910-2010 (Fantagraphics). His work has appeared in The New Yorker, McSweeney's and Saturday Night Live.

In this critical history, DeForrest Brown, Jr "makes techno Black again" by tracing the music's origins in Detroit and beyondIn Assembling a Black Counter Culture, writer and musician DeForrest Brown, Jr, provides a history and critical analysis of techno and adjacent electronic music such as house and electro, showing how the genre has been shaped over time by a Black American musical sensibility. Brown revisits Detroit's 1980s techno scene to highlight pioneering groups like the Belleville Three before jumping into the origins of today's international club floor to draw important connections between industrialized labor systems and cultural production. Among the other musicians discussed are Underground Resistance (Mad Mike Banks, Cornelius Harris), Drexciya, Juan Atkins (Cybotron, Model 500), Derrick May, Jeff Mills, Robert Hood, Detroit Escalator Co. (Neil Ollivierra), DJ Stingray/Urban Tribe, Eddie Fowlkies, Terrence Dixon (Population One) and Carl Craig. With references to Theodore Roszak's Making of a Counter Culture, writings by African American autoworker and political activist James Boggs, and the "techno rebels" of Alvin Toffler's Third Wave, Brown approaches techno's unique history from a Black theoretical perspective in an effort to evade and subvert the racist and classist status quo in the mainstream musical-historical record. The result is a compelling case to "make techno Black again." DeForrest Brown, Jr is a New York-based theorist, journalist and curator. He produces digital audio and extended media as Speaker Music and is a representative of the Make Techno Black Again campaign.

Facsimile compilation of the late-'70s journal on diasporic and colonial histories that paved the way for the British Black Arts MovementPublished in three issues between 1978 and 1979, Black Phoenix: Journal of Contemporary Art & Culture in the Third World (the subtitle was changed to Third World Perspectives on Contemporary Art and Culture for its second and third issues) stands as a key document of its time. More than a decade after '60s liberation movements and the historic Bandung and Tricontinental Conferences that called for social and political alignment and solidarity to dismantle Western imperialism and (neo)colonialism, Black Phoenix issued a rallying call for the formation of a Third World, liberatory arts and culture movement on the eve of Margaret Thatcher's election in 1979.Based in the UK, and both international and national in scope, Black Phoenix positioned diasporic and colonial histories at the center of an evolving anti-racist and anti-imperialist consciousness in late 1970s Britain--one that would yield complex and nuanced discourses on race, class and postcolonial theory in England in the decade that followed.A precursor to the British Black Arts Movement that formed in 1982 (which encompassed such cultural practitioners as the Black Audio Film Collective and cultural studies theorist Stuart Hall), Black Phoenix proposed a horizon for Blackness beyond racial binaries, across the Third World and the colonized of the interior in the West. This single-volume facsimile reprint gathers all three issues of the journal, which include contributions by art critics, scholars, artists, poets and writers, including editors Rasheed Araaen and Mahmood Jamal, Guy Brett, Kenneth Coutts-Smith, Ariel Dorfman, Eduardo Galeano, N. Kilele, Babatunde Lawal, David Medalla, Ayyub Malik, Susil Sirivardana and Chris Wanjala.