Carl Pfeufer (1910 - 1980) was yet another of those comic book illustrators who proved the Kefauver Committee on Juvenile Delinquency was right to keep them out of kid's hands.  Although he had a long career in the "legitimate" comic book industry, his true colors were blood red and bruised black and blue...and they came to light in the illustrations he did for Off Beat Detective stories from 1958 to 1963. 

The fine folks at Pontiac Publishing didn't think the current men's detective pulps  were sleazy enough, so they added more brutality and bondage.  I don't mean "comic book"  bondage, in which, let's say, a damsel in distress is tied to a tree while cannibals dance around in front of a boiling kettle.  I mean real bondage.  Chains, whips, suffering and even in one case a toady fellow with a can of gasoline preparing to start a nice toasty woman fire. 

"Hi Kids!  Recognize my work from Marvel's Sub-Mariner?"

Pfeufer goes way back to the golden age of comics.  He even drew at least one issue of Captain America.  He studied under American impressionist painter William Starkweather (no...not THAT Starkweather,  though it would make sense) and attended art school in New York City.  By the 1930s was using his skills for virtually every comic publisher of note and then some.  Dell, Marvel, Harvey, Fawcett...all benefited from Carl's cartoons and he was there at the beginning.

His masterpieces of newsstand mayhem were later shown on the covers of Off Beat Detective (simply reverse the title for the intention of the publishers)  and under the original title Sure Fire in 1957.  To separate themselves from the pack of detective fiction magazines already on the stands, they added gruesome, violent sex. The formula worked for a few years, but barely.  The digest hardly rose from the pack and are quite scarce today.  As far as I know, Pfeufer did all the covers, and if that wasn't enough he also did tawdry little line drawings for each story inside.

A typical story titled "Scream For Me Darling" by Steve Lawton in a 1961 issue allows Pfeufer to draw a damsel in lingerie being lashed across the bare mid-section, with the caption "The whip swirled around Melody bringing an ecstacy of sheer agony."  In the same issue, the caption for an illustration for "Lust of the Damned" by William H. Duhart reads "Betty forgot the awful cramps as she saw the killers stalking across the pier." At least we know he understood women.  The Edward Hoch story "Hell's Handmaiden" has a Pfeufer illustration of a women watching a knife at her throat in the reflected bathroom mirror, and Hoch writes "And the blade went snicker-snack...so much blood."

I believe we can blame one Everett M. Arnold for the whole shebang, pun intended.   Arnold was a printing press salesman who obviously saw potential in the comics and pulp business. (To the extent his nickname was "Busy" Arnold!  Though he actually acquired the moniker as a child...he must have been A.D.D.)  He has subsequently been assigned a Facebook page, but as of this writing it has NO followers!  It will one day...Busy Arnold seems to be crying out from the grave he entered in 1974 for a full biography.

Everett referred to the fiction as "sock stories" whatever that means.  Stockings?  Taking one in the chin?  There is no Dewey Decimal category for  "sock stories" so I am going to assume these are not held in your local library.

Apparently the artist Pfeufer spent his later years creating for the art market...sculptures and paintings.  I don't believe I have ever seen any in a museum.

Jim Linderman Books and eBooks for iPad are available for purchase HERE

PROTO PORN: The Art Figure Study Scam of the 1950s NOW AVAILABLE CLICK TO ENLARGE

FREE 15 page preview and ordering information is HERE 

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William Schmidt Courtesy the Artist

William Schmidt is a thoughtful and accomplished photographer I first became familiar with through his lovely series of beach photographs from several years ago.  Some were taken with a toy camera, others were not, all are pure and clean.  Many depict surfers and their tools, but these are not the usual "big wave" shots you may bring to mind.  They are a literal snapshot of the citizens of this country enjoying a freedom they are fortunate to have...and in each photograph Schmidt shows each individual knows it.  I return to them often.  They are linked below.

