Legendary 60s Artist Stanley Mouse Joins 1xRUN’s Bicycle Day Print Suite

We are excited to welcome in legendary artist Stanley “Mouse” Miller as part of the Bicycle Day Print Suite. This year Mouse brings us One More Saturday Night Kid, a blend of two of his most iconic images. Born in California but raised in Detroit, Mouse would begin his art career airbrushing eye popping hot rod art at car shows. Like many looking to explore in the 60s, it wasn’t long before Mouse picked up and left for San Francisco. It was there where he would meet his partner in crime Alton Kelley. Forming the Family Dog, the two would essentially create and revolutionize the modern gig poster, while helping to create the visual identity for the Summer of Love. Read on as Stanley Mouse gives us the story behind his Saturday Night and Ice Cream Kid images and the newly created blotter edition created exclusively for 1xRUN. . .


1xRUN: Tell us a bit about One More Saturday Night Kid, essentially this is a blend of two of your iconic images, featured on the Grateful Dead’s landmark Europe album, and then your One More Saturday Night imagery. Let’s start with talking about the Ice Cream Kid.
Stanley “Mouse” Miller: That was 1972. This was when there weren’t any art directors for the Grateful Dead. If I tried to do that now they would say ‘are you crazy?’ It was originally an airbrush painting.

1x: How did the concept come about?
Mouse:  They gave us the titles, and the titles actually never came out on the album, the front was ‘Over There” and the back was ‘Stepping Out’ which we titled “Rainbow Foot.” They canned the titles on the final covers. So I did a painting of the front and back cover originally, a small painting, then Kelley and I did a big painting in airbrush of each of them.


Europe ’72 front and back cover by Stanley Mouse & Alton Kelley

The image started out because of a joke, and it was a spastic joke, which is not really politically correct, but there were spastic jokes going around in the 50s. If you gave Johnny a quarter and he could put the quarter on his forehead, then you give him an ice cream cone. Then he took the ice cream and put it on his forehead. So it was a bit of running joke with me and Alton Kelley. We were at a Halloween party in costumes and we got really stoned and we both simultaneously did that to our foreheads. It kinda just meant this was really crazy.

1x: How long had you been working with the Grateful Dead at this point?
Mouse: We did their first album cover in 1967 or 1968. We were doing posters for the Avalon Ballroom and at the time they were just one of the bands. They liked what we did for them and asked us to do the album cover, then we did a bunch of album covers for them after that.


Avalon Ballroom posters by Stanley Mouse & Alton Kelley

1x: So Alton Kelley wasn’t from Detroit, where did you two end up meeting?
Mouse: I drove to San Francisco in my ’65 Porsche. I was making a lot of money there making hot rod t shirts at car shows, but I was getting tired of doing that. I thought there was something more that I could do. When I got out there I think I broke an axle and I heard Kelley was a mechanic, but he was a motorcycle mechanic and I asked him if he could try to fix it.  He didn’t fix it, but we became really good friends. We had a lot of similar interests.

1x: Let’s talk about the other half of this image ‘One More Saturday Night.’ Was that you and Alton Kelley again or just you?
Mouse:  That was for a book cover that was made in 1981, I believe. That was just me.  It wasn’t a book by the Grateful Dead, it was a writer who put out the book on his own, and he asked me to do the cover. I think that pretty much was all done with brush. There might have been some air brush in it but I’m not sure.


1x: What was unique about that image compared with some of the other visual vocabulary that you had developed for the Dead over the years?
Mouse: Every New Year’s Eve they would do a show and I would do some kind of image that was similar to this, a skeleton with a glass of champagne. We did some t-shirts and stuff, but this image was the culmination of all of those New Year’s Eve images.

I remember when the book came out I was in Paris and running around putting up posters of the book cover. We put it in a restaurant when the waiters walked away, we stuck it on the window and ran away. Then the waiter was chasing us down the street, and when he finally caught us he said, ‘Do you have any more of those posters?’

1x: I know we had talked about these two images specifically, but how did the idea come about to combine these two images.
Mouse:  They released more music from that tour, so they put that a Europe ’72 Vol. II and this was one of the ideas that was left over.


1x: You grew up in Detroit, where in the city did you live? How did you first get into creating artwork when you were young?
Mouse: I grew up around Meyers and Grand River on the west side of the city.  My dad was an animator for Disney for a while, so I was actually born in California and then when the war started they moved back to Detroit. But I was always encouraged to draw. We would sit around and draw all the time. When I started painting hot rod t-shirts I made so much money that my parents quit their jobs and we started a big mail order business. They started working for me. I was about 18-20, and we did that until I left until about 1965.

I would airbrush these shirts in front of people, right there on the spot. Each shirt was done individually. I painted thousands of those. It would be at hot rod shows, the Michigan State Fair things like that. I had a booth at the Michigan State Fair, it was right in front of the Motown revue show. So I would be airbrushing fluorescent colored monster shirts in front to Motown at their peak.



1x: What was one of your first psychedelic experiences?  Any monumental times?
Mouse:  The first time was actually the monumental time. It was Sandoz. I was 23 years old. Every trip was not as good after that. Even the famous (Stanley ‘Bear’) Owsley bathtub Orange Sunshine wasn’t as good as the Sandoz.

1x: So you still living in Detroit at that time?
Mouse: Yea, I was still living in Detroit at that time.  Me and some friends were doing some psychedelics, we had some peyote. We always had peyote tea on the stove. Things got very free. Then I heard that things were really happening in San Francisco. So then we all went to San Francisco. That was in 1965, and I was 25 when I went to San Francisco.


1x: While you were here in Detroit were you going to art school or what were you doing at the time?
Mouse: I was doing a lot psychedelics and going to art school at CCS.  I was hungry for information in my painting class, and my teacher would walk by my easel and say, ‘scrape it off.’ That’s all he would say to me. So I started following him around to other people’s easels and to see if I could get any information from him, and he got mad at me. He said some mean language, and I said fuck this and I left the next day for San Francisco.

