This weekend, the big story—the one on the minds of most poster collectors—was the release of Drew Struzan’s The Thing screenprints at the Alamo Drafthouse in Austin, Texas. But hundreds of miles away– in a dimly-lit art gallery somewhere in Long Beach—another major release (or six) was taking place: the Phone Booth Gallery’s A Distant Winter show, featuring artwork from Ken Taylor, Rich Kelly, and none other than Martin effing Ansin (yes, that’s his full name). Wanna see some photos from that show? Wanna know where to get your Thing prints framed for an awesome price if you’re in Austin? Want us to drop some other poster-related news square in your lap? Meet me after the jump, folks: it’s all inside Limited Paper #7.
Another day, another tour across the twisted landscape that is poster collecting thanks to your fine friends at Limited Paper. If you were slacking on your internet-reading over the weekend and still haven’t taken a look at my report from the Alamo Drafthouse’s Summer of 1982 screening of The Thing, you should definitely give that a read over here. Everyone else is encouraged to check out the massive photo-splosion we have for you below, which comes to us directly from the Phone Booth Gallery’s A Distant Winter show, which opened this past Saturday, June 23rd.
A DISTANT WINTER @ THE PHONE BOOTH GALLERY: SO MANY DAMN PICTURES
In case you’re just joining us, A Distant Winter’s theme was…well, let’s go to the press release. How would you put it, Phone Booth Gallery? What were Martin Ansin, Rich Kelly, and Ken Taylor up to with this show?
“Thus, “A Distant Winter” weaves together multiple ideas of distance, closeness and coldness. Factual circumstances coexist with imaginary ones and the careful artistry of Taylor, Ansin and Kelly is as cool as any expanses of white snow could ever be..
With that in mind, attendees didn’t know what to expect, exactly: all three artists had a “set” of three screenprints available for purchase, and while we had seen “previews” from each of these sets (see pic below), we didn’t know what to expect in addition to those pieces. Would all three sets be a triptych, like Martin Ansin’s was reported to be? Would each be tied to together in some previously unrecognized way? How did the Phone Booth Gallery plan on getting that many people into the Gallery at one time? The photos that follow should answer some of these questions.
Oh, and one more thing: we had a man from Collider.com on the scene that day (your humble Limited Paper scribe was stuck in Austin, boo-hoo), but the photos below (and above) all come to us with the help of some truly awesome limited-paper enthusiasts: Nara Ramanujan (naraedit.com), Expresso Beans member PiratesPrayer, and a few others contributed to our lineup of photos here, and we appreciate the work they put into acquiring ‘em. You guys rock.
OK, without further ado, here’s those photos. Let’s start with some photos from the gallery itself:
Next up, here’s some photos showing Ansin, Kelly, and Taylor (in that order) signing some of the older prints that fans brought to the show with them. Generously enough, all three artists—and the Phone Booth Gallery itself– had agreed to an exclusive signing prior to the show, and (based on everything I heard from out of the trenches) the session went off without a hitch. This was a pretty awesome bonus for the Gallery to have arranged, and a massively cool thing for these artists to have agreed to: some of the prints pictured in these photos just doubled in value thanks to those signatures. Anyway, here they are:
And, finally, here’s some photos of the screenprints that were available at the show. First up, the complete triptych put together by Martin Ansin, titled Alaska. If you missed it, my associate (and sometimes-backrub-buddy) Germain over at SlashFilm had a pretty awesome report on this set, where he revealed the following:
For his pieces in this show Ansin went with a sci-fi theme that evokes certain movies –The Empire Strikes Back – for example, but is from nothing in particular. The triptch, called Alaska, is influenced by not only that film, but the video game Wipeout and is named after/considered a companion piece to the song “Alaska” but the band Monolake. The red band at the bottom running across the three pieces is the digital readout of that song.
You can also head over to SlashFilm to read the rest of Germain’s report from the show: there’s some pretty snazzy bits of info in there for those of you that consider yourselves die-hard fans of these artists. Here’s how Phone Booth described the set prior to the show’s opening:
Martin Ansin’s smart graphics, which have recently appeared in Rolling Stone, The New Yorker and elsewhere, collapse whole stories into single, simple and striking scenes. For this show, he muses about Alaskan wilderness through a triptych in which red billowing flags and futuristic vehicles interrupt an expanse of wintery white ground. Figures in heavy red and white uniforms prepare to launch their sleek machines.
And here’s what Ansin’s amazing set looks like (note: I was able to score mine thanks to a Poster Buddy who deserves a goddamn ticket-tape parade the next time he comes to Austin; tip o’ the hat to Poster Buddy extraordinaire and Parks and Rec enthusiast Max Golden—good luck on that spec script, Max). If you look closely, you can make out the “band” referenced by Germain at the bottom of the piece:
Aaand here’s the ridiculously gorgeous set that Ken Taylor turned in, described by Phone Booth thusly prior to the show’s opening:
Melbourne-based artist Ken Taylor, a prolific illustrator and designer, makes exquisitely detailed, bold fantasy and merges his interest in the otherworldly with his interest in nature. Flora and fauna appear in his renderings of stoic heroines, who look like mythic beings from a fantastic future.
I hear this one is even more impressive in person than it is in these photos (and that’s saying something):
And—last, but certainly not least—is this collection of photos showing off Rich Kelly’s contributions to the show. Here’s how Phone Booth Gallery described his set:
Rich Kelly, whose highly stylized, comic comments on pop culture often appear in posters for bands like Flight of the Concords or the Hold Steady, considers iconic adventurers, particularly Edmund Hillary and Tenzing Norgay. The two men were the first to set foot conclusively on the peak of Mount Everest. Despite constant public debate over which of the two was really first to the top and a few public disagreements over what actually happened in the last leg of the climb, Hillary and Norgay remained friends for life.
And here’s the set itself:
From the looks of things, the Phone Booth Gallery did a bang-up job putting these pieces together, and the artists themselves all knocked it out of the park. The show’s going to be open at Phone Booth for the next few weeks, so if you’re going to be in California (or, specifically, in the Long Beach area) between now and the end of July, you should absolutely make a point to swing by and check these pieces out in person.
Click over to Page 2 to find out what to expect from Limited Paper at Mondo’s next Mystery Movie screening.