Bøger udgivet af Damiani

"The real charm of Byways isn't playing spot-the-location as Deakins dabbles between takes, but the window it opens onto his youthful eye. You can trace his drive from an early age to catch the light at its best - or wait for it - all night if necessary." - The Telegraph "...his first monograph, Byways, looks not to his revered cinematography career, but his decades-long habit of taking still photographs. Among them are breathtaking landscapes and moments of stillness, interspersed with photographs imbued with wit thanks to the playful possibilities of scale, framing and timing. It's the kind of dry humour that sits passers by in conversation with monuments and miscellaneous objects in the street, or captures a canine rendition of Cartier-Bresson's seminal image Behind The Gare Saint-Lazare. - Creative Review "Candid close-ups, wide-angle landscapes, and dynamic long exposures, his monochrome photographs display a variety of approaches and techniques, yet first and foremost, testify to the remarkably perceptive artistic gaze that has seen him nominated for an Oscar on fifteen separate occasions (winning twice). Thoughtful, poetic, and profoundly arresting, they display his distinct enigmatic sensibility, and presented for the most part with little or no information or context (index aside) form a compelling visual soliloquy that conveys with great eloquence, the profound power of the still image." The Independent Photographer "An intimate introduction to the man behind the lens" - The Times Portraits and landscapes from the cinematographer famed for his work with Sam Mendes and the Coen brothers This is the first monograph by the legendary Oscar-winning cinematographer Sir Roger Deakins, best known for his collaborations with directors such as the Coen brothers, Sam Mendes and Denis Villeneuve. It includes previously unpublished black-and-white photographs spanning five decades, from 1971 to the present. After graduating from college Deakins spent a year photographing life in rural North Devon, in South West England, on a commission for the Beaford Arts Centre; these images are gathered here for the first time and attest to a keenly ironic English sensibility, also documenting a vanished postwar Britain. A second suite of images expresses Deakins' love of the seaside. Traveling for his cinematic work has allowed Deakins to photograph landscapes all over the world; in this third group of images, that same irony remains evident.

Critic and curator Jeppe Ugelvig recounts a little explored near-history of art/fashion hybridity through the genre- defying practices of Bernadette Corporation, Susan Cianciolo, BLESS and DIS, exploring their experimental approaches to fashion production between the art and fashion worlds in a time of radical societal change. Through a rich selection of rare and previously unseen photographs and ephemera, the book depicts fashion work in all its exhilarating complexity, tracing it from the atelier of the garment-maker to the post-production editing suite of the fashion photographer. Ugelvig¿s comprehensive account connects a mythological 1990s generation of collaborative, DIY fashion producers in New York, Paris and Berlin to the digital and increasingly corporate systems of fashion of the 2010s, where aesthetic activities such as styling and creative directing have become ubiquitous. From the dystopian brand-hacking of Bernadette Corporation to the museum pop-up stores and early sneaker collaborations of BLESS, the book shows how artists not only manage to repeatedly subvert fashion¿s frenzied systems, but prototype new forms of aesthetic entrepreneurship.

This book is an unexpected deep dive into the tenderness and truth of weddings. For 342 Saturdays, John Dolan has quietly pursued emotional and revealing art inside the wedding day itself. He has aimed his camera at tiny moments of deep meaning; evocative, joyful, unscripted, perfectly imperfect scenes at the start of a marriage. The wedding is one of society's last and lasting ceremonies - universal in its presence, comprehensive in its emotion. Dolan's candor, his respectful discretion, and his gentle but shrewd and powerful observation combine to make a book that transcends weddings and enlightens us on the human condition.

Toiletpaper is an artists¿ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text; each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists¿ mental outbursts. Since the first issue, in June 2010, Toiletpaper has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art, which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy.

An up-close portrayal of late-'90s London's many music scenes, from the pages of Sleazenation and beyond In the late 1990s, as a graduate from art school, the British photographer Ewen Spencer began making pictures for Sleazenation, in particular for the infamous listing pages at the rear of the magazine that were called "Savoir Vivre." The images were made in both black and white and color, and were immensely candid and full of characters that seemed to be everywhere at that time. London was at the epicenter of a cultural boom in this period. Small clubs, parties and discos were plentiful in venues from North to South, and Spencer was in a minicab and night bus taking in all the scenes-from Northern Soul, Acid House, Jungle and Garage to Nu Metal, South London blackout clubs and more. Spencer captures an era filled with love, lust and messy authenticity.

