{"title":"RAYMOND PETTIBON","description":"A rare collection of early Raymond Pettibon zines","products":[{"product_id":"raymond-pettibon-tripping-corpse-four","title":"RAYMOND PETTIBON \/ Tripping Corpse Four","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eTripping Corpse Four  \u003c\/em\u003e1984\u003cbr\u003eOffset print of ink on paper, 28 pages\u003cbr\u003e22 x 14cm, 1st edition \u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003e#303 of 500. Approximately 400 copies from the edition were later destroyed. Hand-numbered by Raymond Pettibon in red ink on the front cover.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003eUsed, good. Mild toning throughout. Light coffee-ring marks to the covers, gentle corner creasing and minor wear to the spine, consistent with age.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e~\u003c\/p\u003e\n\u003cp data-start=\"475\" data-end=\"868\" class=\"PDq2pG_selectionAnchorContainer\"\u003ePublished by SST Publications in 1984, \u003cstrong data-start=\"514\" data-end=\"538\"\u003eTripping Corpse Four\u003c\/strong\u003e is the fourth instalment of Raymond Pettibon's seminal \u003cem data-start=\"594\" data-end=\"611\"\u003eTripping Corpse\u003c\/em\u003e series. Produced while Pettibon was creating record sleeves, flyers and artist books for the Southern California punk underground, these self-published zines mark the beginning of one of the most influential drawing practices of the late twentieth century.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"870\" data-end=\"1321\"\u003eThe \u003cem data-start=\"874\" data-end=\"891\"\u003eTripping Corpse\u003c\/em\u003e series draws heavily on the failed idealism of the 1960s, weaving together psychedelia, violence, Charles Manson, American counterculture and mass media through Pettibon's unmistakable combination of hand-drawn imagery and fragmented text. Rather than functioning as straightforward narratives, the pages unfold as a sequence of disjointed observations, exposing the paranoia, humour and brutality that underpin American culture.\u003c\/p\u003e\n\u003cp data-start=\"1323\" data-end=\"1472\"\u003eThis copy is hand-numbered \u003cstrong data-start=\"1350\" data-end=\"1361\"\u003e303\/500\u003c\/strong\u003e by Pettibon in red ink. With the majority of the edition destroyed, surviving copies are exceptionally scarce.\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45330952683801,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/IMG_0116.jpg?v=1784119077"},{"product_id":"raymond-pettibon-tripping-corpse-three","title":"RAYMOND PETTIBON \/ Tripping Corpse 3","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eTripping Corpse 3  \u003c\/em\u003e1983\u003cbr\u003eOffset print of ink on paper, 28 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003e#369 of 500. Approximately 400 copies from the edition were later destroyed. Hand-numbered by Raymond Pettibon in red ink on the front cover.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: Very good.\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e~\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"358\" data-end=\"749\" class=\"PDq2pG_selectionAnchorContainer\"\u003ePublished by SST Publications in 1983, \u003cstrong data-start=\"397\" data-end=\"418\"\u003eTripping Corpse 3\u003c\/strong\u003e is the third instalment of Raymond Pettibon's seminal \u003cem data-start=\"473\" data-end=\"490\"\u003eTripping Corpse\u003c\/em\u003e series. Produced while Pettibon was creating record sleeves, flyers and artist's books for the Southern California punk underground, these self-published zines mark the emergence of one of the most influential drawing practices of the late twentieth century.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"751\" data-end=\"1194\"\u003eThroughout the \u003cem data-start=\"766\" data-end=\"783\"\u003eTripping Corpse\u003c\/em\u003e series, Pettibon dismantles the mythology of the American 1960s, weaving together psychedelia, Charles Manson, violence, religion and popular culture through his unmistakable pairing of hand-drawn imagery and fragmented text. Rejecting linear narrative, the pages unfold through abrupt shifts in image and language, exposing the paranoia, humour and contradictions that lie beneath the American counterculture.\u003c\/p\u003e\n\u003cp data-start=\"1196\" data-end=\"1345\"\u003eThis copy is hand-numbered \u003cstrong data-start=\"1223\" data-end=\"1234\"\u003e369\/500\u003c\/strong\u003e by Pettibon in red ink. With the majority of the edition destroyed, surviving copies are exceptionally scarce.\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45332022362393,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/IMG_0153.jpg?v=1784246285"},{"product_id":"raymond-pettibon-tripping-corpse-2","title":"RAYMOND PETTIBON \/ Tripping Corpse 2","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eTripping Corpse 2 \"The Hippie Thing\"  \u003c\/em\u003e1982\u003cbr\u003eOffset print of ink on paper, 28 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003e#164 of 500\u003cbr\u003e\u003c\/span\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eCondition: Used, very good.