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Barbara Rubin; Gordon Ball, co-designerCaterpillar Changes [Filmmaker’s Cinematheque Calendar][New York]: Filmmaker’s Cinematheque, [1967]. Offset. 22 1/8 x 17 in. Light bumping and a few small closed tears on the top edge; image intact.Poster promoting Barbara Rubin's Caterpillar Changes festival at the Filmmaker’s Cinematheque, which featured films, art installations, music performances, and appearances by Andy Warhol, D.A. Pennebaker, Shirley Clarke, Jack Smith, Wee Gee, Gato Barbieri, John Cavanaugh, Harry Smith, Angus MacLise, the Free Spirits, Jonas Mekas and the Velvet Underground.In an article titled "More on the New Sensibilities in Cinema," Jonas Mekas wrote that "this show, to those few who saw it, and really saw it, provided an insight into the farthest out frontiersland of cinema and of vision. Really, the whole cinema as it is (or was) fell to pieces, and was hanging around the auditorium in shreds, like a leaf eaten out by worms. I said it was the product of Rubin’s imagination, but that shouldn’t be misunderstood: Her imagination is only part of our imagination. Rubin acted as an architect who was pulling out from our dreams the primordial shapes, shred by shred, recreating our own dreams in front of and around us. It was a visionary show and one that marks a very important direction in cinema."

Barbara Rubin, Gordon Ball — Caterpillar Changes [Film-Maker's Cinematheque Calendar]

Featuring the genuinely rare, historically significant, delightfully shocking, and just plain good.

Adventures in Red Zone[New York]: Red Zone, [1989]. Offset. 22 1/2 x 28 3/4 in. Light cockling, discoloration, and bumping at edges.Two-sided poster promoting a board game-themed party in Red Zone, the house and disco nightclub in New York of the late 1980s and early 1990s.Red Zone was a renowned underground nightclub at 440 W 54th St. in New York, often featuring parties of house and hip-hop music that drew large crowds. The club was also known for attracting classic NYC nighttime violence—shootings, stabbings, drug feuds, rap wars, et al.This party featured 26 parties inside the venue, with the striking poster functioning as a board game-style map to navigate them, complete with instructions to cut out a section of the poster for use as a comp ticket.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

[New York Disco] — Adventures in Red Zone

Rites of Autumn Harvest Feast featuring the pagan sounds of Pulsallama[John Sex, designer][New York]: [The Cavern], [1981]. Screenprint. 17 1/4 x 22 1/2 in. Bumping to corners, an approx. 1 in. closed tear on the top edge, else very clean image and text.Poster promoting a performance by Pulsallama, an “all-girl percussive orchestra” founded by Club 57 manager, Ann Magnuson, at the Rites of Autumn Harvest Feast at the Cavern in New York.Pulsallama was a rhythmic post-punk band and fixture of the New York No Wave scene. In the 1980s they played downtown clubs like Danceteria, and even opened for the Clash at some of the US shows on their Combat Rock tour.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Pulsallama — Rites of Autumn Harvest Feast

A Gallery 124 East 4th Street [matted poster][New York]: A Gallery, [ca. 1980s]. Offset. 13 x 9 1/2 in. Stylistically torn at edges, as issued.Poster promoting A Gallery, a downtown art gallery in the East Village in the 1980s. Documentation of this gallery, located on 124 East 4th Street, is basically nonexistent. Due to the quality of the paper and the style of the artwork, we have dated this poster to the 1980s, making it a record of the massive proliferation of art galleries in the East Village at the time. Many of these galleries were short-lived and artist-run, and disappeared with the acceleration of the AIDS crisis.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

A Gallery 124 East 4th Street [matted poster]

