The opening reception for the Taking Punk to the Masses exhibition on May 14 was a stellar affair – a reunion of misfits and miscreants from Seattle's grunge era together with a new generation of counterculture mavens. The show documents Seattle's grunge scene in its formative period from 1983 – 1985. I often equate Seattle's youth culture in the mid-80s to San Francisco's hippie movement in the mid-60s. Both had a singular music style, provocative graphics, and an anti-fashion sensibility. Beyond that, these movements benefited from a community of gifted cartoonists that disseminated unfiltered observations. Fitting, then, that Peter Bagge was the special guest at the event on the occasion of the release of Hate Annual # 9 and the Yeah! collection.
It's remarkable how Peterson's early works display sophisticated formal qualities while capturing the energy of the era. The halo of light in many of the candid concert shots is used to stunning effect. Also evident is the advent of his signature cinematic approach to still photography.
Comix enthusiast Bruce Pavitt's Sub Pop fanzine of the early-80s featured the work of cartoonists like Lynda Barry and Charles Burns. His commitment to the emerging "Seattle Sound' in this period led to the phenomenal success of bands like Nirvana, Soundgarden, Mudhoney and others — all of whom released early recordings on his fledgling Sub Pop record label.
Notable horror writer Wilum Hopfrog Pugmire, editor of seminal Seattle zine Punk Lust, pictured here between low brow art collectors Marlow Harris and Jo David.
A rare public appearance by Art Chantry, perhaps the most influential graphic designer of his generation. He helped develop the aesthetics associated with grunge.
Look at this line up of kickass kuties: artist Lisa Petrucci, tattooist Sunny Buick visiting from Paris, and their art dealer extraordinaire Kirsten Anderson of Roq la Rue.
You can view the Peterson exhibition, and pick up the companion book, through July 5 at Fantagraphics Bookstore & Gallery. See you all soon.