ART THAT KILLS examines the point where art meets crime. The book documents a diabolical era, 1984-2001. It chronicles the evolution of a new aesthetic movement, a terrifying fringe of Underground Art where enlightenment and depravity combined. Murder, rape, torture, perversion, cannibalism, drugs, sedition, racism and blasphemy mixed with literature, history, politics, news, movies, TV, punk rock, philosophy and science. The book profiles a pantheon of dissidents and deviants, presents excerpts from their work, re-lives their crimes, and attempts to analyze an elusive era. The scene described herein is essentially the "second generation” of American Underground Art (the "first generation” ran from '66 through the 70s). All varieties of taboos and criminal advocacy found confluence, beyond "confrontation” or "shock.” Pure sadism drove it. Sexual psychosis flavored it. Frustration with politics, big business and mass entertainment fueled it. This is art that kills.
NEW EXPANDED AND REVISED EDITION INCLUDES:
32 extra pages. New sections featuring John Waters, H.R. Giger, Glenn Danzig, Twiggy Ramirez, Madonna Wayne Gacy and the musician David E. Williams. Lisa Carver of Rollerderby magazine and the painter Stu Mead have their own sections (they previously were included as one-page entries). Type O Negative, Jack-Off Jill, and Glen Benton of Deicide have been added to the Soundtrack section. Graphic artist Steven Leyba has been added to the Gallery. The section featuring Kenneth Anger has been expanded. Previous errors have been amended, making this new edition the definitive document of aesthetic terror.
|Product dimensions:||6.90(w) x 9.90(h) x 0.90(d)|
About the Author
Carlo McCormick is a renowned journalist, cultural commentator, and former editor of Paper magazine; he lives and works in New York City.
Read an Excerpt
This is not a history, a series of biographies, or a compendium. Anyone looking for a reference work on the subjects herein must look elsewhere;I make no attempt to present complete, comprehensive data. Nor am I offering a critique.This is a panoramic portrait of a scene, rendered in photos, documents, artwork and words. It illustrates the evolution of a movement.I selected these materials because they most vividly animate the individual subjects. The narrative, in each subject's own voice, offers little historical hype. From hours of taped conversations, I picked snippets that offered glimpses behind the masks of art and crime. (continued)
Most Helpful Customer Reviews
This is a wonderfully offensive scrapbook of a certain niche in underground culture, particularly in the late eighties and early nineties. You have this weird convergence of artists, punks, queers, satanists, neo-fascists, and Manson idolators. Even more than the typed interviews, so many of the images herein are a sight to behold. A lot of rare archival art, clippings, and a hefty helping of Manson memorabilia. One of the interesting aspects of this 'collection' is that many of the subjects have connected history and a sort of cliquish air pervades much of the book. It is also fun to pick out the juvenile con-artists of the bunch from the more authentic characters. All in all, a fascinating historical document pertaining to a shadowy underground that is more or less extinct. A monument of apocalypse culture.