The Art of Moonalice Returns to Brooklyn Bowl on Sunday October 28

Check out the pho­tos we took at the Brook­lyn Bowl poster show. Click here…

The Art of Moon­al­ice
An exhibit of Rock Posters cre­ated for the band Moon­al­ice.
Moon­al­ice is a band that com­mis­sions a poster for every gig and gives them away for free. Since the band’s for­ma­tion in 2007, Moon­al­ice has pro­duced a unique series of almost 550 orig­i­nal gig posters with art­work from over 20 artists.

Moon­al­ice posters fea­ture art­work from many of the leg­endary poster artists of the psy­che­delic 60′s as well as today’s top rock poster artists. Moon­al­ice is a band that lets poster artists do what they do best – make art! Unen­cum­bered by stan­dard con­straints, Moon­al­ice posters are as diverse as the artists who cre­ate them.

On Sun­day, Octo­ber 28, 2012, Moon­al­ice proudly presents their 2nd poster show at the Brook­lyn Bowl. The full series of Moon­al­ice posters will be on dis­play and avail­able for pur­chase at this FREE East Coast event. Many Moon­al­ice poster artists will be attend­ing the event in-person. The poster show opens at noon, Moonalice’s con­cert will fol­low the poster show in the evening. Join the event on Facebook!

SUNDAY – Octo­ber 28, 2012
Doors open at Noon!
Artists in atten­dance:
Wes Wil­son • Alexan­dra Fis­cher
David Singer • Stan­ley Mouse
Chris Shaw • John Mavroudis
Den­nis Larkins • Dave Hunter
Den­nis Loren • John Seabury
Chuck Sperry • Wendy Wright
Car­olyn Fer­ris • Gary Hous­ton
Dar­rin Bren­ner • Win­ston Smith
Lee Con­klin • Lau­ren Yurkovich
George and Patri­cia Sargent

Also fea­tur­ing art­work by:
Ron Dono­van • Claude Shade • Grace Slick

BROOKLYN BOWL 61 Wythe Avenue, Brook­lyn, NY


The Mon­tage Art of Win­ston Smith — Vol­ume 2

Artcrime: the Montage Art of Winston Smith

Fol­low­ing that time-tested tra­di­tion of mon­tage, col­lage and ran­dom image appro­pri­a­tion, Win­ston Smith takes this medium one step fur­ther than his pre­cur­sors, Max Ernst
and Mar­cel Duchamp.” — Robert Williams

Art­crime is the sec­ond col­lec­tion of Winston’s work to be pub­lished by Last Gasp, fol­low­ing the highly suc­cess­ful Act Like Nothing’s Wrong. Win­ston Smith gained mass appeal through his work with the Dead Kennedys, and the fore­word by noto­ri­ous punk impres­sario, Jello Biafra.

Enjoy a small pre­view below

It was a dark and stormy night in Berke­ley where I was attend­ing a con­fer­ence of social sci­en­tists (who were nei­ther). To avoid a fatal attack of bore­dom four of us slipped out of a post-dinner panel on the impact of the Kennedy-Nixon debates on U.S. pol­i­tics and made our way down Uni­ver­sity Avenue look­ing for trou­ble. We found it. A poster announced a Dead Kennedy’s con­cert. We went. Four suit-and-tie pro­fes­sors. We stood out like a sore mid­dle finger.


I don’t remem­ber much about Jello Biafra’s music but I remem­ber the poster that first caught our eye. Win­ston Smith was the gonzo-artist respon­si­ble for it. In the years since Smith launched his career with bizarre posters announc­ing con­certs by bands — some of which didn’t actu­ally exist — he’s risen from provoca­tive to noto­ri­ous, from fringe to out-of-this world, from appear­ances on cof­fee house walls to a book on cof­fee tables; which is where you today find Act Like Nothing’s Wrong. It was this book that pro­pelled Smith into the nation’s con­scious­ness, thanks to tel­e­van­ge­list Pat Robert­son. When Robert­son railed against Smith’s work on The 700 Club he kept it hid­den from view, pre­sum­ably to pro­tect his eas­ily upset view­ers. The piecethat got Robertson’s dan­der up is “Idol,” a shinny plas­tic Jesus nailed to a “cross” of dol­lar bills. To para­phrase Carly Simon: Pat Robert­son “you’re so vain you must think this picture’s about you… don’t you, don’t you.”

album Panic Now by Winston Smith

The first thing you’ll notice is that Win­ston Smith isn’t a painter. Instead of brushes and paint Smith’s tools are scis­sors and a glue stick. The word for his medium is mon­tage art, pieces and images culled from the kitchen mid­den of our cul­ture, arranged to pro­vide the max­i­mum sound from a clash of sym­bols. He pro­vides what Aris­to­tle called “the shock of recog­ni­tion.” Through his eyes we see the famil­iar, the pedes­trian images and icons of our soci­ety as we have never seen them before. He makes us look at our­selves, at our cul­ture, and at what we praise as progress.