It was in 1978, during my first summer of making portraits while using an 8x10 inch large format camera, that I found myself drawn to photographing redheads. I have often been asked; 'why redheads,' and I've often felt it was because in summer redheads seem to bloom in the sun more gloriously than the rest of us. But it also might have been my living far out on the tip of Cape Cod, surrounded by all the blue light of sea and sky, which made me pay more attention to the flamboyant qualities of redheads. Their hair and the exotic markings of their skin in sunlight became even rosier and more astonishing in that blue atmosphere. Redheads, like film itself, are transformed by sunlight. It seems natural to me now that I would have paid attention to this new phenomenon as it appeared within the larger subject of the Cape itself. After making more than 50 portraits that first month, in which at least 30 were of redheads, I understood that this was an impulse to be taken seriously. I ran an ad in the local paper, the Provincetown Advocate: "REMARKABLE PEOPLE! If you are a redhead or know someone who is, I'd like to make your portrait, call...." They began coming to my deck, bringing with them their courage and their shyness, their curiosity and their dreams, and they shared their stories of what it was like to be a redhead. They spoke of the painful remembrances of childhood, the violations of privacy and name calling-"Hey, red," "freckle face," "carrot head." They also shared with me their sense of personal victory at having overcome this early, unwanted celebrity, and how like giants or dwarfs or athletes they had finally grown into their specialness and by surviving had been ennobled by it. You could say that they had been baptized by their own fire, and that their shared experience had formed a "blood knot" among them. I had begun making portraits with the intention of photographing ordinary people. But redheads are both ordinary and special. Their slender slice of the genetic pie accounts for only 2 or 3 percent of the world's population. As different as redheads are in terms of nationality and religion, they often give the appearance of a strong familial connection. My way of making portraits is not by getting down on my hands and knees, nor climbing high on a ladder, nor getting into bed with a celebrity, but simply standing eye to eye with anyone has found their way to me, young or old. I need only one or two sheets of film and the patience to see it through. This new edition of 'Redheads' will have a number of new and previously unseen portraits.

Hometown collects a series of suburban landscape photographs taken on Long Island between 1973-1980 by Joseph Szabo. Sharing the same DNA as his Teenage and Almost Grown series, Szabo‿s Hometown images conjure up an instant nostalgia, recalling fond memories of Szabo‿s childhood and adolescence in suburbia. Szabo explains, “The Hometown scenes reminded me of places I knew from my youth, places that I saw on my way to school, church, or the museum. They struck an emotional chord in me, one that is hard to put into words but that revealed their connection to my own past. In that sense, Hometown is autobiographical.â€?Building on his past work, Hometown gives context to the suburban lives that Szabo has documented so effectively for almost forty years.

Issue 13 of Maurizio Cattelan and Pierpaolo Ferrari's accessible image-based artists' magazine that challenges the limits of the contemporary art economyToilet Paper is an artists' magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text; each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists' mental outbursts. Since the first issue in June 2010, Toilet Paper has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery.

Il magazine 'ToiletAlex PaperPrager' nasce dall'incontro tra il mondo visionario di 'Toiletpaper' e l'immaginario sconcertante di Alex Prager, artista, regista e sceneggiatrice americana. La rivista presenta un back-to-back di dodici immagini di Alex Prager e dodici di 'Toiletpaper': l'estetica accattivante, i colori forti e i cortocircuiti visivi propri di 'Toiletpaper' amplificano il mondo di Prager e viceversa. Il sottile confine tra realtà e finzione che l'artista indaga attraverso un uso peculiare di archetipi, oggetti del quotidiano, humor e allegorie, è al centro di un'esplorazione ambigua e seducente. 'ToiletAlexPaperPrager' fa seguito a 'ToiletMartin PaperParr', la speciale edizione che nel 2018 ha raccolto le immagini più iconiche dei prolifici archivi dell'artista di fama internazionale Martin Parr e del duo Cattelan-Ferrari.