02424-stanley-mouse-one-more-saturday-night-kid-7.5x7.5-1xrun-02One More Saturday Night Kid by Stanley Mouse

1xRUN: Where else can people find you?
Stanley Mouse: FacebookInstagram


Inside James Lewis’ Iconic Hand-Painted Logo Series

British artist James Lewis joins us for his first RUN, 3D Supreme, which is part of his ongoing series featuring examinations of iconic logos throughout popular culture. Read on below to find out more about James Lewis’ first release on 1xRUN and grab the Standard, Black or Camo variants in limited quantities before they are gone. . .

1xRUN: Tell us a little bit about these print editions, there anything immediate you would like us to highlight about this imagery?
James Lewis: With my 3D logo paintings I’m pointing out how important and instantly recognizable logos are in our everyday lives. Each logo carries with it a set of values that are inextricably linked to the letters and forms which people relate to.

1x: Was this imagery part of a recent theme, series or show that you had?
Lewis: This painting is part of an ongoing series where I’ve been exploring a combination of recognizable logos presented in a 3D illusion. The 3D Supreme logo was the first logo I painted, and I recently repainted it to showcase how my skills as a painter have improved over the past year.

02417a-james-lewis-supreme-white-edition-24x18-1xrun-01news 3D Supreme – Standard Edition by James Lewis

1x: What materials were used to create these original pieces?
Lewis: The original artwork is painted with a home made mixture of acrylic paint, matte medium, and flow enhancer. The consistency and pigment of the paint is really important to produce the clean lines and vibrant matte finish.

1x: When were these pieces originally drawn and created?
Lewis: My first Supreme logo painting was done over a year ago, but this recent rendition was painted in February.

02417b-james-lewis-supreme-black-edition-24x18-1xrun-01news 3D Supreme – Black Edition by James Lewis

1x: Tell us how the idea and execution came about for this image? How long did these images take to create from start to finish?
Lewis: I’ve been infatuated with sign painting and lettering for the past 7 years. I’ve developed my own style of 3D lettering which I’ve taught at independent workshops all over the world and I’ve infused this unique style into recognizable logos making them really stand out. The Supreme artwork took around 5 hours to complete from sketch all the way through to finished painting.

1x: What is unique about these pieces compared with your other work?
Lewis: The logo collection draws a lot of reference from pop culture. Each logo brings with it a group of fans and a group of haters. It’s been interesting to see the different audiences who interact with each different logo I paint.


3D Supreme – Camo Edition by James Lewis

1x: Why should people buy these one off these prints?
Lewis: The prints are of a limited edition and mark a huge transition in my artistic progression. This piece in particular will always mark a turning point in my creative journey.

1x: Describe this series in one gut reaction word.
Lewis: Powerful.


3D Supreme – 3-Print Set by James Lewis

1x: When did you first start making art? What was your first piece?
Lewis: My first art award was £5 for a drawing of a clown at age 6. I’ve always been making art. My first piece I was proud of was an artwork called ‘trust the universe’ which combined a painted astral scene with powerful lettering. I’ll be recreating it again soon.

1x: What artists inspired you early on? What artists inspire you now?
Lewis: I’ve been inspired a lot by Pop art its Ed Ruscha. They way he combined witty lettering phrases into scenes evoke such a sense of wonder. The contrast between life and language is something I continue to explore today. As for now, I’m very inspired by the likes of Ben Eine, his large scale typographic murals can bring any area to life. Kaws is of course having a huge influence on most artists right now so I definitely look up to him.


3D Supreme – Original Artwork by James Lewis

1x: Do you listen to music while you work? If so what? If not then what is your environment like when you work?
Lewis: My environment when working is very messy, a lot of half formed ideas waiting patiently to be finished. A combination of rap music, thought provoking podcasts, and chilled electronic music captures the organized chaos that is my current studio.

1x: If you could collaborate with any living artist who would it be and why? Any deceased artist?
Lewis: I’d really like to collaborate with Daniel Arsham. I’m fascinated how he combines pop culture iconography with his own unique style to bring fourth something unique. It’s a technique I’m working on myself so I believe our styles would match up nicely. [For the latter] I’d work on a year long collaboration with Picasso just so I could pick his mind and understand him better.

1x: What was the first piece of art that you bought? Do you still have it?
Lewis: My first art purchase was made whilst traveling through Indonesia, touring my 3D lettering workshop. I came across an art gallery opening of traditional Batik pieces by a range of local artists. I purchased an original piece of modern abstract art which still hangs in my home today.

1x: Any big shows or events coming up that you’d like to share?
Lewis: I’m currently working on a series of artworks to present at my first exhibition later this year at the prestigious Summer Hall in Edinburgh.

1xRUN: Where else can people find you?
James Lewis: WebsiteInstagram @ jamesllewis –


1xRUN Presents The 2019 Record Store Day Print Suite

For Record Store Day 2019 1xRUN will once again seamlessly blend timeless visual and sonic artists for new unique looks at historic musical favorites. For our 2019 collection 1xRUN will have over a dozen artists paying homage not only to the records they love, with unique looks at album covers by Black Sabbath, Notorious B.I.G., David Bowie, A Tribe Called Quest, The Beatles, Black Flag and more, but the musical styles and scenes that influence them with rave scenes, hip-hop portraits, country collages and more. This year features new work from ABCNT, Dan Witz, Glenn Barr, Jesse Kassel, Jim Houser, Luke Chueh, Naturel, Ron Zakrin, Richard Wilson, Scott Listfield, Smoluk and Thomas Wimberly. Read on to check out the entire print suite and be sure to snag your favorites starting Saturday, April 13th for Record Store Day right here at 1xRUN. . .