Win­ston Smith’s shows us where we’ve gone astray in our love affair with “cap­i­tal­ism,” “con­sumerism,” and “con­ve­nience” in order to get us to change our ways. He’s no machine-smashing Lud­dite but an icon­o­clas­tic patriot who cares enough about the coun­try to want us to do bet­ter and be bet­ter. Smith’s into artis­tic “tough love.”


Describ­ing him­self as a fig­ure “shrouded in mys­tery and leg­end,” Illus­tra­tor Win­ston Smith says the cut and paste mon­tage of ‘50s mag­a­zine imagery that he cre­ates monthly for Spins Top­spin col­umn “reflect the hypocrisy, excess, and banal­ity of 1950’s Amer­ica.” That decade “made a dis­as­trous impres­sion” on the artist, who has worked closely with the Dead Kennedys’ Jello Biafra design­ing many of the sem­i­nal punk out­fits record cov­ers. Smiths motto: “Mod­er­a­tion is for the weak.” Smith who also con­tributes illus­tra­tions to Mother Jones, The Pro­gres­sive, Utne Reader and Max­i­mum Rock­N­Roll, has com­piled a sec­ond vol­ume of his mon­tage art, Art­crime (Last Gasp), due in May, 1997.

Excerpt cour­tesy of Spin Mag­a­zine.

Agitating for Fun and Profit by Julia Chaplin, Spin Magazine


Spin Magazine logo

Agi­tat­ing for Fun and Profit

By Julia Chaplin

Win­ston Smith’s mon­tage art asks you to ques­tion author­ity, trust no one, and laugh really hard.


Hidden Wimmin, 1987Win­ston Smith, who named him­self after the pro­tag­o­nist of Orwell’s 1984, likes to slice up vin­tage National Geo­graphic and Life mag­a­zines and World War II era children’s ency­clo­pe­dias and paste them back together to cre­ate images that most God-fearing Amer­i­cans would not be proud to have on their cof­fee tables. Smith’s lo-fi mon­tages of apple-pie women feed­ing babies milk from tor­pe­does and Nor­man Rock­wel­lesque retirees har­vest­ing money from trees — col­lected now in his book Act Like Nothing’s Wrong (Last Gasp) — are agit­prop images in the grand sur­re­al­ist tra­di­tion of John Hartfield’s famous anti­war col­lages. “Artists are like canaries in the mine­shaft,” Smith explains. “Coal min­ers used to take these birds under­ground as indi­ca­tors of poi­sio­nous gas. If the bird dropped dead, then they would be alerted. Artists have this cer­tain kind of sensitivity.”

Smith’s dark sense of humor found him a friend in Jello Biafra, who first entered his orbit after receiv­ing a post­card of JFK’s head explod­ing with the mes­sage: “If you want more, write back.” Biafra did, and ended up using the artist’s ren­der­ing of a cru­ci­fix wrapped in U.S. dol­lar bills on the cover of the Dead Kennedys’ 1981 album, In God We Trust Inc. In Smith’s world, where UPC sym­bols bear a strik­ing resem­blance to Nazi archi­tect Albert Speer’s “Cathe­dral of Light,” it’s not sur­pris­ing to find that the last four dig­its of his phone num­ber hap­pen to be 1–9-8–4. Gulp. “One of my cats is named 51 50,” Smith notes. “The police code for crazy.”

Jello Biafra — High Priest Of Harmful Matter Album Cover

 Next Album Cover — Virus 100 Com­pi­la­tion »>

Jello Biafra - High Priest Of Harmful Matter album cover by Winston Smith, 1989

Win­ston Smith designed the album cover to High Priest of Harm­ful Mat­ter, the sec­ond spo­ken word album from Jello Biafra. This album focuses on the dark roots of rock cen­sor­ship and how it led to the infa­mous Frankenchrist trial. Released by Alter­na­tive Ten­ta­cles.


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