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eEdition: #164 of 500 (Approximately 400 from the edition were destroyed), noted in red ink in Pettibon's hand on the front cover.\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45332483211545,"sku":"","price":750.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_04.jpg?v=1690717114"},{"product_id":"copy-of-raymond-pettibon-tripping-corpse-3","title":"RAYMOND PETTIBON \/ Tripping Corpse 5","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eTripping Corpse 5  \u003c\/em\u003e1984\u003cbr\u003eOffset print of ink on paper, 28 pages\u003cbr\u003e22 x 14cm, 1st edition \u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: Used, very good.\u003cspan\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning, some hints of rubbing and a few spots of soiling from age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEdition: #195 of 500 (Approximately 400 from the edition were destroyed), n\u003cspan itemprop=\"description\" data-mce-fragment=\"1\"\u003eoted in red ink in Pettibon's hand on the front cover.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45332596949273,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_01.jpg?v=1690712163"},{"product_id":"copy-of-raymond-pettibon-tripping-corpse-5","title":"RAYMOND PETTIBON \/ Tripping Corpse 6","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eTripping Corpse 6  \u003c\/em\u003e1985\u003cbr\u003eOffset print of ink on paper, \u003cmeta charset=\"utf-8\"\u003e28 pages\u003cbr\u003e22 x 14cm, 1st edition \u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003e#103 of 500. Approximately 400 copies from the edition were later destroyed. Hand-numbered by Raymond Pettibon in red ink on the front cover.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: Very good.\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eMild toning from age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003e~\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"335\" data-end=\"726\" class=\"PDq2pG_selectionAnchorContainer\"\u003ePublished by SST Publications in 1985, \u003cstrong data-start=\"374\" data-end=\"395\"\u003eTripping Corpse 6\u003c\/strong\u003e is the sixth instalment of Raymond Pettibon's seminal \u003cem data-start=\"450\" data-end=\"467\"\u003eTripping Corpse\u003c\/em\u003e series. Produced while Pettibon was creating record sleeves, flyers and artist's books for the Southern California punk underground, these self-published zines mark the beginning of one of the most influential drawing practices of the late twentieth century.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"728\" data-end=\"1168\"\u003eThroughout the \u003cem data-start=\"743\" data-end=\"760\"\u003eTripping Corpse\u003c\/em\u003e series, Pettibon dismantles the mythology of the American 1960s, weaving together psychedelia, Charles Manson, violence, religion and popular culture through his unmistakable pairing of hand-drawn imagery and fragmented text. Rather than offering a linear narrative, the pages unfold as a sequence of unsettling associations that expose the paranoia, humour and contradictions embedded within American life.\u003c\/p\u003e\n\u003cp data-start=\"1170\" data-end=\"1319\"\u003eThis copy is hand-numbered \u003cstrong data-start=\"1197\" data-end=\"1208\"\u003e103\/500\u003c\/strong\u003e by Pettibon in red ink. With the majority of the edition destroyed, surviving copies are exceptionally scarce.\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45332708065561,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/IMG_0131_f9f17c99-a318-49a8-8ebe-eb962cdb8d09.jpg?v=1784244401"},{"product_id":"copy-of-raymond-pettibon-tripping-corpse-four","title":"RAYMOND PETTIBON \/ Other Christs","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eOther Christs  \u003c\/em\u003e1982\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003ePhotocopy of ink on paper, 28 pages \u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003e#349 of 500. Approximately 400 copies from the edition were later destroyed. Hand-numbered by Raymond Pettibon in red ink on the front cover.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: Very good. Mild toning and light handling wear consistent with age.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e~\u003c\/p\u003e\n\u003cp data-start=\"379\" data-end=\"753\" class=\"PDq2pG_selectionAnchorContainer\"\u003ePublished by SST Publications in 1982, \u003cstrong data-start=\"418\" data-end=\"435\"\u003eOther Christs\u003c\/strong\u003e is among Raymond Pettibon's earliest self-published artist's books, produced while he was making record covers, flyers and ephemera for his brother Greg Ginn's independent punk label. These photocopied booklets laid the foundations for a practice that would become one of the most influential in contemporary drawing.