RSD-groupKicking things off Los Angeles based artist ABCNT pays homage to two hip-hop icons, with new hand-pulled screen prints of the incomparable Detroit legend J-Dilla, as well as new variant editions of prolific but gone-to-soon Pittsburg producer Mac Miller. Both editions are limited to only 33, so be sure to snag each one individually or in a 2-print set.


DillaTroit – Standard + Shining Variants by ABCNT

REMember – Red & Blue Variants by ABCNT


With his ongoing series “I Feel” New York City based artist Dan Witz captures the abundant fleeting euphoria at underground rave scenes. With his latest “I Feel II” Witz is at it again as he first combines 15-20 different photos, all captured throughout different parties, before he assembles them digitally and then dives in to create beautifully realistic oil paintings that captures all the feels condensed into these 12 x 12 and 24 x 24 Inch editions.


I Feel II – 12×12 + 24×24 Inch Editions by Dan Witz


As of 1xRUN’s longest running artists Detroit’s own Glenn Barr serves as an inspiration for our Record Store Day Print Suite.  At 323East Barr curated an expansive roster of musically inspired works for his continuing exhibition Lyric, featuring dozens works from a wide variety of different artists, all paying homage to their favorite albums with 12×12 original works. For this year’s Record Store Day Print Suite, Glenn Barr brings us Hot Stuff Club, which captures Barr’s signature post-apocalyptic style as a few bar patrons hang out side of a bar alongside Astroboy.  This edition is also limited to just 33 in honor of Record Store Day so be sure to snag one while you still can.


Hot Stuff Club – Record Store Day Variant by Glenn Barr


In addition to creating the record crate visuals for Record Store Day 2019, Detroit artist Jesse Kassel pays tribute to three of his favorite artists with new illustrations featuring synths, keyboards and whips for Devo, a banjo, polka dot bra and a country scene for Dolly Parton, and St. Ides, throwing stars and ODB’s license for Wu-Tang Clan just to name a few of the Easter eggs hidden in these editions of 33. Grab each one individually or in a 3 print set.


Dolly – Devo – Wu-Tang Clan by Jesse Kassel


Black Sabbath‘s landmark Paranoid was released back in 1970, nearly 50 years later Philadelphia’s Jim Houser remixes the iconic cover artwork in his signature style.


Black Sabbath – Paranoid by Jim Houser 

Available In Standard Edition of 33 + Printer’s Select Edition of 12


For his Record Store Day print Luke Chueh marries his signature bear icon with the legendary cover art from David Bowie’s 6th album Aladdin Sane. These hand-pulled screen prints feature a shimmering metallic layer for a standard edition of 78, along with an extremely limited hand-embellished edition of just 12.


 Aladdin Sane by Luke Chueh


After tackling 4 of his most influential albums last year, Washington DC artist Naturel returns once again for Record Store Day, this time paying homage to one of his favorites with Notorious B.I.G’s Ready To Die. Be sure to snag one of these extremely limited edition of only 45 before they are gone…


Ready To Die by Naturel


Featuring work painted as part of Murals In The Market 2018, British artist Richard Wilson gives a look at a Detroit crate digger’s afternoon, featuring cover art from J-Dilla, Aretha Franklin, Moodymann and the iconic Motown label for his Music In Me – Detroit. Snag this edition of 33 before they are gone…


Music In Me – Detroit by Richard Wilson


 Reimagining some of her favorite albums, Canadian cardboard artist Smoluk has sliced, diced and reassembled nearly a dozen albums into Nike Air Force Ones. For her latest round Smoluk tackles A Tribe Called Quest, The Beatles, Elton John, Frijid Pink, Kraftwerk, Led Zeppelin, Queen, The Rolling Stones, Santana and Supertramp with new hand made cardboard sculptures. Grab your favorite Saturday April 13th for Record Store Day…smoluk-1xrun-rsd-01

A Tribe Called Quest / The Beatles / Elton John by Smoluk


smoluk-1xrun-rsd-03Frijid Pink / Kraftwerk / Led Zeppelin / Queen by Smoluksmoluk-1xrun-rsd-04

The Rolling Stones, Santana and Supertramp


Wrapping things up we welcome back New Orleans born artist Thomas Wimberly, who returns with two new editions and variants, the first reimagining Black Flag‘s debut album Damaged, available in Blue and Orange colorways. Wimberly’s second edition Drop Albums Not Bombs is also available in Blue and Red variant editions.


Damaged Variants + Heavy Rotation Variants by Thomas Wimberly


Check out the entire collection as 1xRUN Presents Record Store Day 2019.



Charles Peterson’s Kurt Cobain Advocate Photo Shoot 25 Years Later

We welcome back prolific photographer Charles Peterson as he looks back at this unreleased photo of Kurt Cobain, who passed away 25 years ago today. Taken on New Year’s Day of 1993, this photo captures Cobain at The Inn At The Market hotel in Seattle, Washington. The band had just released a collection of outtakes and b-sides with Incesticide and was getting ready to record their 3rd and final album In Utero. Reimagined in beautiful hand-pulled screen prints, this shot was originally taken as part of a photo session for the cover of the national LGBT-magazine The Advocate. Be sure to snag one of these early as the Silver, Gold and Rainbow variants as all are available in extremely limited editions of 27. Read on to find out more about our latest hand-pulled screen prints with photographer Charles Peterson. . .


