MIRACLE ROOM '87 Texas Cave Club POSTER Rare KOZIK

Miracle Room11" x 17"CONCERT POSTERCAVE CLUBAUSTIN TEXAS1987POSTER ARTIST: FRANK KOZIKCONDITION: EXCELLENT -8 OF 10 or betterTOP CONDITIONFIRST ONLY ORIGINALRARE!Biographyby Mike DaRoncoWith their combined use of traditional rock instruments such as the guitar, bass and drums, Miracle Room also added their own imaginative input through creating a layer of sounds brought on by electrified crates, water jugs, drills, propane tanks, doors and pieces of metal. Resulting in a wall of rhythmic noise and avant-garde hypnosis, the band moved on up from their native Austin, Texas to New York City in 1989. With the additional attention brought on through their relocation and a contribution on the 1989 compilation "Live At The Knitting Factory, " Bar/ None Records took notice and released their self-titled EP the following year. Frank Kozik was born in Spain and by 1981 he had found his way to Austin. Much of his earliest work was done with the Art Maggots. In 1987 Kozik began designing posters for the Cave Club, which was eventually relocated by owner Brad First to 6th Street as Club Cairo, which begat in turn the Cannibal Club. Kozik's raw early style, often calculatedly offensive, became popular with bands such as Austin's Butthole Surfers. A Poison 13 concert was cancelled by University of Texas officials, reportedly in response to Christian students complaints about the poster Kozik had designed for the show - an unflattering rendering of Baby Jesus roasting on a "Char-Boy" barbeque grill. Though Kozik was very active locally during the late Eighties, he has been working primarily on West Coast projects lately, often in conjunction with California's L'Imagerie. Under its auspices he now has his own shop for screen printing, a process he was exposed to while working at Bee-Bop Printing in 1987. - jagmo.comBiographyby Jason Ankeny Much as the poster art of Stanley Mouse, Rick Griffin and Wes Wilson remains synonymous with the psychedelic culture of the 1960s, so too do the designs of Frank Kozik embody the look and attitude of the grunge era; defiantly garish and proudly unsettling, his work springs forth from the collective unconscious of a generation, his subversive appropriation of universal icons and images translating into often brilliant graphics mirroring the power and visceral intensity of the music they promote. Born in 1962 and raised primarily in Spain, Kozik settled in the U.S. in 1976, and after toiling in a series of dead-end jobs along the west coast he relocated to Austin, Texas in 1981. There he began teaching himself graphic design, influenced largely by the bold imagery of Russian military poster art as well as classic cheesecake pin-ups. A fixture at area club dates, Kozik eventually began assembling posters promoting live appearances by a friend's band; when local promoters realized shows promoted by Kozik designs were better-attended than those without, he was off and running. From 1986 onward, he produced about a poster a week, with early commissions for Austin bands like the Butthole Surfers and Scratch Acid winning underground acclaim; the turning point, however, was a piece for the industrial duo Chris and Cosey -- prominently featuring a photograph of a World War II victim, the poster crystallized both Kozik's irreverent attitude and his fondness for appropriating key cultural touchstones, the cumulative effect launching him among the most distinctive practitioners of an artform ripe for resurrection. As Kozik's eye-popping day-glo posters continued to grow in fame during the late 1980s, so did the notoriety of his take-no-prisoners approach -- his work became infamous for both embracing and destroying pop culture icons, with notable images including Fred Flinstone in the junkie regalia of Sid Vicious, a dying Lee Harvey Oswald recast as a punk shouter, and the Archies on a bender. Nuns, Hitler, Charles Manson -- none were too provocative for his pen, with recurring motifs including crucifixions, bondage and the ultimate Kozik image, the Devil Girl, the embodiment of his attraction to and fear of women. With the rise of grunge during the early 1990s, his designs were seemingly everywhere, and as bands like the Melvins, Mudhoney and Nirvana emerged from Seattle, Kozik posters heralded their live appearances across the country. As the revival of rock concert art made its way into the mainstream media, Kozik was widely hailed as the leader of a new generation of craftsmen, with features on his life and work published in outlets including Newsweek, Rolling Stone and Details. In 1992, he was honored with his first solo exhibit at La Luz de Jesus Gallery in Los Angeles, with shows following in New York City, Chicago and San Francisco (his home from mid-1994 onward) as well as Sydney, Australia, Zurich, Switzerland and Tokyo, Japan. A collection of Kozik's work was additionally prepared for exhibition at the opening of the Rock and Roll Hall of Fame in Cleveland, and a Nine Inch Nails design was included in the Smithsonian Art book Posters American Style. In 1995, Last Gasp Publications also issued Man's Ruin: The Posters and Art of Frank Kozik, a collection of his most popular and infamous work. By the mid-1990s, Kozik had also begun expanding into commercial design, with work commissioned by Entertainment Weekly, Nike, BASF and Lincoln Center. Most importantly, in 1995 he formed Man's Ruin, a record label initially begun as a singles-only enterprise. Inaugurated with a ten-inch disc from the Sonic Boom side project Experimental Audio Research, Man's Ruin releases were typically limited-run pressings lavishly packaged in sleeves created in Kozik's trademark style, the company's formation a reflection of the artist's continuing interest in underground music as well as his affection for the enduring vinyl format. In time Man's Ruin also began issuing CD editions of its releases, among them projects from acts including Steel Pole Bathtub, the Dwarves and Kyuss. This is an original single sheet printed paper poster advertisement (A.K.A. street art, handbill, flyer or print) for a concert performance gig by professional musicians at a music venue. Guaranteed original and authentic, printed prior to, and in conjunction with the promotion of the event. A Sound Deal does not sell poster re-prints, scans or duplications of any kind, so please don't ask. Add me to your favorites for red hot sales bulletins and sneak previews of upcoming products. Combine Items to Save $$$!!!Click here to check the store for more!©A Sound Deal