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"755\" data-end=\"1182\"\u003eReligion, American morality and institutional power are recurring subjects throughout \u003cstrong data-start=\"841\" data-end=\"858\"\u003eOther Christs\u003c\/strong\u003e. Pettibon appropriates the iconography of Christianity, combining hand-lettered text with stark black-and-white drawings that shift between reverence, satire and violence. As with much of his early work, the imagery resists fixed interpretation, exposing the contradictions and hypocrisies embedded within American culture.\u003c\/p\u003e\n\u003cp data-start=\"1184\" data-end=\"1333\"\u003eThis copy is hand-numbered \u003cstrong data-start=\"1211\" data-end=\"1222\"\u003e349\/500\u003c\/strong\u003e by Pettibon in red ink. With the majority of the edition destroyed, surviving copies are exceptionally scarce.\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45958157369625,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/IMG_0114.jpg?v=1784118138"},{"product_id":"copy-of-raymond-pettibon-other-christs","title":"RAYMOND PETTIBON \/ Asbestos","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eAsbestos  \u003c\/em\u003e1982\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eOffset print of ink on paper, 28 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Publications\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003eEdition: \u003cmeta charset=\"utf-8\"\u003e#491 of 500. Approximately 400 copies from the edition were later destroyed. Hand-numbered by Raymond Pettibon on the front cover.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: Very good. Mild toning and light handling wear consistent with age.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e~\u003c\/p\u003e\n\u003cp data-start=\"396\" data-end=\"816\" class=\"PDq2pG_selectionAnchorContainer\"\u003ePublished by SST Publications in 1982, \u003cstrong data-start=\"435\" data-end=\"447\"\u003eAsbestos\u003c\/strong\u003e is among Raymond Pettibon's earliest artist's books, produced during the formative years of the Southern California punk movement. Created while Pettibon was designing record covers, flyers and zines for his brother Greg Ginn's label, SST, these self-published works became the foundation of one of the most influential drawing practices of the late twentieth century.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"818\" data-end=\"1151\"\u003eOffset printed in a modest edition of 500 copies, \u003cem data-start=\"868\" data-end=\"878\"\u003eAsbestos\u003c\/em\u003e combines Pettibon's unmistakable ink drawings with fragments of text that shift between confession, satire and violence. Popular culture, American mythology and private anxiety collide across its pages, foreshadowing the visual language that would later define his career.\u003c\/p\u003e\n\u003cp data-start=\"1153\" data-end=\"1305\"\u003eThis copy is hand-numbered \u003cstrong data-start=\"1180\" data-end=\"1191\"\u003e491\/500\u003c\/strong\u003e by Pettibon. With the majority of the edition destroyed, surviving copies of \u003cem data-start=\"1269\" data-end=\"1279\"\u003eAsbestos\u003c\/em\u003e are exceptionally scarce.\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45958298272025,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/IMG_0110_9d73adc1-efcc-48b5-901f-6c4b3973831e.jpg?v=1784117279"},{"product_id":"copy-of-raymond-pettibon-asbestos","title":"RAYMOND PETTIBON \/ The Observable World","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eThe Observable World  \u003c\/em\u003e1985\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOffset print of ink on paper, \u003c\/span\u003e28 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEdition: #48 of 500 (Approximately 400 from the edition were destroyed), n\u003cspan data-mce-fragment=\"1\" itemprop=\"description\"\u003eoted in red ink in Pettibon's hand on the front cover.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45958686179609,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_08.jpg?v=1690718617"},{"product_id":"copy-of-raymond-pettibon-the-observable-world","title":"RAYMOND PETTIBON \/ Freud's Universe","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eFreud's Universe  \u003c\/em\u003e1982\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eOffset print of ink on paper, 28 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEdition: #142 of 500 (Approximately 400 from the edition were destroyed), n\u003cspan data-mce-fragment=\"1\" itemprop=\"description\"\u003eoted in red ink in Pettibon's hand on the front cover.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45958825574681,"sku":"","price":750.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_09.jpg?v=1690718862"},{"product_id":"copy-of-raymond-pettibon-freuds-universe","title":"RAYMOND PETTIBON \/ American Lynch Law","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eAmerican Lynch Law  \u003c\/em\u003e1985\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eOffset print of ink on paper, 28 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp data-start=\"222\" data-end=\"375\" class=\"PDq2pG_selectionAnchorContainer\"\u003e#25 of 500. Approximately 400 copies from the edition were later destroyed. Hand-numbered by Raymond Pettibon in red ink on the front cover.