1xRUN: Let’s start with talking about this session, where were these photos first used? What was the original photo shoot for?
Charles Peterson: The shoot was New Year’s Day 1993, and it didn’t happen until about 11 o’clock in the evening. It was for The Advocate, the LGBT monthly magazine. It was for the glossy cover and an inside piece. He’d done this, at the time, controversial interview saying that, yeah, he thought, “Oh, I could be gay, too.” [Getting beaten up is a recurring theme in Cobain’s life. In his hometown of Aberdeen in rural Washington, he was branded a “faggot” from an early age. It was a title he eventually embraced and threw back in his tormentors’ faces-just for the hell of it. In 1985 he was even arrested when he and friend Chris Novoselic spray painted HOMO SEX RULES on the side of a bank. – Kevin Allman (from The Advocate 2/93 – full interview)

So he and Courtney [Love] were staying at the hotel, and [their daughter] Frances was quite young, six months maybe, at the time. They were staying in the Pike Place Market, at The Inn At The Market. They couldn’t find a house to rent at the time, or I don’t know, they couldn’t get it together to buy something. I went there and we photographed him in the bedroom of the hotel. I set up tension poles with some backdrop paper that I set up, and we did a few different things with color against that. I was trying to do the dumb thing with filtered gels and make a backdrop purple originally, and I actually think a lot of these photos work better now just converted to black and white.

Anyway, then we switched and went over to the bedroom, and he got his acoustic guitar out. He had this Ren & Stimpy doll that he played with. So then I just got out my Nikon 35 millimeter 1.4, and we just talked and I shot a roll of that and got these close-ups, grainy close-ups of him smoking.


1x: Was it just the two of you? Or was the writer for the Advocate there as well?
Peterson: No, it was just me and him. The writer wasn’t there, as they’d already done the interview earlier.

1x: Then, you guys are talking. What are you guys talking about? Just shooting the shit?
Peterson: Just about the music scene, and he was talking about his friendship with The Vaselines, and how he would love to buy a house in Scotland someday, out in the wilds of Scotland.  Kurt and I were a little bit shy with each other, a little bit awkward. I think that’s sort of because he was this incredible performer, who also was an introvert. And I’m the same. I’m a person who’s made a name for myself photographing people, yet I’m a freaking introvert.

Chris Cornell was a little bit like that, too. It was sorta like magnets attract, but they bounce away from each other a little bit, a little awkward around each other. But at the same time, he was so comfortable letting you do what you needed to do, and he loved photography. He’s really magnanimous with photographers and had a lot of friendships with different photographers.


Kurt Cobain. The Advocate. The Inn At The Market. Seattle, WA. 1/1/1993 – Silver Edition by Charles Peterson

I didn’t really even think about it at the time, because I was just so somewhat clueless to the whole thing, but there was a good 10-15 minute stretch where he disappeared into the bathroom. Then there was a little bit where we got onto a roll with him and I talking, but there ended up being a few images of him pretty much nodding off.

Courtney was downstairs with Frances and yelling things up the whole time. Commenting on his black hair. It’s the only photo shoot, I think, that anyone ever did where he had dyed his hair black. So, in some sense, I like them, I think they’re striking, but in another sense they’re somewhat worthless, because people just identify with the blonde locks. The grunge thing. But, yea, it was definitely the most intimate photo shoot that we did together. When it’s with a band it’s a different energy.

1x: How many shots do you think you did total?
Peterson: I did six or seven rolls of 120, which is 12 shots per roll. So, maybe 100, 120 shots of 120. Some of that’s just throwaway, just kinda the warm up. At the end of the day, when you look back, it’s really these shots of him where he’s just more relaxed, without the lighting set ups. Particularity with the guitar in his hand, you could just see he just sorta instantly relaxed.

So, I’d say two or three rolls of black and white, 120, and then just the one roll of 35. I was always a relatively modest shooter back then in terms of just the amount of stuff that I shot. Looking back, I should’ve just always photographed everything. And I didn’t, I mean sometimes I had too much … but I’d call it an assignment tunnel. You’re on assignment; you gotta get this shot. You don’t think about the fact that 30 years down the road it might be a good shot to have. It’s like this thing at the time that just would be totally useless and would actually be the most important or interesting thing.


Kurt Cobain. The Advocate. The Inn At The Market. Seattle, WA. 1/1/1993 – Gold Edition by Charles Peterson

But … like I said, I was working through issues with shyness myself. And, actually, chronic pain. I remember this day, I went out New Year’s Night and had a little bit too much to drink, I’m sure. But all that day, with the stress of leading up to an assignment, this bigger assignment cover shoot, I also just had one of my nasty headaches. Sometimes wanna get it over with, when you’re in that state. And I wasn’t going into the bathroom and shooting up, either. I just had an Advil, an Excedrin at my disposal.

1x: Did you go into it saying, “These are the kinda shots I wanna get.” Or did you just kinda play it by ear?
Peterson: Well, I knew that I had to get a shot for the cover, I shot that medium format square, and I knew it had to be sharp and just him, with enough room for the masthead and any side type or anything like that. So, I knew I had to get that. I knew they probably weren’t going to put a tight, grainy, dark black and white shot on the cover. They might now, but at the time it just wasn’t gonna sell. So, they used more of the brighter colors, and in the end the backdrop was pink.

I would go into a shoot and do what they needed me to do, and then do what I wanted to do. Now, if and when I get work, I just wanna do it the way I wanna do it, because it’s just not worth anybody’s time or energy to do it otherwise. You know?


Kurt Cobain. The Advocate. The Inn At The Market. Seattle, WA. 1/1/1993 – Rainbow Edition by Charles Peterson

At the time, I remember he was obsessed with this Ren and Stimpy doll, but I could never print these in the dark room, back in the day, because the lighting is really, like, I missed the lighting in his eyes. But with digital now, digital scanning and technology, it’s a lot easier to resurrect some of this stuff. So, yeah, he was, goofing around doing dopey kinda folk singer poses here with his hands.

1x: So you mentioned you were shooting with both the Nikon and Hasselblad, which camera did you take this shot with?
Peterson: This was on the Hasselblad with a wide angle, actually a 40mm. It was tight in that hotel room, I mean, I’m like right on top of him. Backed up against the chest of drawers. It’s a wide lens, so it distorts. You can kinda see his hands are a little bigger, and his head is not that small. So yea, this was a Hasselblad 40, which is mostly intended for architectural use, but I pushed the limits of it and I would later use similar Hasselblad, a super-wide, which is a 38, fixed 38, for my break dancing images.