The sultry Bellocq New Orleans feel in Schmidt's latest work is no accident, and in the notes to his recent exhibition HERE he admits they were a tribute.  An unusual tribute which enlisted the help of the models: 

"My description of the project to potential models was simple. I sent them some of the images Bellocq had taken. I asked them to bring clothing that might approximate the costumes they saw there, vintage or vintage-looking garments or things, at least, that did not appear too contemporary. I also told them that we would shoot as Bellocq had, aping the long exposure times by having them hold poses for five or six seconds. I wanted to capture that sort of dignified awkwardness that I saw in his photographs..."

William Schmidt Courtesy the Artist

William Schmidt Courtesy the Artist

Encouraging their participation was a successful strategy.  They pose with no shame, usually masked, with the same matter of fact honesty seen in Bellocq's work. There is no sign of resignation or despair.  Schmidt captures poses that approximate the work of the master.  The photographer keeps studio props to a minimum...just enough to create a look which alludes to the past, yet these are far from recreations.  They are astoundingly sexy and human in equal measure. 

These are Polaroid photographs with a remarkable soft and etched-like surface, part implied and part the result of a film no longer made.  As such, immediate but timeless relics.

William Schmidt Courtesy the Artist

There is an extraordinary 120 individual images in the slideshow HERE.

The artist maintains a commentary on his work, techniques and influences HERE.  The beach photographs I admire so much are HERE.  The complete "Lonesomeville" exhibition is HERE. 

NOTE:  THIS IS NUMBER 24 in the Series CONTEMPORARY VINTAGE SLEAZE.

"Contemporary Vintage Sleaze" is a series which profiles artists and cartoonists working today. All art is copyrighted by the respective creator, distributor or publisher and therefore should not be reproduced WITHOUT PERMISSION OF THE ARTIST. NO cribbing and I ain't fibbing! Each and every post in the Vintage Sleaze Contemporary Series links to the artist's portfolio, website, publisher or representative. EACH POST IN THE VINTAGE SLEAZE CONTEMPORARY SERIES WAS CREATED WITH THE ARTIST'S PERMISSION AND CONTRIBUTIONS. Serious artists are participating in this series, please respect their efforts and intellectual property. Artists who have contributed so far include: Lena Chandhok, Gary Panter, Vanessa Davis, Jane Dickson, Astrid Daley, Antonio Lapone, Leslie Cabarga, Trevor Alixopulus, Paul Swartz, Rebecca Whitaker, Denis St. John, Zahira Kelly, Fairfax and Emery, Elizabeth Watasin, Stephen Adams  Jane Dickson, Mala Mastroberte and many more. If your work is influenced by the girlie cartoons or pinup models of the past, we would love to see your work.
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A POST FROM THE DAILY ART BLOG "VINTAGE SLEAZE" by JIM LINDERMAN

Few people in the history of smut and sleaze have been ripped-off more than Bettie Page.  I just did a search on eBay, once home of cool antiques one could happen upon,  and now home of brand-new crap you can get anywhere but don't need.  12,000 hits.  Who knows how many I would have found if I had spelled her name wrong?  Buttons, pins, lighters, dresses, copies of copies of copies of copies of copies of "original" photographs, bad painted "tributes" and more.  Clearly Bettie has achieved the much coveted  "worth more dead than alive" status we value so much here in the land of the dollar.

It didn't start yesterday.  It started when she was alive.  Not too smart maybe, but alive.  The example above pairs her image with an advertisement for a cruddy potboiler titled "Lust" by Gerald Foster in a mail-order brochure from the 1960s.  Needless to say, Bettie Page is not in that book.  "Lust" was a piece of crap originally published in 1934, and shilled in later editions simply because the title was hot.  Paired with a sultry "come-hither and boff me big boy" Bettie, it probably sold enough to make the sleaze who swiped her picture a few bucks.  No wait...MANY bucks.  I just converted 1962 dollars to 2012 dollars.  The rube who was tricked into buying "Lust" here was paying the equivalent of $37.61. His money went to a PO Box...so Bettie couldn't have even dropped in to collect her share.