Since 1972 Neal Slavin has been documenting groups and gatherings. From bingo players to ballroom dancers to religious congregations Slavin has photographed seemingly every imaginable organization that human beings have dreamed up. While the pictures themselves are most often posed Slavin has always asked that his subjects arrange themselves in front of the camera, allowing natural hierarchies, group dynamics, and indications of status to emerge. Through these pictures Slavin has sought to capture the inner character of these groups of people much as a portrait photographer seeks to capture the essence of an individual. This new expanded edition is edited with a text by Kevin Moore.

Growing up in Colorado with his father in the Professional Rodeo Cowboy Association, Luke Gilford spent his formative years around the rodeo, an American institution that has often been associated with conservatism and homophobia. It was only later, when he discovered the International Gay Rodeo Association (IGRA), that he began to see himself as part of a rodeo family. The IGRA is the organizing body for the LGBTQ+ cowboy and cowgirl communities in North America - a safe space for all races and gender expressions. The queer rodeo brings in participants from rural regions all over America for structured educational programs and competitions, facilitating opportunities to hone athletic skills, connection and care for animals, personal integrity, self-confidence, and support for one another. Gilford has spent over three years traveling the country to document this diverse and ever-evolving subculture. Shot on medium-format film and printed in a traditional dark room, the work is detailed and rich with emotion and color. The resulting 'National Anthem' photographs are both personal and poetic - clear testaments to Gilford's intimate relationship to the community. 'National Anthem' is a celebration of outsiders and the immense beauty of chosen families everywhere. This new edition is going to be released in conjunction with the release of his film adaptation of National Anthem.

Popular culture and fashion continually change and recycle. While specific objects of decor change over time, teenagers' bedrooms are still private sanctuaries, spaces for safely experimenting during a time in life when one is forming and expressing ever-evolving identities. This is part of coming-of-age. It is universal and timeless. The continued popularity of this work made in the 80s and 90s is curious. In some cases, the work evokes nostalgia, but not primarily so. Adrienne Salinger hears from current teenagers often; many send her pictures of their bedrooms today. Social media encourages users to endlessly "rebrand" their identities, creating idealized fantasies, striving for perfection. These photographs are not about perfection. They give voice to the contradictions of our identities. Bedrooms contain the past, the present, and the future. They are sites of continual transformation. Upon its release in 1995, Adrienne Salinger's book "In My Room: Teenagers in Their Bedrooms" was an immediate success, selling nearly 24,000 copies in its first few years. Over the nearly 30 years since, and especially in the most recent decade of social media, the work's appeal has actually grown tremendously. Hundreds of print and online articles, interviews and features have been published and the work has been exhibited at museums all around the world.

"The Art of Being Liz Renay" is a visual romp through one woman's journey from Depression era Arizona through the Sexual Revolution of the 1980's. Liz Renay participated in subcultures from every era she lived like an actor playing a new role every year. She was a World War II V-girl, beauty pageant winner, fashion model, Greenwich Village variety performer, beatnik poet, Marilyn Monroe look-a-like burlesque star, Hollywood actress, and America's favorite mafia mole. She went to prison for not squealing on the mob boss Mickey Cohen in 1960. After her release she became a celebrated painter in between making dozens of cult films. Her 1972 memoir 'My Face for the World to See' was a best-seller. She streaked nude down Hollywood boulevard for ten thousand fans for publicity for her return to stripping. Her apex came when film director John Waters asked her to star in his current film "Desperate Living". Now with global recognition she continued to write books enjoyed being a great-great grandmother, and being a bachelorette after seven marriages and more than 2000 lovers. She became an inspiration for outsiders everywhere. Her books went into multiple printings and she kept busy with fan mail and autograph conventions. When interest in a burlesque revival began- she attended the Burlesque Hall of Fame and headlined the Legends night. Her final great act was her solo painting show in New York, at the prestigious Deitch Projects, 50 years after her art world debut. She garnered a half page obituary in the New York Times when she passed.

The upcoming Toiletpaper wall calendar 2025 features photographs conceived by Maurizio Cattelan and Pierpaolo Ferrari taken from their magazine Toiletpaper, an image-only publication devoted to the combination of the height of attractiveness with that of ugliness.

