Death is Not The End: The Work of Alexander Heir
164 pages of the work of acclaimed underground punk artist Alexander Heir, including 10 new works exclusively available in this release. Handmade at Brooklyn’s Circadian Press and housed in a deluxe silkscreened dust jacket.
To celebrate having the book back in print Alex Heir designed limited edition all-over print t-shirts. You can purchase the shirts here.
Brooklyn artist Alexander Heir has been drawing strange, other-worldly pictures for years. Previously, these illustrations have only adorned 7-inch record jackets and Xeroxed flyers across the international punk underground, but now Sacred Bones Records is offering a new collection of the artist’s finest illustrations.
For those who truly crave the transgressive and are unfulfilled by the commercially “confrontational” trends in current zines and indie publications, Heir’s work will connect immediately. Heir has been so prominently involved in designing, printing and producing for countless NYC and international artists that over the years his work has become one of the defining aesthetics in the contemporary underground punk scene. His work has graced the albums, singles and ephemera of highly regarded bands such as Hoax, Forward (Japan), The Mob (UK), Night- birds, Destruction Unit and Modern Life Is War amongst countless others.
Similarly, his popular clothing line Death/Traitors has become a staple among punks, the hip-hop scene, the tattoo community and beyond. Members of notable acts Three Six Mafia, Fucked Up, Antwon and Odd Future have all been known to support the brand.
Alexander Heir’s art has all the prominent elements of 50 years’ worth of subversive underground culture. Somewhere between Garbage Pail Kids and Tom of Finland, this is the kind of art that gets kids in trouble with their parents. Heir’s morbidity, which is blended with a sick humorous quality has a penchant for the bizarre, taboo, and a raw, physical compulsion has allowed him to achieve such delightfully confounding imagery. Referencing an eclectic cache of dark symbols in his unapologetically graphic style, he has created a stunning and recognizable collection of work.
It’s so rare we have an opportunity to experience a collection of work that so fully breathes the history of obscure subversion. Death Is Not the End is a cause for celebration amongst misanthropes and sickos alike—we finally have a new master on our side.