1x: What were the development techniques you were using early on?
Charles Peterson: A lot of these negatives are really filthy with these photo flow stains on it. There was this finishing rinse, and if you don’t get it done right, you can have these water rings. Lots and lots of dust. I’m trying to think where, but some of the negatives have a stamp with the 1201 East Howell. 11th and Howell. They were these crummy apartments that we were paying, I don’t know, 200 dollars a month rent for, and half the time we didn’t even bother to pay that until we got threatened with eviction. We knew these were tear downs, for the most part, so we did whatever we want. In the kitchen I put in a six-foot acrylic pre-built sink with just 2 by 4 frame, and the filter plumbing, regulation valve, and all that. I just slapped it to the wall.  Then I had a dark room, one counter for chemicals, and then we fixed food on another. So, that was my darkroom at the time. It wasn’t really…it was always filthy… but on the photos it depends, I can see when I go to scan where some of it is immaculate and others are just not. The bigger, 120 shots are more difficult, since they have much larger surface area for dust to collect.

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1x: So why was the shoot on New Year’s Day? Were they playing a show the night before? What time of day were you shooting?
Peterson: It was around 11 o’clock at night on January 1st, New Year’s Day. I can’t recall why, but I think we were supposed to do it earlier and then it got pushed, but the magazines all do stuff two or three months out. Neither of us were prepared to do this photo shoot, let’s put it that way. And, actually, this was right before the huge entourage came …

1x: What was the timeframe? What album were they about to release?
Peterson: This was 1993, so this was pre-In Utero and all that, leading up to that. But there was no hair and makeup, or stylists, or obviously, they just told us “you guys do this thing for a cover.”

1x: Tell me more about the Advocate article, are they local or national?
Peterson: It’s national. It wasn’t a big-money job per se or anything. It was like a grand of 1500 or something. Which is, in some way, more than you get now, really. But I think just because we were both just out of our depth, at least with the cover, making a cover image aspect of it.


1x: So, even though they were the kind of the last big band to come out of Seattle, they ended up being the biggest, so by that time you were already pretty well established right?
Peterson: Yeah, it’s actually in Kurt’s journals that they released, essentially his diaries. There’s a passage about things to do, signing up with Sub Pop, and getting Charles Peterson and Alice Wheeler to take our picture and make us famous, and blah blah blah.

But the first show that I photographed them, was in 1989. Kurt actually had a Soundgarden sticker on his guitar. He’s turning to the side with his hair down, a classic grunge shot.

1x: So previously you had done live shots mostly? Not as much staged studio type shots?
Peterson: Up to that point, I’d certainly done studio sessions. I did quite a bit, I knew what I was doing, but I was never really that happy with many of my decisions, doing studio work. I don’t know why. I’m the kind of person that I would be happy with what they call a daylight studio. If you just had a big, white backdrop with huge skylights or something, that would be cool. More natural light, and not having to worry about positioning lights.

At the time back then it was trendy to use these colored gels. At the end of the day, it was so dated and it makes reproduction difficult. You’re really limited by your choices. However, in some ways using those colored gels and now converting to black and white, I can go in with a channel mixer, the colors, and actually get quite nice tones from them. They’re really quite sharp.

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But I tried a lot with the Hasselblad and I shot quite a bit in medium format. But then, later on when I went on to do Cipher, my break dancing book, I shot that all in medium format. So I took what I had learned from shooting live in 35 millimeter and translated that to medium format, and shot the break dancers that way.  It liberated medium format more for me, and instead of sort of utilizing it just in this portrait-type situation, you’re actually using it to capture this real free-flowing action, and not even looking through the viewfinder most of the time. You’re just shooting. Really burning through film.

1x: You said you first started taking photos when you were young, when did the blurs and these other types of experimenting come into play? Were you not getting the shots that you wanted with more crisp exposures, or just wanting to try something new?
Peterson: No, I’d seen some examples of it: Gary Winogrand, Ft. Worth Rodeo shots, and then there was some sports stuff, but I was like, “Oh, how does this do?” and I did a little bit of research, which, in those days, involved going to the library.  There’s no internet, so it wasn’t as easy as “Oh, you just get this technique, like that, with this setting on your camera.” It’s something now where anyone can do it, but even now then there’s the next step, which is doing it right, and using it in the intention. I learned how to do that technique, and then I just kept honing it and honing it. Sometimes it would just go way too overboard, and sometimes not enough. At the end of the day, I became known for that blurry lights and motion, but some of my most iconic photographs, they don’t have that many blurry lights in it.

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1x: Most do seem to have a fair amount of motion to them though …
Peterson: They’ve got motion, and composition, and moment and all those important things. What I did do, is I became quite adept at using a portable strobe. A lot of our early stuff was shot with the strobe off-camera. I’d use a cord attached to the camera, and taped an extra battery pack to the flash itself, and I’d have a little extra juice. I would hold the camera down here, and the flash above my head, or whatever, off to the side, and using a wider lens I would just pre focus a lot of the time. Then going in and using diffusion on the flash.

Once I would go into the dark room, and it’s easier now, with digital scanning, but I was doing a lot of dodging and burning to balance things out. You get a really natural look that way, versus the generic maximum rock n’ roll, where it’s just all bright, the singer’s all way washed out, then there’s just nothing behind him and that’s that.

I went to art school. I went for photography, and I got my BFA at the University of Washington. Growing up, in high school I was aware of all the fine art photographers from the 50s, 60s and 70s, so I learned all these techniques and I read constantly. I became very good in the darkroom very early on. I knew what I wanted and then just kept working at honing it. Sometimes I probably could’ve done things, shot other stuff and looked at things somewhat differently. A lot of that is just maturing, as well.

