Southern Culture of The Skids

Coop finished high school, skipped art school, and arrived in Los Angeles in the late 80’s where he immediately got to work subverting the mainstream. Chances are good you’ve seen some manifestation of his merchandising juggernaut: smoking devils, devil-girls, hotrods, space aliens or monsters on posters, t-shirts, hats, stickers, stationery sets, skate boards, toys, shot glasses, Zippo lighters, and so much more. He’s done roughly 100 posters, including rock posters for Nirvana, Soundgarden, The Sex Pistols and many others, and album cover art for everyone from the Monomen to the Ramones. The first edition of The Devil’s Advocate, his full-color book was released to an immediate sellout in November 2001, and went immediately into continuous reprint. Coop’s second book, THE BIG FAT ONE, a 1008-page sketchbook, was released in October 2002. According to Juxtapoz Magazine, Coop’s name is “now more recognizable to modern youth than that of Rembrandt.“ He cites Robert Williams, R. Crumb and Eric Stanton as some of his favorites and great influences, in addition to Big Daddy Roth, Irving Klaw, Wally Wood, Gil Elvgren, and a host of other degenerates. Cleveland’s Rock and Roll Hall of Fame houses two of Coop’s posters in its permanent collection. He was also commissioned Screen printing is a printing technique that uses a woven mesh to support an ink-blocking stencil. The attached stencil forms open areas of mesh that transfer ink or other printable materials which can be pressed through the mesh as a sharp-edged image onto a substrate. A roller or squeegee is moved across the screen stencil, forcing or pumping ink past the threads of the woven mesh in the open areas. Screen printing is also a stencil method of print making in which a design is imposed on a screen of silk or other fine mesh, with blank areas coated with an impermeable substance, and ink is forced through the mesh onto the printing surface. It is also known as silkscreen, seriography, and serigraph.