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: Very good. Mild toning and light handling wear consistent with age.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e~\u003c\/p\u003e\n\u003cp data-start=\"377\" data-end=\"804\" class=\"PDq2pG_selectionAnchorContainer\"\u003ePublished by SST Publications in 1985, \u003cstrong data-start=\"416\" data-end=\"438\"\u003eAmerican Lynch Law\u003c\/strong\u003e is one of Raymond Pettibon's early artist's books, produced during the formative years of the Southern California punk movement. Created while Pettibon was designing record covers, flyers and zines for his brother Greg Ginn's label, SST, these self-published works laid the foundation for one of the most influential drawing practices of the late twentieth century.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"806\" data-end=\"1214\"\u003eOffset printed in a modest edition of 500 copies, \u003cem data-start=\"856\" data-end=\"876\"\u003eAmerican Lynch Law\u003c\/em\u003e confronts the violence embedded in American history and mythology through Pettibon's stark ink drawings and fragmented texts. Moving between race, religion, power and moral ambiguity, the work reveals the uneasy relationship between popular culture and the darker undercurrents of American life that would become central to his practice.\u003c\/p\u003e\n\u003cp data-start=\"1216\" data-end=\"1364\"\u003eThis copy is hand-numbered \u003cstrong data-start=\"1243\" data-end=\"1253\"\u003e25\/500\u003c\/strong\u003e by Pettibon in red ink. With the majority of the edition destroyed, surviving copies are exceptionally scarce.\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45958925811993,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/IMG_0112_194c6c47-e79d-44a6-ae1f-465b738f641d.jpg?v=1784118352"},{"product_id":"copy-of-raymond-pettibon-american-lynch-law","title":"RAYMOND PETTIBON \/ Like Death Valley","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eLike Death Valley  \u003c\/em\u003e1985\u003cbr\u003eOffset print of ink on paper, 28 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp data-start=\"129\" data-end=\"283\" class=\"PDq2pG_selectionAnchorContainer\"\u003e#165 of 500. Approximately 400 copies from the edition were later destroyed. Hand-numbered by Raymond Pettibon in red ink on the front cover.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: Very good. Mild toning consistent with age.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e~\u003c\/p\u003e\n\u003cp data-start=\"285\" data-end=\"612\" class=\"PDq2pG_selectionAnchorContainer\"\u003ePublished by SST Publications in 1985, \u003cstrong data-start=\"324\" data-end=\"345\"\u003eLike Death Valley\u003c\/strong\u003e is one of Raymond Pettibon's scarce early artist's books, produced during his formative years within the Southern California punk scene. Originally distributed through SST, the publication reflects the raw, self-published ethos that defined Pettibon's earliest work.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"614\" data-end=\"1149\"\u003eLike many of his zines from this period, \u003cstrong data-start=\"655\" data-end=\"676\"\u003eLike Death Valley\u003c\/strong\u003e combines fragmented text with stark ink drawings to construct a restless portrait of America. Violence, desire, religion, popular culture and psychological unease collide across its pages, refusing coherent narrative in favour of abrupt shifts in tone and meaning. These early publications established the visual language that would come to define Pettibon's practice and remain among the most sought-after examples of artist publishing from the American punk underground.\u003c\/p\u003e\n\u003cp data-start=\"1151\" data-end=\"1300\"\u003eThis copy is hand-numbered \u003cstrong data-start=\"1178\" data-end=\"1189\"\u003e165\/500\u003c\/strong\u003e by Pettibon in red ink. With the majority of the edition destroyed, surviving copies are exceptionally scarce.\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45959014220057,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/IMG_0126_8e03107e-af6f-4941-a9d1-0a013fb10a5d.jpg?v=1784243580"},{"product_id":"copy-of-raymond-pettibon-like-death-valley","title":"RAYMOND PETTIBON \/ At First Watching","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eAt First Watching  \u003c\/em\u003e1989\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eOffset print of ink on paper, 28 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEdition: #32 of 70, n\u003cspan data-mce-fragment=\"1\" itemprop=\"description\"\u003eoted in black ink in Pettibon's hand on the front cover\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45959060750617,"sku":"","price":1200.