I believe the first time Bettie Page was ripped off financially was HERE when unscrupulous neighbors stole her swimsuit designs, a sordid tale of trust betrayed I discovered earlier.  

I suppose the "coolest" rip-off was accomplished by contemporary artist Richard Prince.   Here is a description of the Prince project...or at least the book/catalog which was published in conjunction with the exhibit:

     RICHARD PRINCE: BETTIE KLINE. New York: Gagosian Gallery, 2009. First Edition. Small Folio. Pictorial Boards. Artist's Book. Fine/No Jacket - As Issued. np (108pp), profusely illustrated in color and b&w. Richard Prince's artist's book entitled "Bettie Page". Starting with the premise that painter Franz Kline and Irving and Paula Klaw both pursued their "artistic practice" at the same Manhattan address during the fifties; perhaps sharing models, Prince juxtaposes appropriated images of Bettie Page alongside those of Kline and his works to set up a frisson between the pin-up legend's limbs/torso and the pioneering Abstract Expressionist's bold calligraphic brushstrokes. Previously shrouded art history revealed, or wry revisionist stroke book for sexy sophisticates - you decide!

See?  Cool!  And from now on when I post a picture of the model on my website, I'll not be posting dirty pictures, I'll be setting up a frisson.

Page from a mail-order brochure, circa 1962  Collection Victor Minx

Cindy Sherman of Smut Pamela Green Rita Landre Princess Sonmar and Harrison Marks Vintage Sleaze

Rita Landre in Bosomy Bounties Number 18, circa 1958 (No Date) Phoebe Publishers (Burmel, Leonard Burtman)  Collection Victor Minx

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If I have learned anything producing these vintage sleaze posts, it is that the first application of any new technology, even one as silly as a rubbing transfer piece of paper which predates the silly copying technique of silly putty...will be to fiddle around with the female form. Even if she is only a paper doll in comic form.

A selection of some young, impressionable young man's attempt at reversing the image of hot comic book babes in order to get additional views.

Kopeefun Paper (which was "magic") was produced in this batch from Embree manufacturing company in Elizabeth, NJ. in 1941. So I am going to guess these cartoon ladies came from comic books circa 1941-1950, assuming the magic portion of the sheets would wear out at some point.

Any comic book scholars out there care to identify the artists or their spicy creations?

Group of Kopeefun transfer rubbings, circa 1941-1950 Collection Victor Minx


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Vintage Crime and Criminals Black Gangsters of the 1950s Mug Shots of New York Collection Jim Linderman

Real Black Gangsters, I guess. Criminals from the 1950s, but presumed innocent until proven otherwise. I'm not kidding one bit. Given attitudes, practices and institutional racism from 50 plus years ago, these sharp-dressers might have been just walking to work.

Striking Photographs, each near 8" x 10" and each handed back and forth from lawyers, prosecutors, file clerks and now collectors. Another reminder that the photograph used to be a physical object which developed surface, wear and form as it aged.

Group of Original Mug Shot Photographs, New York City 1949 - 1955 Collection Jim Linderman

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Complete Article and Translation HERE

Original Publication from Sugarcut March 6, 2012 by Jim Linderman

Proto-Porn from the 1950S

Shown is a wide-angle lens full of vintage camera club pinup digests from the early 1950s. Long ignored progenitors of pinup pulchitrude! It was illegal to sell nude photographs in the Eisenhower days, but some enterprising and greedy shutterbug gahoots found a way around the law, frequently in cahoots with the guys downtown, if you know what I mean.

“Figure Study” publications for the artist and photographer!