The Freedom of Expression is the sequel to the Les Danseurs (Damiani, 2015) by Matthew Brookes but basically it's an archive of past and new work on dancers on a global scale and includes pictures from Paris, South Africa, Brazil, Mexico, Los Angeles, etc.. The book is about togetherness and inclusivity through the art of dance. It includes famous dancers and also street dancers of all ages and from many different backgrounds.

After selling out his first edition of his 2021 book The Perfect Imperfect, John Dolan is publishing an expanded 2nd edition, with over 30 new images. The new edition will include photographs of Gwyneth Paltrow, Anna Sophia Robb and the White House wedding of Naomi Biden. The 1st edition of The Perfect Imperfect solidified Dolan's position as the godfather of contemporary wedding photography, a 70+ Billion dollar industry. He has established himself as a thought leader for an inspired new generation of photographers.

Silent and secretive, determined to a lifetime of seclusion spent entirely in the workshop, Madame Grès (1903-1993) saw herself as a sculptor. Fully immersed in his work, with the relentless determination of tireless masters, and refusing the media excesses of his profession, Azzedine Alaïa (1935-2017) also studied sculpture at the School of Fine Arts in Tunis. This shared ambition was not corrupted by the fashion trades to which they dedicated themselves with such singularity and success. On the contrary, it elevated the art of draping for one and the art of cutting for the other to the level of guiding principles in the history of fashion. While there is no evidence that the two couturiers ever crossed paths, their creations undoubtedly did. Apostles of a certain form of simplicity, the seemingly simple creations of Grès and Alaïa hide an inherent complexity in their cut and design. Guided by the fabric that governs their designs and choices, carefully collected for weeks in the decision-making process of shaping a dress, and assured in their selection of monochromatic colors, with a preference for intense black and plaster white, the two couturiers embraced a community of creation and spirit. The drapery that Grès had elevated to the level of total art since the 1930s is embodied in Alaïa's long, fluid, and pleated dresses. The jersey embraced by the former translates into knitwear and soft materials in the latter's designs. The pursuit of proportion and the precision in cutting, whether for evening or daytime models, unite them. For the first time, this publication brings together the works of Madame Grès and Alaïa. United by their formal principles, their cutting techniques, and the harmonious combinations of fabric and colors they commonly embraced, the evening gowns and day dresses by both couturiers invite visitors to a lesson beyond fashion. Timeless for one, and outside of time for the other, the exhibited creations, totaling 60, restore the dialogue between Grès and Alaïa, two solitary and determined individuals who became sculptors of dresses.

Charow spent the past two years creating his first photography book about artists living under the protection of The Loft Law. The law, enacted in 1982, granted protection and rent control to thousands of artists who were living illegally in commercial and manufacturing zoned lofts in neighborhoods like Soho, Tribeca, and the Bowery after the manufacturing industry left New York. Two years ago he found a map of the remaining protected buildings, rang hundreds of doorbells, and photographed and interviewed over 50 artists who are still living in these incredible lofts to this day. As New York faces an unprecedented amount of empty commercial space, this is perfect timing for this incredible untold story.