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_12.jpg?v=1690719583"},{"product_id":"copy-of-raymond-pettibon-at-first-watching","title":"RAYMOND PETTIBON \/ Wein, Weib, und Gesang","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eWein, Weib, und Gesang  \u003c\/em\u003e1985\u003cbr\u003eOffset print of ink on paper, 28 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eEdition: #179 of 500. \u003cmeta charset=\"utf-8\"\u003e(Approximately 400 from the edition were destroyed), noted in red ink in Pettibon's hand on the front cover. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45959096434969,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_13.jpg?v=1690719978"},{"product_id":"copy-of-raymond-pettibon-wein-weib-und-gesang","title":"RAYMOND PETTIBON \/ Virgin Fears","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eVirgin Fears  \u003c\/em\u003e1983\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eOffset print of ink on paper, 35 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eEdition: #358 of 500. \u003cmeta charset=\"utf-8\"\u003e(Approximately 400 from the edition were destroyed), noted in red ink in Pettibon's hand on the front cover. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45959144767769,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_14.jpg?v=1690720350"},{"product_id":"copy-of-raymond-pettibon-virgin-fears","title":"RAYMOND PETTIBON \/ The Navigator's Wives","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eThe Navigator's Wives  \u003c\/em\u003e1985\u003cbr\u003eOffset print of ink on paper, 35 pages\u003cbr\u003e22 x 14cm, 1st edition \u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eEdition: 265 of 500. \u003cmeta charset=\"utf-8\"\u003e(Approximately 400 from the edition were destroyed), noted in red ink in Pettibon's hand on the front cover. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45959171440921,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_15.jpg?v=1690720785"},{"product_id":"copy-of-raymond-pettibon-the-navigators-wives","title":"RAYMOND PETTIBON \/ Kismet's Account","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eKismet's Account  \u003c\/em\u003e1984\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eOffset print of ink on paper, \u003c\/span\u003e35 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eEdition: #277 of 500. \u003cmeta charset=\"utf-8\"\u003e(Approximately 400 from the edition were destroyed), noted in red ink in Pettibon's hand on the front cover. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45959212138777,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_16.jpg?v=1690721259"},{"product_id":"copy-of-raymond-pettibon-kismets-accountant","title":"RAYMOND PETTIBON \/ New Girl","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eNew Girl  \u003c\/em\u003e1986\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eOffset print of ink on paper, 35 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eEdition #37 of 500. \u003cmeta charset=\"utf-8\"\u003e(Approximately 400 from the edition were destroyed), n\u003c\/span\u003e\u003cspan itemprop=\"description\" data-mce-fragment=\"1\"\u003eoted in red ink in Pettibon's hand on the front cover.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45959260471577,"sku":"","price":750.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_17.jpg?v=1690721491"},{"product_id":"copy-of-raymond-pettibon-new-girl","title":"RAYMOND PETTIBON \/ Cars, TV Rockets, H-Bomb--You Name It","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eCars, TV Rockets, H-Bomb--You Name It  \u003c\/em\u003e1985\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eOffset print of ink on paper, 35 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003e#313 of 500. Approximately 400 copies from the edition were later destroyed. Hand-numbered by Raymond Pettibon in red ink on the front cover.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: V\u003cspan\u003eery good.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003e~\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"flex max-w-full flex-col gap-4 grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"5dcadd02-f3a2-498f-8461-e06decd49a47\" dir=\"auto\" data-message-model-slug=\"gpt-5-5\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal outline-none keyboard-focused:focus-ring [.text-message+\u0026amp;]:mt-1\" data-turn-start-message=\"true\" tabindex=\"0\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert wrap-break-word w-full dark markdown-new-styling\"\u003e\n\u003cp data-start=\"359\" data-end=\"628\" class=\"PDq2pG_selectionAnchorContainer\"\u003ePublished by SST Publications in 1985, \u003cstrong data-start=\"398\" data-end=\"438\"\u003eCars, TV Rockets, H-Bomb—You Name It\u003c\/strong\u003e is one of Raymond Pettibon's scarce early artist's books, produced at a time when he was making record sleeves, flyers and self-published books for the Southern California punk underground.