These obscure digests were all purportedly aimed at the burgeoning nude photography hobbyist, or at least they claimed to be. They were available under the counter or through the mail, at least until Uncle Sam got wise. The models, some famous (Blaze Starr, Judy O’Neal, Bettie Page and many more) were pulled from burlesque routes and strip clubs…others were amateurs who replied to ads. There are no less than five devoted to Ms. Page alone from various publishers. All are hard to find today. Each is now over 50 years old… and since they were published in small editions by phony companies, then carried by trunk and hand to the shop, few survive today. Many have no return address or date. Shop owners priced them at what they thought the risk was worth.

The models in these “proto-porn” periodicals never had pudenda or pubes. The photographs were black and white, and each digest-sized booklet ran from 20 to 50 pages. The colorful covers belie the blurry pages inside. The men behind the camera were seldom identified, but with care and a loupe, one can often identify the photographer’s swinging pads from the wall decorations and curtain designs.

Who was responsible for these stroke books masquerading as figure studies for photographers? At least one series was produced by a later prominent publisher of fetish pinup periodicals. Others came from a husband and wife team living in Midtown Manhattan a few doors down from Bettie Page, and a big load from a mysterious photographer with a Florida address…a sunny address he began using after apparently thinking the city up north was “too hot” and left Brooklyn behind. Nearly all were published in series, but a complete set is unheard of.

The books are today relics of days gone by. Despite history books which credit Hugh Hefner with starting the modern revolution in nude photography, not to mention sexual mores, it was a dozen independent small presses with moxie (and buxie) with a few mob-connections who got the balls rolling.

Jim Linderman is an author, collector and editor of the daily blog VINTAGE SLEAZE. This group of original “Figure Study” digests come from the author’s collection and date circa 1950 – 1955. Vintage Sleaze the daily blog is HERE.

Outsider Art Show 20th Anniversary Review from Afar

No, the pictures above are not from the Outsider Art Show 20th anniversary.

Viewing the 20th anniversary outsider art show from afar, through slide shows, it appears after all that time the field (as I hate to call it) is still confused, too inclusive and loaded with baggage. At best a misnomer, the term has been squabbled over for so long I gave up, but with distance and time, I will revisit.

Shown here is the material which first attracted my eye, the Black Folk Art show of 1982. A magnificent exhibition of material which was mistakenly included under the rubric of outsider art around the same time, but a show which to this day remains as one of the best curated art shows of my lifetime.

The true defining criteria for anyone being marketed as an outsider is a complete lack of training in the arts. No schooling and I'm not fooling. I have always felt anyone aware enough of the art world to claim to be an outsider doesn't qualify AS an outsider. I don't mind artists, dealers or collectors fighting over the definition, if they still do..but once again it is obvious a few ringers are slipping in. People who even begin to utter "I am an outsider artist" do not pass the test. And no, art school "drop-outs" do NOT qualify either. Neither does anything from an "other-worldly" environment, culture or country if it is part of the regional milieu.

The other primary criteria is that the artists work in some form of isolation. This could be as a result of institutionalization, a lack or educational opportunities, a religious fervor, an undefined particular visionary impulse...you name it...but while creating their initial body of work they have no idea anyone else is doing it, and they make it all from their own devices. No looking at Sotheby's catalogs or finding a "how to paint" brochure at the flea market. None. NONE.

However, the "trained or untrained" aspect, dicey enough, isn't the most unfortunate definitional failure of the material or the show. It is the inherent dichotomy of lumping together artists who come from no school and FIT into no school together in one place. How can a group of artists be labeled and lumped as outsiders when by definition they have absolutely nothing to do with each other?

Which is why I show the photographs above. You see, these artists DID come from a "school" of sorts. All the artists included in the Black Folk Art show had something in common...all were from fairly early generations which were descendants of slaves. They thus, to some degree or another, shared the common experience of having been displaced...and all held again, to some degree, a shared African-American esthetic which was retained, unconscious or not, in their work. They shared a common origin (to the extent that their ancestors were taken from one huge continent and brought to another) and they shared an inherent consistency of cultural artistic expression. Which is why together they formed a successful exhibition. Not really a "school" mind you, as originally none of them had any idea the others existed, but an esthetic. They lacked educational skills, formal training and awareness of the arts but that was the result of racism more than any other circumstance.