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1x: Would this be the only shoot you did that was just Kurt, that wasn’t in a band setting?
Peterson: When I think about it…yeah, really, it was. Yeah. It is odd that when I think back on it. I mean, in retrospect, Jesus, I should’ve just trailed around behind these guys like a lost puppy. But I had all my other life going on, and bands to shoot. A lot of the times they would go travel, and like I said, work with every photographer under the sun in New York, Los Angeles and England, wherever they were. Then they’d come back here and it just wasn’t like, “Oh, hey, let’s go do a photo shoot.” But I mean I was at Frances’ first birthday party, I just went and I shot like, I don’t know, probably like 40 or 50 SX-70s, Polaroids, and then just gave ’em to Kurt at the end of the day. A couple of those are in that ‘Cobain Unseen’, his storage locker book. But, yeah, it was all pretty casual.

Quite often one of the reasons why is because they were higher caliber photographers with big budgets, magazines willing to pay for all that film and processing, etc, to get that. And, I didn’t have that. But, one thing that art directors have said, likes of Art Chantry and Jeff Kleinsmith, etc. that I’ve worked with, is that I have a very high use rate, hit rate. They look at a proof sheet and they’re like, “Well, we could use this, this, this.” If it didn’t have this insanely iconic image, here, well this one would become the iconic.  It’s just kind of the pecking order, and you get down to the end and they’re all really usable, all for different reasons. Which has always has become a challenge to edit, especially now. Looking back, and I  really want to retell the history a little differently with a new book, and use some images that haven’t been seen before. Images that, because of the march of time, just continue to take on sort of new intrigue or interest about them.


Kurt Cobain. The Advocate. The Inn At The Market. Seattle, WA. 1/1/1993  by Charles Peterson

1xRUN: Where else can people find you?
Charles Peterson:
WebsiteInstagram + Facebook @charles.peterson.photographer


Charles Peterson was interviewed at his home in Seattle, Washington by 1xRUN Editor-In-Chief Pietro Truba. He has previously interviewed Niagara, Leni & John Sinclair, Ricky Powell, Doze Green, Fred Armisen, Janette Beckman and Shepard Fairey among others for 1xRUN. Follow him @pietrotruba

A Look Inside Victor Castillo’s They Do Not Own Us

1xRUN welcomes back Chilean artist Victor Castillo as he joins us with his latest edition They Do Not Own Us. Taken from Victor Castillo’s most recent solo show titled The Invisible Cage at Isabel Croxatto Gallery, this painting was displayed with a humorous and ironic sculpture installation of children protesting, which reminds us of the children celebrating in Victor’s mural Futuro Espendor at the Gabriela Mistral cultural center (GAM) in Santiago, Chile. Read on for images from Castillo’s most recent exhibition and the story behind his latest edition available now. . .


“Young people marching in what looks like a carnival or a protest … the mural is inspired by the changes and social concerns that I see present in the current Chile and that are also part of a global social and economic crisis.

It is the system that refuses to change in the face of social movements, while politicians dress for the occasion hiding their true intentions and the owners of capital refuse to listen. It is a tragicomic vision of the contemporary context and an invitation to provide greater freedom of creation for our brilliant young people. ” – Víctor Castillo

Announcing 1xRUN’s International Women’s Day 2019 Roster Featuring 20 + New Releases From Women Of 1xRUN

Detroit’s 1xRUN is excited to announce the 1xRUN International Women’s Day 2019 Print Suite featuring over 20 new limited edition prints highlighting some the contemporary art world’s leading female artists! Releasing online on March 8th at 12pm EST, this collection features new print editions by Ana Bagayan, Ann Lewis, Carly Chaikin, Caroline Caldwell, Dee Dee, Fafi, Kelly Golden, Kristen Liu-Wong, Kristin Farr, Lauren Napolitano, Mab Graves, Mary Iverson, Mimi Yoon, Miss Van, Niagara, Sarah Joncas, Stephanie Buer, Sydney James + more of 1xRUN’s featured female artists! Read on to find out more and shop the entire collection right here on 1xRUN. . .


International Women’s Day is a global day celebrating the social, economic, cultural and political achievements of women. The day also marks a call to action for accelerating gender parity. To commemorate the day, 1xRUN wanted International Women’s Day is about unity, celebration, reflection, advocacy and action both locally and globally.


“My painting Message From Inner Earth was inspired by the alien folklore that there could be a civilization living within the Earth’s crust at the hollow core center of the planet. In my illustration, a child is sent from the core to the surface to deliver a message that how we treat the Earth on the outer layer may affect those who live within the core.” – Ana Bagayan

Objects of a Dehumanized World reflects the shared experience of displacement, upheaval and finding the personal strength to keep going. This portrait celebrates the tenacity and fortitude of everyday women everywhere.” – Ann Lewis



 The work showcased is as varied as the women who have created it, with stunning portraits, expressive illustrative work and breathtaking landscapes from over a dozens of 1xRUN’s most engaging female artists.



“Stop telling women to smile. We don’t like that.” – Kelly Golden

“For this piece I wanted to make an image of a powerful woman. She boldly looks death and danger in the face (personified by the snake) almost seeming to embrace it while simultaneously conquering it – at least for the moment.”  – Kristen Lui-Wong



“I was inspired to paint “Smoke Rolling In” while I was hiking in Mount Rainier National park last summer. From the top of an old fire lookout on Tolmie Peak, I watched a blanket of pink smoke moving in from forest fires in the region, while the mountain floated above the haze.” – Mary Iverson

“Give a girl the right shoes, and she will conquer the world.” – Mimi Yoon



As we close in on what will prove to be another momentous day in history, 1xRUN is excited to reveal this very personal collection and call attention to a handful of the hard-working women that have been with us over the past 8 years. Read on to find out more from the artists as they discuss their latest editions for International Women’s Day 2019.


View the entire collection at 1xrun.com/womens-day-2019


Eelus Is Holding On To What He’s Got…You Should Too.

