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GEAR
125.3 MB in disk
106.6 MB available
T
Utilities
ly chronicled the surf and skate action of the day in
pubs like Surfer and Skateboarder. Other coastal
art makers like Bill Ogden. Ed "Big Daddy" Roth
and Mike Salisburg also documented the scene.
Out of the efforts of that original group. skate art
soon spread.
As the scene progressed away from the coast, its
initial surf-centric design orientation also broad-
ened. Some of the people and boards which had
particular impact included Engblom's hand-
painted SMA boards, Stecyk's first Dogtown Cross
board. Peralta's Rat & Crossbones. Wes Hump-
ston's Bull Dog and Red Dog designs, Cort John
son's Rodriguez Skull Sword, Jimmy Phillips'
Roskopp narrative editions. Brad Bowman's appro-
priated Superlogo, Mary Curtis' Sims Pure Juice.
Chris Buchinsky's SMA special edition. Neil
Blender's models, Lance Mountain's crest model.
Mark Gonzales hand-rendered, each one unique
model and Jeff Klindt's Best Western bite model.
In these modern times, other names have infused
new perspectives into the art of board bottoms
including Andy Howell, Lumpy, Chris Senn, Sean
Cliver, Mark McKee, John Keester. Chris Miller,
Aaron Rose. John Lucero, Kevin Ancell, etc. Air
brushes, ink, X-acto knives and rubylith share the
stage with Macintosh comput-
er programs like Illustrator and
Photoshop, allowing full-tilt
graphic manipulation.
As we approach the turn of
the next century, skate art is
Increasingly being viewed as a
uniquely viable artform. Exhibitions
such as the Ted Field Organized
Chicago Show, NY's Alleged Gallery
show and Gonz' exhibit at Extra
Large in LA are bringing the art of the
streets to the forefront. More and
more, other artists whom have been
involved with skating are making
their presence known. People like
Sandow Birk, Jeremy Henderson.
Alex DeLeon. The Pizz. David
Hackett. Andy Jenkins, Anthony
Ausgang, Robert Williams. Lynn Coleman, Scott
Heywood, Rodger Doucette. Michael McMullen. Russell
Crottyard and Steve Bojoroquez are assaulting the high
brow mainstream art world.
nshaw
Skate art follows no established formats or formulas.
12 iter Many of the best works in this genre are executed on
the bottom of decks and immediately ground off into
oblivion. Other examples are full frontal assaults upon
Eclipse
Flash-It 2.3b1
8 Mb
john keester
FILIGRY
JOHNUTON
genderson
play CD
Gamma
DHDT ProberTM 1.0
net BMUG
HOT Frober Disk
0
36
KB
SCH
riot board
plug board
manson board
IH RACE
GEAR
BITE
THIS
Since Brad Bowman bit
the Superman logo and put
it on his Sims signature
deck in the late seventies,
skateboard graphics have
never been the same. A lot
of deck art is boosted
directly from movies, TV,
modern art, records and
even beer labels. Some can
only be caught by the
trained eye. The Kelch
"Flyer graphic was techni
cally pinched from a US Air
billboard and mutated rate
something sellable.
Copyright Infringement
has nothing to do with it.
be Photoshop when the corporate office
wark Fress
hears about it they just call
the legal team and send a
Cease and Desist letter
and a graphic gets cunned
after a 2.000 board run
Andy Warhol made mil-
lions of Campbell Soup
cans and the slente compa
mies make bank off popre
be llustratorlar icons of American cul
ture. Who is to say what is
art and what is a rip-off?
Marlo Damas
ed templeton
the politeness and buyer's friendly accessibility of the art of the sta-
tus quo. Skate art isn't about commodification rituals or qualification
for admission to the ranks of the socially elite. It exists on its own terms
and begs neither for allowances or acceptance. Those that make this
art do it because they have no other choice. They've got to. -Lowboy
Chiquita
mark make & sean cliver
Trash
www
ROCK
& CABROLS