The Disneyland Memorial Orgy[Wallace Wood]; [Paul Krassner][New York]: [Paul Krassner] [1969]. Lithographic print with fluorescent inks. 26 1/2 x 21 in. Bumping to edges and corners, with inexpert tape repair on verso over 9 in. closed tear.1969 blacklight poster of the "Disneyland Memorial Orgy," originally printed as a black-and-white Wallace Wood illustration for Paul Krassner's 1967 essay, "The Cynic Route from Crazy SANE to Loving Haight—or, Walt Disney Is Alive in Disneyland," in issue 74 of The Realist.The painting depicts an orgy in Disneyland, accompanying a hilarious essay by Krassner describing a time he sneaked into Disneyland, using it as a metonym for late 1960s commodification: "The Beatles wouldn't be permitted to enter Disneyland—unless they were performing there. Jesus Christ wouldn't be permitted to enter Disneyland—unless he was performing there."The Realist was a magazine of social-political-religious criticism and satire, founded in 1958, intended a hybrid of of a grown-ups version of Mad and Lyle Stuart's anti-censorship monthly The Independent.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

[Wallace Wood]; [Paul Krassner] — The Disneyland Memorial Orgy

FantasmagoriaBruce Byron; Hans Kary, illustrator.New York: Filmmaker's Cinematheque, 1967. Offset. 17 x 14 in. Bumping, minor creasing, and lines from folding into thirds.Poster promoting Bruce Byron's movie Fantasmagoria at the Filmmakers' Cinematheque. Bruce Byron was the "star and inspiration" for Kenneth Anger's seminal underground hit film Scorpio Rising.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Fantasmagoria [Film-Makers' Cinematheque]

Steven Arnold, designerNocturnal Dream Shows: Midnight Films&nbsp;San Francisco: The Palace Theater, 1970. Offset. 17 x 22 in. Bumping to edges, and a few discoloration marks to the left edge.&nbsp;Poster promoting a series of movie screenings at The Palace Theater in San Francisco, presented by the Nocturnal Dream Shows, featuring classic works such as Hiroshi Teshigahara's Face of Another, Ingmar Bergman's Dreams, Lew Landers' The Mask of Dijon, Paul Leni's Waxworks, the three chapters of Flash Gordon, and Tom de Witt's Atmosfear, among others.&nbsp;The Palace Theatre in San Francisco was a Chinese movie theater that mostly showed Chinese films and opera, but was better known for Miron Miron's midnight "dream shows,” a series of late-night screenings and performances where the Cockettes made their performance debut in 1969. These events were hugely influential for the queer avant-garde performance scene in San Francisco. This poster, designed by Steven Arnold, documents the decadent paper culture that came out of the scene.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Steven Arnold — Nocturnal Dream Shows: Midnight Films [The Palace Theater]

Andy WarholChelsea Girls at York CinemaNew York:&nbsp;York Cinema,&nbsp;[1966]. Offset. 29 ¼ x 22 ½ in. A very nice example, slight wear to edges.&nbsp;Poster for the run of Andy Warhol’s Chelsea Girls at the York Cinema. This run is particularly notable because it was the first time a New York underground film screened at several different New York cinemas outside of the Filmmaker’s Cinematheque.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Andy Warhol — Chelsea Girls at York Cinema

The Ladies' Auxiliary Debutante Ball at Club 57 [poster]New York: Club 57, [1980]. Offset. 17 x 11 in. Line from folding into halves, light bumping and wear to edges; very clean example.Poster promoting a punk-ironic Debutante Ball at Club 57, New York City’s short-lived post-punk venue (1978–83) managed by Ann Magnuson, where music mixed with visual art, experimental film, performance and politics.The Ball was organized by the Ladies' Auxiliary, a feminist club within Club 57 made-up mostly by women artists, that organized all kind of fun events such as slumber parties (with ‘Go-Go Boys’ that included artists Kenny Scharf and John Sex), a team on Lady Wrestling nights, and special exhibitions of members’ artwork.A hub of New York’s ‘downtown scene’, Club 57 exemplified ways in which artists’ increasingly promiscuous experiments across media led them to abandon high-brow galleries and museums in favour of nightclubs, discos and bars. This tendency dovetailed with the practices of an emergent generation of feminist artists eager to both break out of the sexist art world and engage with popular culture and audiences.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Barbara Rubin, Gordon Ball — Caterpillar Changes [Film-Maker's Cinematheque Calendar]

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