They were mistakenly included originally as "outsiders" when the field formed, and their works still appear here and there as by far the best work in the outsider show. Bill Traylor, Sam Doyle, William Edmondson. Even the lesser known and lesser skilled George Williams, whose frontal totemic carved figures look quite smart above. I say the best work, but that still doesn't mean they belong there.

There is other good work at the show...I presume the magnificent Electric Pencil work was there, and I suspect James Castle was represented, but they were true isolates with completely unique consistent visions. In other words, they qualify but they do not belong.

Unfortunately the few rare genuine articles and the Black folk artists from the exhibition pictured above continue to be presented in a forum which persists to lump together all manner of eccentrics, wanna-bees and what a good friend of mine used to refer to, with little irony, as "failed trained artists" on the walls with no intellectual validity or foundation other than a good weekend bourse. In other words, a good show to visit but not to write about.

Pair of original "installation view" photographs by Michelle Andonian 1983 Collection Jim Linderman

Vintage Photographs of Arcane Americana by Jim Linderman and Blurb Books

A disparate group of demented images which share only one thing in common. All appear in the brand new Dull Tool Dim Bulb book (and Ebook for iPad) VINTAGE PHOTOGRAPHS of ARCANE AMERICANA:THE JIM LINDERMAN COLLECTION which is now available. Some 200 photographs which took ten years to collect and two nights to put together into a book!

Sorry typo fans...no text!

The download, in crisp digital format is only $5.99. The less sharp physical paperback book, 150 pages, is $28.95. If THAT isn't an argument for the death of the book, I don't know what is.


ORDER HERE TODAY! (Free Preview too) Once there, click at right to order.

All Photographs collection Jim Linderman

Jane Dickson for Contemporary Vintage Sleaze #16 in the Series

I am especially happy with this entry in the CONTEMPORARY VINTAGE SLEAZE series, as the artist is not only one of them most well-known and respected artists working today, she also shared the same filthy streets I did! 42nd Street before they swept it up.

Jane Dickson makes magic with oil sticks. She lived just off 42nd Street the same time as I, looking down on the Deuce in the early 1980s. Virtually De Niro in Taxi Driver time, and you can almost hear the street shouting back at her "You looking at ME?" From her unique vantage for a woman artist, Dickson observed the dicey goings on...she may have seen me literally run the two block stretch whenever I reached my subway stop after midnight.

My apartment was a dark 4 block hike further west, Just out of the neon she depicts, and I always identified with her work. It was the first art I literally felt I lived in. I saw Dickson's work the year after I moved to New York, and at one time I had a postcard of her work over my desk to remind me I was really there. Dickson's work, like the city, has never left me.

As I write this, I am remembering watching from my third floor window in Hell's Kitchen as a pimp knocked around his woman. I yelled down for him to stop and he shouted up at me "I'll bust a fuckin' cap in your face!" That is the world of Jane Dickson's Times Square work.


Which is why it is generous of her to allow me to use these images, works she created when Times Square WAS Times Square, as her contribution to Vintage Sleaze, (which she graciously called "a terrific site!" when I asked permission.)

It is hard to think of a more appropriate contribution. Much of the material and activity I write about on this site took place literally before the artist's eyes, and in my mind, no one captured it as well.

Jane Dickson has gone on to create quite a career since the early works which brought her recognition. She has returned to the Deuce as seen on her site. They are still quite extraordinary...no artist has captured the scene so well. Dickson's themes are the carnival, the dance, the street and the mystery of bright color and darkness. She still often creates from above, the world below a beautiful place but fraught.