British artist Eelus brings his latest edition Hold On To What You Got a new series of screen prints and hand-painted multiples created just for his debut RUN. This playful edition pulls it’s message in directly as Eelus tells us below, fitting seamlessly into his expansive catalog of simplicity and bold colors. Alongside a series of extremely limited uniquely hand-painted editions, the standard edition will be available for only 48 hours, so be sure to grab yours before they are gone. Read on as Eelus gives us the lowdown on his debut RUN, his earliest influences and much more . . .


1xRUN: Tell us a little bit about these print editions, there anything immediate you would like us to highlight about this imagery?
Eelus: It’s a very simple image that needs little explanation really. It depicts a young boy tethered to an oversized balloon, but he stands firm and his feet are rooted to the ground. I guess its message is to keep your dreams big, play big, love big, but stay grounded.

1x: Was this imagery part of a recent theme, series or show that you had? When were these pieces created and what materials did you use? How long did this piece take from start to finish?
Eelus:  No. The artwork for the print is a mixture of digital art and scanned spray painted layers. This piece was created about 3 weeks ago over the course of around a week alongside other projects.

1x: Tell us how the idea and execution came about for this image?    
Eelus:  I have a huge collection of reference photos, mainly vintage family photos that I find fascinating. Very often I find an image that instantly just sparks an idea, it’s very similar to collage, I see one thing, take it, and add to it, creating something new.

1x: What is unique about these pieces compared with your other work?     
Eelus:  I think this piece fits comfortably among a lot of my previous works in its simplicity, bold colours and playfulness. It’s part of a larger body of work that I’ve dipped in and out of for years.

1x: Why should people buy this one of these prints?
Eelus:  Because I have a family, a dog and two cats and they all need to eat. Plus the print is a smile for the mind, it’s a simple image with a simple positive message. Sometimes that’s all you need to bring a bit of happiness into your day.

1x: Describe this series in one gut reaction word.
Eelus:  Playful.


Hold On To What You Got – Standard Edition by Eelus

ONLY AVAILABLE FOR 48 HOURS Starting Feb. 7th @12pm EST

1x: When did you first start making art?
Eelus:  I’ve enjoyed art and drawing since I was very young. Making art and telling stories are the only things I’ve ever been good at, or interested in. But I started stencilling after moving to London around 2001.

1x: What was your first piece?
Eelus: I started stenciling weird little characters from my sketchbook to start with, then I created an image of a girl taking a Star Wars At-At for a walk and started to paint that everywhere. It went on to become my first screen print released through Pictures On Walls, and that was the start of my art career. I’ve now been making art full time for around 10 years.

1x: What artists inspired you early on?
Eelus: H.R.Giger, Boris Vallejo, Frank Frazetta when I was growing up, they got me hooked. Then after moving to London and discovering the street art scene I was inspired by people like Banksy, D*Face, Mysterious Al, Logan Hicks, Shepard Fairey, Jamie Hewlett and Paul Insect.

1x: What artists inspire you now?
Eelus: Mainly older artists outside of the street art scene. Matisse, Aubrey Beardsley, Arnold Böcklin, David Hockney, Peter Doig, Utagawa Hiroshige. Too many to list really, but artists like Banksy and Logan and the others who sparked the fire for me will always be a source of inspiration in many ways.

1x: Do you listen to music while you work? If so what?
Eelus:  It depends what stage of the process I’m at. If I’m generating ideas, sketching, dreaming, then I listen to mainly film scores, ambient music, anything atmospheric with no lyrics. When I’m cutting stencils or doing something that doesn’t need the same level of focus then I’ll listen to audiobooks and podcasts. When I’m actually painting, again, I enjoy audiobooks or any kind of music, from metal to electronica to jazz.

1x: If you could collaborate with any living artist who would it be and why? Any deceased artist?
Eelus: Something completely different would be exciting, like a music video for someone like Bjork or Aphex Twin. [For the latter] Picasso. To soak up and steal as much from him as possible. Or David Bowie, on absolutely anything, I’d be happy to just do to his laundry.

1x: What was the first piece of art that you bought? Do you still have it?
Eelus:  I don’t actually own that much original art, but I do have a few prints that I bought back in the P.O.W days, Banksy’s, Anthony Micallef, Jamie Helwett, Eine etc. I think the first piece of original art I bought was a Mike Egan painting, I’m looking at it right now, it’s of a green devil like character surrounded by crucifixes. I still love it.

1x: What was the last piece of art that you bought?
Eelus: It’s a tiny painting by my artist and illustrator friend Will McLean from Australia. I bought it a couple of weeks ago and it was actually the first painting he’s ever sold, which I didn’t know at the time. It’s an expressionist painting of some trees.

1x: Any big shows or events coming up that you’d like to share?
Eelus: I’m exhibiting a new painting at the Affordable Art Fair New York with Olivia Connelly in March and I’m in a small stencil group show at Hashimoto Contemporary in New York that opens April 4th.

1xRUN: Where else can people find you?
Eelus: Website – Instagram @eelusartFacebook + Twitter @eelus


Catching A Fire With Dennis Morris’ Iconic Bob Marley Burnin’ Trio

Featuring what may be the most iconic photo of Bob Marley, we welcome back Dennis Morris his latest editions Burnin’ I + II + III.  Captured during Bob Marley’s first tour of the United Kingdom promoting the historic Catch A Fire album, this is a rare chance to own one of music history’s most famous photographs.  Read on Dennis Morris gives us the story behind this landmark photo and pick up each edition individually or in a 3-Print set before they are gone. . .


1xRUN: Tell us a little bit about this series, anything immediate you would like us to highlight about this imagery?
Morris: These three photographs were taken in 1974 on the infamous “Catch A Fire” tour, which was the United Kingdom tour to promote the 1st album on Island Records. One evening on the tour, Bob and I were sitting and talking and Bob suddenly said to me: “Let me show you how to smoke a spliff, Dennis!” There are only 3 shots, for obvious reasons!