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"630\" data-end=\"1065\"\u003eTaking its title from the language of consumer culture and Cold War anxiety, the publication brings together Pettibon's recurring subjects—television, violence, automobiles, nuclear paranoia and the mythology of post-war America. Through his distinctive combination of hand-drawn imagery and fragmented text, he transforms familiar symbols into something unsettling, exposing the contradictions beneath American optimism and spectacle.\u003c\/p\u003e\n\u003cp data-start=\"1067\" data-end=\"1216\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eThis copy is hand-numbered \u003cstrong data-start=\"1094\" data-end=\"1105\"\u003e313\/500\u003c\/strong\u003e by Pettibon in red ink. With the majority of the edition destroyed, surviving copies are exceptionally scarce.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45959297761561,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/IMG_0142_c234b6de-4f46-4601-914c-9414bd65dbe3.jpg?v=1784245244"},{"product_id":"copy-of-raymond-pettibon-cars-tv-rockets-h-bomb-you-name-it","title":"RAYMOND PETTIBON \/ I Will Sign Anything (Signed)","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eI Will Sign Anything  \u003c\/em\u003e1991\u003cbr\u003eOffset print of ink on paper, 35 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age and coffee cup stain on the cover.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEdition: #40 of 75 (Signed), \u003cmeta charset=\"utf-8\"\u003eNoted in red ink in Pettibon's hand on the front cover.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45959498989849,"sku":"","price":1250.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_19.jpg?v=1690722163"},{"product_id":"copy-of-raymond-pettibon-i-will-sign-anything-signed","title":"RAYMOND PETTIBON \/ console, heal, or depict...","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003econsole, heal, or depict...  \u003c\/em\u003e1984\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eOffset print of ink on paper, 35 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eEdition #236 of 500. \u003cmeta charset=\"utf-8\"\u003e(Approximately 400 from the edition were destroyed), noted in red ink in Pettibon's hand on the front cover.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45959662141721,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_20.jpg?v=1690722604"},{"product_id":"copy-of-raymond-pettibon-console-heal-or-depict","title":"RAYMOND PETTIBON \u0026 JOSH BAYER \/ Plot Burial","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon \u0026amp; Josh Bayer\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003ePlot Burial  \u003c\/em\u003e2001\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003ePhotocopy of ink on paper, 35 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eEdition # unknown of 500. \u003cmeta charset=\"utf-8\"\u003e(Approximately 400 from the edition were destroyed)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45959761264921,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_21.jpg?v=1690722996"},{"product_id":"copy-of-raymond-pettibon-console-heal-or-depict-1","title":"RAYMOND PETTIBON \/ Pig Cupid","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003ePig Cupid  \u003c\/em\u003e1985\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eOffset print of ink on paper, 28 pages\u003cbr\u003e22 x 14cm, 1st edition \u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEdition #143 of 500. \u003cspan data-mce-fragment=\"1\"\u003e(Approximately 400 of the edition were destroyed), noted in red ink in Pettibon's hand on the front cover. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe plaintive cover image of \u003ci\u003ePig Cupid\u003c\/i\u003e is captioned “Why do I dream of undertow when I don’t even know what it is?” This zine, by punk artist Raymond Pettibon, deals with violent love and toxic relationships. Many of the women within have been violated, deserted, shot, bought or sold, but Pettibon’s fluid line drawings capture the inexplicable pull of desire, even against a woman’s better judgement. Cupid, argues Pettibon, is a pig.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45960159592729,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_22.jpg?v=1690724091"},{"product_id":"copy-of-raymond-pettibon-pig-cupid","title":"RAYMOND PETTIBON \/ Bottomless Pond","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eBottomless Pond  \u003c\/em\u003e1986\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eOffset print of ink on paper, 28 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eEdition: #13 of 500 (\u003c\/span\u003e\u003cspan\u003eApproximately 400 from the edition were destroyed), noted in red ink in Pettibon's hand on the front cover. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45960321925401,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_23.jpg?v=1690724283"},{"product_id":"copy-of-raymond-pettibon-bottomless-pond","title":"RAYMOND PETTIBON \/ The Bible, The battle, and the Bomb","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eThe Bible, The battle, and the Bomb  \u003c\/em\u003e1984\u003cbr\u003eOffset print of ink on paper, 28 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eUsed, very good.