Jane Dickson has exhibited at the Whitney Museum, The Metropolitan Museum of Art, the Art Institute of Chicago, and her work is in their permanent collections. The artist's website is HERE (don't miss the carnival works HERE.) You will leave the site with a whole new appreciation of color. Her work has also been used to illustrate numerous books, and she has created striking installations and public projects for New York City, so browse her site a while.

"Contemporary Vintage Sleaze" is a weekly series by Jim Linderman which profiles artists and cartoonists working today. All art is copyrighted by the respective creator, distributor or publisher and therefore should not be reproduced WITHOUT PERMISSION OF THE ARTIST. NO cribbing and I ain't fibbing! Each and every post in the Vintage Sleaze Contemporary Series will link to the artist's portfolio, website, publisher or representative. EACH POST IN THE VINTAGE SLEAZE CONTEMPORARY SERIES WAS CREATED WITH THE ARTIST'S PERMISSION AND CONTRIBUTIONS. Serious artists are participating in this series, please respect their efforts and intellectual property. Artists who have contributed so far include: Lena Chandhok, Gary Panter, Vanessa Davis, Jane Dickson, Astrid Daley, Antonio Lapone, Trevor Alixopulus, Paul Swartz, Rebecca Whitaker, Denis St. John, Zahira Kelly, Fairfax and Emery, Elizabeth Watasin, Cre Hunter, Stephen Adams and more. If your work is influenced by the girlie cartoons or pinup models of the past, we would love to see your work.

Gary Panter Vintage Sleaze Contemporary #2 in the Series

Is Gary Panter an unlikely master? He emerged from the early West Coast Punk Rock scene (you have seen the logo he created for the The Screamers a dozen times without knowing it) to designing most of the graphics and images we associate today with the Pee Wee Herman show. His cartoon figure Jimbo is one of the most recognizable characters of the "post-nuclear" modern comic period, and his work for the ground-breaking Raw Comics is legendary. A Three time Emmy award winner! His resume is extensive, filled with both "low" and "high" art achievements, including his inclusion in the landmark Museum of Contemporary Art LA "Masters of American Comics" exhibit which toured. A 700 page monograph of his work was published in 2008.

As I have followed Mr. Panter's career for a good long while, (From sneaking into his Playhouse installation at an upscale NYC hotel to attending a small light show he created with shadows in a storefront gallery) I am particularly pleased to include his work in the Vintage Sleaze Contemporary series.

Gary Panter's Website is state of the art. His biography includes downloadable fine and commercial art accomplishments, the paintings and comics are of course fascinating, and his shop includes everything from mini-comics and "rubber novelties" to limited editions, music, drawings and much more.

"Contemporary Vintage Sleaze" is a weekly series by Jim Linderman which profiles artists and cartoonists working today. All art is copyrighted by the respective creator, distributor or publisher and therefore should not be reproduced WITHOUT PERMISSION OF THE ARTIST. NO cribbing and I ain't fibbing! Each and every post in the Vintage Sleaze Contemporary Series will link to the artist's portfolio, website, publisher or representative. EACH POST IN THE VINTAGE SLEAZE CONTEMPORARY SERIES WAS CREATED WITH THE ARTIST'S PERMISSION AND CONTRIBUTIONS. Serious artists are participating in this series, please respect their efforts and intellectual property. Artists who have contributed so far include: Lena Chandhok, Gary Panter, Vanessa Davis, Jane Dickson, Astrid Daley, Antonio Lapone, Trevor Alixopulus, Paul Swartz, Rebecca Whitaker, Denis St. John, Zahira Kelly, Fairfax and Emery, Elizabeth Watasin, Cre Hunter, Stephen Adams and more. If your work is influenced by the girlie cartoons or pinup models of the past, we would love to see your work.

Cre Hunter Brings Back the Tijuana Bible Single-handedly! Contemporary Vintage Sleaze #18 AND History of the Tijuana Bible # 23

Cre Hunter is single-handedly bringing back the Tijuana Bible...which is a good thing, as the little books were always intended to be read one-handed.

