Boo-Hooray is proud to present our latest catalog, tracing the emergence and trajectory of underground film in New York in the early 1960s to the 1980s: the organizations, screenings, and anti-censorship struggle that gathered and contextualized the films and artists into a coherent and recognizable whole; the move towards experimental, community oriented, and pedagogic video art and activism in the 1970s; and then the crossover of video art and the 1980s downtown scene. Many of the materials document not just the screenings and happenings themselves, but also the array of auxiliary organizations that nurtured and promoted the underground scene.
Boo-Hooray is proud to present our eleventh antiquarian catalog, dedicated to sexual identities, cultures, and communities. This catalog celebrates and explores the social terrain based on free and autonomous sexual expression that exists beyond the nuclear family and heterosexist society.
Boo-Hooray is proud to present our tenth antiquarian catalog, exploring the ephemeral nature of the flyer. We love marginal scraps of paper that become important artifacts of historical record decades later. In this catalog of flyers, we celebrate phenomenal throwaway pieces of paper in music, art, poetry, film, and activism.
Boo-Hooray is proud to present our ninth antiquarian catalog, dedicated to the hippie counterculture.
Included in the catalog is an archive of unique psychedelic folk art (item no. 9), rare posters and handbills from the Diggers (nos. 4, 28, 29), the Yippies (nos. 6, 27), New York Provo (nos. 24, 25, 26), and Ed Sanders and Fuck You Press (nos. 14, 31, 32, 33, 34). Readers will also find documents of the Jesus Freak movement, hippiesploitation, and artifacts of cultural backlash; documentation from the first psychedelic gallery (no. 85), the sales catalog from Pyschedelicatessen (no. 67) - the first headshop in New York City and a collection of flyers by the Haight-Ashbury folk artist, Pemabo (no. 84), and the court documents (no. 53) of the battle to save Morningstar Ranch, also known as Digger Farm.
Boo-Hooray is proud to present our eighth antiquarian catalog, dedicated to music artifacts and ephemera. Included in the catalog is unique artwork by Tomata Du Plenty of The Screamers, several incredible items documenting music fan culture including handmade sleeves for jazz 45s, and rare paste-ups from reggea’s entrance into North America. Readers will also find the handmade press kit for the early Björk band, KUKL, several incredible hip-hop posters, and much more.
Boo-Hooray is proud to present our seventh antiquarian catalog, dedicated to the poster. An incredibly diverse medium, posters deliver a message in a brief and graphic burst. This ephemeral form of communication is often left unarchived and lost to the annihilatory tick of the clock, coinciding with the one-off nature of what the posters document and announce: an exhibition, a protest, a meeting, a performance, a happening. This catalog gathers posters across a wide array of subjects such as film, art, theatre, politics, and literature; and in a variety of modes of address: polemical, didactic, and annunciatory. Included are signed posters by filmmaker John Waters, a poster advertising an early exhibition by Memphis designer Ettore Sottsass, a remarkable poster from the Young Lords Party, a Swedish Black Power poster, and much more.
Boo-Hooray is proud to present our sixth antiquarian catalog, dedicated to Factory Records. This catalog gathers pieces from the material history of one of the most forward-thinking record labels of the 20th Century. Renowned for inventive and genre-pushing music, innovative design, and a tongue-in-cheek take on themselves and the world, Factory Records helped shape the post-punk era as well as modern design and typography. Reflecting their deep involvement in the creation of not just records but an alternative music subculture, social scene, and aesthetic language, Factory Records gave catalog numbers to virtually anything associated with the label. Accessioning items as seemingly unimportant as stationary and Christmas gifts, along with more serious projects like their club and promotional campaigns, fostered the cheeky and self-aware personality that distinguished Factory from corporate labels and overly self-serious independents. This catalog includes the unreleased and exceptionally rare FAC 1 poster, the hand-drawn original flipbook by Robert Breer and William Wegman for the Blue Monday '88 video, and tons of original poster, flyers, and broadsides made for Factory Records.