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEdition: #159 of 500 (Approximately 400 from the edition were destroyed), n\u003cspan data-mce-fragment=\"1\" itemprop=\"description\"\u003eoted in red ink in Pettibon's hand on the front cover.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eKnown for his poetic collisions of \"high\" and \"low\" cultural forms, Raymond Pettibon first launched his career as an artist making zines, fliers, and other ephemera within the SoCal punk scene of the late 1970s and 1980s, published by his brother's record label SST Publications. \u003c\/span\u003e\u003cspan\u003e\"His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture.\"\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThese early zines were at first mimeographed and later offset printed or photocopied. The drawings often express disillusionment with the utopian 1960s, a common punk sentiment at the time. One zine in particular, Tripping Corpse, which was serialised, tends to focus on hippie culture gone terribly wrong. Charles Manson is a favourite subject, and even in drawings where he’s not explicitly portrayed, his presence is felt. Far from purely reactionary, though, Pettibon’s work from this time targets the underlying violence of American culture at large, with portrayals of corrupt police officers, classic teen angst, drug addiction, self-loathing, marital dissatisfaction, and the private lives of celebrities and politicians such as Joan Crawford and J. Edgar Hoover.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45960423964953,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/Pettibon_front_24.jpg?v=1690724508"},{"product_id":"copy-of-raymond-pettibon-the-bible-the-battle-and-the-bomb","title":"RAYMOND PETTIBON \/ Short Teats, Bloody Milk","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003eRaymond Pettibon\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eShort Teats, Bloody Milk  \u003c\/em\u003e1985\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eOffset print of ink on paper, 28 pages\u003cbr\u003e22 x 14cm, 1st edition\u003cbr\u003eSST Pubs\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003e#127 of 500. Approximately 400 copies from the edition were later destroyed. Hand-numbered by Raymond Pettibon in red ink on the front cover.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCondition: V\u003cspan\u003eery good.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eMild toning due to age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003e~\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"flex max-w-full flex-col gap-4 grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"5774d2de-e758-4107-9d49-cda68bb53080\" dir=\"auto\" data-message-model-slug=\"gpt-5-5\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal outline-none keyboard-focused:focus-ring [.text-message+\u0026amp;]:mt-1\" data-turn-start-message=\"true\" tabindex=\"0\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert wrap-break-word w-full dark markdown-new-styling\"\u003e\n\u003cp data-start=\"338\" data-end=\"708\" class=\"PDq2pG_selectionAnchorContainer\"\u003ePublished by SST Publications in 1985, \u003cstrong data-start=\"377\" data-end=\"405\"\u003eShort Teats, Bloody Milk\u003c\/strong\u003e is one of Raymond Pettibon's scarce early artist's books, produced during his formative years within the Southern California punk underground. Created alongside his record sleeves, flyers and self-published zines for SST, these publications established the visual language that would define his career.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"710\" data-end=\"1106\"\u003eIn \u003cstrong data-start=\"713\" data-end=\"741\"\u003eShort Teats, Bloody Milk\u003c\/strong\u003e, Pettibon turns his attention to the body, sexuality and violence, using fragmented text and stark black-and-white drawings to unsettle familiar imagery. Rather than offering narrative or resolution, the pages move through a sequence of abrupt associations where desire, humour and brutality collide, revealing the darker undercurrents of American popular culture.\u003c\/p\u003e\n\u003cp data-start=\"1108\" data-end=\"1257\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eThis copy is hand-numbered \u003cstrong data-start=\"1135\" data-end=\"1146\"\u003e127\/500\u003c\/strong\u003e by Pettibon in red ink. With the majority of the edition destroyed, surviving copies are exceptionally scarce.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"RAYMOND PETTIBON","offers":[{"title":"Default Title","offer_id":45960509554969,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/files\/IMG_0144.jpg?v=1784245699"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/5024\/2841\/collections\/Pettibon_front_13.jpg?v=1690090273","url":"https:\/\/landslidebooksandobjects.com\/collections\/raymond-pettibon.oembed","provider":"Landslide","version":"1.0","type":"link"}