Ms. Hunter has an unusual business model to go along with her unusual talent. Cre creates original tiny 8-pagers, even more obscene than the originals, and sells them to anyone along with the right to reprint them for perpetuity! A less stressful practice than worrying about copyright and such, but as her ambition is one day to be the next Vargas, who will want to spend their time collecting the originals for the retrospective and catalogue raisonne?

I would.

In the old days, when minor mobsters would print the things, if you cribbed their work you might get a visit from a baseball bat, but Cre is simply repeating the practices of the past. You get paid for 8 pages, and don't expect no more.

Cre has done about 50 Tijuana Bibles to date, and just like the little books of the past, they sometimes feature a contemporary figure from popular culture who needs to take themselves less seriously. You know...they are just asking for it (and so is the public.)

Cre was influenced by David Lachapelle, and sells prints and paintings too...but the little modern "Maggie and Jiggs" books are where she excels.



Now actually showing these little buggers is tough to do on a general audience blog, as even today, on what is around the 75th anniversary of the Tijuana Bible...they still carry the potential to shock and awe. So I have had to crop the work.

Cre has a BA in Marketing with a minor in Fine Arts. She is influenced by the works of R. Crumb, Salvadore Dali, Robert Williams and Van Arno and defines herself as lowbrow and non-conformist. Her favorite cartoon is Terry and the Pirates "because of the alignment of the lush storyline and artwork" So she studied enough art to know "lush alignment" and that is certainly enough for me AND the format she works in.

I asked Ms. Hunter to explain her work...and why work in a form censors have tried to stamp out for decades. "My motto is, if it's not nasty, why pay for it? People want to be shocked and they are willing to pay for it. I think that "shock factor" has given me a bit of an edge in the art erotic world. Many (good) artists refuse to do sleazy artwork, so I take advantage of that. I get asked alot if I plan to keep making Tijuana Bibles... and I will, for as long as people want to buy them. I grew up in a world where sex was taboo and that has inspired me to create a world where things happen that one can only dream about."



I have done now some 20 posts on the History of Tijuana Bibles, AND nearly the same in the Contemporary Vintage Sleaze series, but I dared not dream to combine the two. Cre has made MY dreams come true.

The artist's website is HERE and the artist's blog is HERE. Work is currently available at irregular Ebay auctions, where it is usually a steal. Maybe one day she will have national distribution near the High School and Dad's bar, just like in the old days!



"Contemporary Vintage Sleaze" is a weekly series which profiles artists and cartoonists working today. All art is copyrighted by the respective creator, distributor or publisher and therefore should not be reproduced WITHOUT PERMISSION OF THE ARTIST. NO cribbing and I ain't fibbing! Each and every post in the Vintage Sleaze Contemporary Series will link to the artist's portfolio, website, publisher or representative. EACH POST IN THE VINTAGE SLEAZE CONTEMPORARY SERIES WAS CREATED WITH THE ARTIST'S PERMISSION AND CONTRIBUTIONS. Serious artists are participating in this series, please respect their efforts and intellectual property. Artists who have contributed so far include: Lena Chandhok, Gary Panter, Vanessa Davis, Jane Dickson, Astrid Daley, Antonio Lapone, Leslie Cabarga, Trevor Alixopulus, Paul Swartz, Rebecca Whitaker, Denis St. John, Zahira Kelly, Fairfax and Emery, Elizabeth Watasin, Stephen Adams and more. If your work is influenced by the girlie cartoons or pinup models of the past, we would love to see your work.

The Tijuana Bible History Series by Jim Linderman Runs once in a while...make sure to bookmark to enjoy future (and past) posts. Some groundbreaking original research, government documents and rare examples.

DULL TOOL DIM BULB / VINTAGE SLEAZE BOOKS HERE

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