We Started a Nightclub: The Birth of the Pyramid Cocktail Lounge as Told by Those Who Lived It is the story of the beginnings of the club that was the launching pad for countless talented performers, musicians, and artists¿many at the earliest stages of their careers. It begins in 1981 at the last moment in the city¿s history when the East Village was considered a dangerous no man¿s land, rents were cheap, AIDS was still unknown, and a new generation of creators broke the mold and went on to make art in an atmosphere of unbridled celebration. An oral history told through more than 75 interviews, it covers the early years of the Pyramid from the time of its founding through its rise, near demise, and rebirth as the first producer of downtown¿s annual Wigstock festival. The book includes narrative commentary by Butterick, Martin, and Nakas; press releases, and never-before-seen photos, snapshots, flyers, and other ephemera The Pyramid, at 101 Avenue A, was ground zero for an explosion of creativity. In opposition to the conformity that defined the West Village, the Pyramid was run by gays, but never considered ¿a gay club¿. Instead, it offered a mixture of cultures, from groundbreaking, irreverent theater and experimental and hardcore music to ¿anti-drag¿ that challenged the norms of gender and sexual binaries. Theme nights and bar dancers, fixtures of the downtown avantgarde, and kids escaping their past and creating their futures all added to the club¿s popularity. The genius behind the club was 23-year-old Bobby Bradley, an impresario who established a collaborative atmosphere that mixed and matched performers of every stripe. Joining Bobby was a team of eager young artists, dancers, musicians, actors, and writers, telling the story of a new generation of artists in their own words. At the Pyramid, John Kelly, John Jesurun, Kestutis Nakas, and Ann Magnuson rubbed elbows with They Might be Giants, the Red Hot Chili Peppers, 3 Teen Kill 4, and performers like Ethyl Eichelberger, John Sex, Tabboo!, Hapi Phace, and Lady Bunny added their twist on drag with outrageous personas. By offering a home to obscure, genre-defying, experimental, and unpolished acts, the Pyramid played a crucial role in shaping the city¿s underground cultural scene for decades to come. By 1985, Bobby and his team had produced thousands of original performances and ushered in a time of intense creativity in the East Village. Sadly, addiction, AIDS, and other perils of human existence brought Bobby (and so many others) down; the story of his downfall marks the ¿end of the beginning¿ of the Pyramid in 1986. With reminiscences and anecdotes from performers and bar boys to doormen and DJs, the Cast of Characters section of the book includes descriptions of the 250+ people who have added their voices or are referenced in this history of those seminal times. We Started a Nightclub also includes excerpts of more than 50 Pyramid press releases written by Martin between 1983 and 1986, documenting the range of acts and cultural commentary at the heart of the club. Given the time constraints and limited communication channels of the analog age, many entries read like Felix Feneon¿s ¿Novels in Three Lines,¿ compressed and intentionally humorous¿a mirror of the personalities and satirical spirit of the club. Like C. Carr¿s ¿Fire in the Belly,¿ We Started A Nightclub is an inside look at the cultural history of the East Village in the early 1980's, combining small anecdotes and larger narratives to capture the ethos of the Pyramid. Both the unsung heroes and the famous animate these pages with memories and backstories on people and events. Like Patti Smith¿s ¿Just Kids,¿ it intimately touches the real lives of artists. And like Jean Stein¿s ¿Edie: an American Biography,¿ the story of the club is told through the perspectives of those who lived it. What Studio 54 was for disco and pop culture, the Pyramid was for the alternative cultures of downtown NYC. The 2015 Howl exhibition, ¿Secrets of the Great Pyramid: The Pyramid Cocktail Lounge as Cultural Laboratory, curated by Brian Butterick, featured the voices, works, and ephemera of more than 50 artists associated with the Pyramid alongside performances and panel discussions. The exhibition remains one of Howl¿s most successful to date, demonstrating strong interest in the Pyramid and its place in cultural history. The book, for which interviews began in 2006, is timelier than ever as the only in-depth exploration of the Pyramid¿s origins. In 2021, the Pyramid closed permanently. Though the venue was no longer the cultural hotbed of its early years, its closure prompted an outpouring of reminiscence and mourning for a bygone era, amid a broad renewed interest in the art and culture of 1980s New York¿the eras that predated rapid gentrification, and the sweeping impact of the AIDS epidemic.

The book consists of images of a series of works-in-progress that continue an exploration of contemporary portraiture, instinct and abstraction. Classical and conceptual forms create a cohesive whole from seemingly disparate elements, and build what is hopefully an inclusive and complete vision, in which the familiar and unfamiliar are given equal grounding. These works-in-progress include plaster, concrete, rotocast plastics, ceramics, bookmaking, and darkroom photographic printing. Process and the documentation of process becomes a part of the whole. All of this is done in the buildup to a one person exhibition at the ICA Milano Foundation, opening in December 2023 into 2024.

The debut monograph of Sebastian Sabal-Bruce showcases a mesmerizing collection of portraits and landscapes, elegantly woven together in a cinematic and poetic sequence. Primarily featuring the diverse places and faces Sabal-Bruce has encountered throughout his career, this work blurs the lines between fiction and documentary. It subtly weaves a narrative centered on a female protagonist emerging from the confining urban landscapes of cities like Tokyo and Manhattan. As she traverses these spaces, a poignant dance ensues between the masks we wear and our authentic selves, juxtaposing alienating city streets with raw moonlit portraits. The narrative's abstract and subtle essence encourages viewers to immerse themselves and derive personal interpretations.

In 2015, photographer Ivan McClellan attended the Roy LeBlanc Invitational in Oklahoma, the country¿s longest-running Black rodeo, at the invitation of Charles Perry, director and producer of The Black Cowboy. ¿It was like going to Oz ¿ there was all this color and energy,¿ McClellan says. ¿There was a backyard barbecue atmosphere. People were doing the Cupid Shuffle in their boots, guys riding around on their horses, the old men were in their perfectly starched white shirts with their pinky rings, posted up on their horses. It felt like home.¿ Over the next decade, McClelllan embarked on a journey across the nation, crafting a multi-layered look at contemporary Black rodeo culture for the new book, Eight Seconds. Whether photographing teen cowgirl sensation Kortnee Solomon at her family¿s Texas stables, capturing bull riding champion Ouncie Mitchell in action, or kicking it with the Compton Cowboys at their Los Angeles ranch, McClellan chronicles the extraordinary athletes who keep the magic and majesty of the ¿Old West¿ alive with high-octane displays of courage, strength, and skill. The book¿s title refers to the sport of bull riding ¿ athletes must stay on a bull for a total of eight seconds while it bucks and the more hectic the ride, the higher they score. It¿s an apt metaphor for McClellan¿s devotion to this long-form documentary project, which required him to hone his reflexes, endurance, and stamina to get the picture. With Eight Seconds McClellan honors the highest ideals of independence, integrity, and grit with intimate photographs that preserve the deep-rooted connections between the people and the land.

This introductory monograph presents the monumental work of Puerto Rican born artist Lee Quiñones and follows his evolution over five decades. When 14-year old Lee embarked on his first spray paint mural in 1974, he carried marker drawings into the New York City subway train yards that served as studies to his 52-ft long rolling murals. Drawings and subway photography illustrate how Lee¿s emergence served as a catalyst for what is now acknowledged as the street art movement. Before Lee, graffiti art was accessed by a small audience of young people who coveted style and scale. Images of Lee¿s trains illustrate how he changed the face of the movement, infusing kinetic elements of futurism in over 120 subway car murals across the transit system. Lee invented the concept of the freestanding urban mural in his iconic 1978 ¿Howard the Duck¿ handball wall. He introduced spray-paint based work internationally when he opened his first formal exhibition in Rome, Italy in 1979, showing canvases created in a make shift Manhattan studio where Jean-Michel Basquiat also made early work, also captured in the book. Images show the social commentary and poetry used in his early expressionistic paintings. He was among the youngest artists to show at Documenta #7 in 1983, at age 22, depicted in portraits of the artist with his work from that era. He influenced peers Jean-Michel Basquiat, Keith Haring, Martin Wong, Jenny Holzer and David Wojnarowicz, who are shown viewing Lee¿s work. Subsequent paintings convey how Lee¿s practice has shaped a generation of contemporary artists. His paintings continue to revolutionize spray paint technique and intermix the tools of graffiti with traditional charcoal, pencil, ink, and printed matter. The imagery captures the mood and urgency of 1980s New York and moves from the streets to the intimacy and maturity of Lee¿s contemporary studio environment.

Tony Caramanico has lived many lives. A competitive surfer, TV producer, surf shop owner, astute traveler, apprentice and artist, few have experienced more phases of surfing¿s development than Tony. Unlike more established sports, surfing¿s pop cultural adoption began largely in the 50s and 60s. While unfortunately a dying breed, those whöve played a key role in its development are still around to impart their wisdom. Steeped in experience, their stories of a time before surfing¿s commercialization told with an off the cuff ¿you should have been there¿ attitude are relatable to all in search of freedom from today¿s hyper regimented world. With memories rooted in empty white sand beaches, hard yard travel and the endless pursuit of new sensation, surfing¿s OGs constantly inspire ideas of an untethered existence. This book will be predominantly composed of Tony¿s art as these pieces are literal representations of his surfing life. These legible journals will provide a unique window into what the day to day of a traveling surfer in the 70s 80s and 90s was like. The book chronicles Tony¿s surfing youth, features art pieces highlighting marquee works from his thousands of entries. The book contains Tony¿s journals along with photos of his highly lauded 100+ piece surfboard collection. An important aspect of this book will be Tony speaking to his time apprenticing for Peter Beard, his experience living on Peter¿s compound and the direct ties between Peter and Tony¿s art.