Burnin I by Bob Marley - Available Individually + 3-Print Set

Burnin I by Bob Marley – Available Individually + 3-Print Set

1x: Was this imagery part of a recent theme, series or show that you had? If so how did it fit into that given grouping?
Morris: This series has become as iconic as the Che Guevara photo; when you go to uni on your dorm room wall, you either have a  Che or a Bob poster. Bob, like Peter Tosh, was an advocate for the legalization of Marijuana.

1x: When was this photo taken?
Morris:  It was taken in the UK in 1974 in the evening.


Burnin II by Bob Marley – Available Individually + 3-Print Set

1x: What film and developing techniques were used to create these original photos? Morris:  The film was Kodak Ektachrome; the atmosphere was created naturally by the amount of smoke coming from the spliff which the camera picked up on. It was taken on my trusted Leica M3 with 35 mm lens – no flash, just available light!

1x: What is unique about this piece compared with your other work?
Morris: It has become one of Bob’s most iconic, known and loved shots.


Burnin III by Bob Marley – Available Individually + 3-Print Set

1x: Why should people buy this one of these prints?
Morris: It is one of the most iconic shots of Bob! It is in Rolling Stone greatest images of rock ’n’ roll. In the Bob Marley Museum in Jamaica it is recognized as one of rock ’n’ roll greatest photos.

1x: Describe this series in one gut reaction word.
Morris: Catch A Fire.

Burnin by Dennis Morris

Burnin’ IIIIII – by Dennis Morris – Available Individually + 3-Print Set

1x: What have you been up to over the last 6 months as we get into 2019? Any news or events you’d want to highlight ?
Morris:  Working on many projects all over the world!

1x: What ways have you been trying to push yourself as of late with your work?
Morris:  I still get a thrill from photography.

1x: Any new artists that have been inspiring you as of late?
Morris:  Ghost Poet.

1x: Any big shows or events coming up that you’d like to share?
Morris:  Working on many shows; when they are close to happening I will share!!!

1xRUN: Where else can people find out more about you?
Dennis Morris: WebsiteInstagram @dennismcvoymorris


Looking for more from Dennis Morris? Read on below for a look at quick look at our earlier interviews with Dennis Morris as he discusses another iconic shot of Bob Marley, released for his second edition, Bob Marley: One Love featuring a more reserved and calming look at the worldwide icon. An extremely limited edition of only 36 (Bob Marley’s age at the time of his untimely death) there are limited quantities remaining. Read on below as Dennis Morris gives us the story behind this historic image, how it changed his photography career and much more . . .


1xRUN: Tell us a little bit about this photo, anything immediate you would like us to highlight about this image?
Dennis Morris: This is one of the shots that I’ve always liked, but it’s been published very rarely. I think it captures another time with Bob.

1x: When was this image taken? Where was it?
Morris: It would have been in 1977. It was taken in London. He always seemed at that point to be staying in Chelsea.

1x: Do you remember what your camera set up was at the time? What type of developing you were doing?
Morris: Yea, I was shooting an old Leica M3. The film I was using was the Kodak Trix 400ASF. At that point I did all my developing. I was using Paterson developers and developing products.

dennis-morris-one-love-24x20-1xrun-02Bob Marley: One Love by Dennis Morris – Click To Purchase

1x: Who were you shooting for at the time?
Morris: We were just hanging out. That’s the beauty of pictures like this. They were never arranged or taken in a photo studio. They were all taken as they were, backstage, off stage, wherever. For me it’s about capturing him, wherever he may be. It’s always about him, never the location.

1x: So you were just shooting freelance at the time, you weren’t on specific assignment or anything? Was it used anywhere immediately?
Morris: Yea, it was just freelance. No, this is just one of many shots that I’ve had in my archives. Some of these have never been printed before, and this is one of those rare ones, it’s not often it’s printed.

1x: When you started shooting photos were you still in school during this time? (Ed. Note: May, 1973.)
Morris: It was during my last year of school. I had read that he was coming over to do his tour. I basically didn’t go to school that day, and I went to the venue that they were supposed to be playing. A venue called The Speakeasy Club. It was the kind of a club where all the rock fraternity would hang out. Anybody from Rod Stewart to Mick Jagger to whatever to whoever, that was the place that they would go. Basically what was happening was, the record company Island Records, was trying to break into the rock circle. So that’s why they put him in to play that club, to highlight him to the rock hierarchy as such.

article by Richard Williams titled “Bob Marley: The First Genius of Reggae?”, which was published in Melody Maker on 24 February 1973.

Article by Richard Williams titled “Bob Marley: The First Genius of Reggae?”, published in Melody Maker on 24 February 1973.

1x: What was the incarnation of the band that was with Bob for these shows?
Morris: At the time he was still with Peter Tosh and Bunny Wailer, and the backing band was Family Man (Aston Barrett) on bass, Carlton (Barrett) drums and Earl “Wire” Lindo on keyboards. At that point the “I Threes” (Judy Mowatt, Marcia Griffiths, and Marley’s wife, Rita) were not with them yet. Basically the “I Threes” replaced the harmonies of Peter and Bunny when they left.

1x: What is unique about your photos of Bob Marley?
Morris: All my shots of Marley are very unique, because I had a very special relationship with him. That’s why my shots are so much in demand. They’re the shots that are in museums and private collections. This particular picture was the beginning of my working relationship with him, that’s when it all started for me.


1x: So prior to this were you just a fan of his? Were you taking any live shots?
Morris: Prior to that I wasn’t working in the music industry. Prior to that my ambition was not to be a rock photographer, my ambition was to be a war photographer. Basically my influence and my technique in photography is reportage. My biggest influences are people like Gordon Parks, Don McCullin the very famous war photographer, Robert Capa and Tim Page, other war photographers. Gordon Parks was the big influence for me, because was the most celebrated black photographer. He was the first black photographer to work for Time Magazine. He then went on to direct Superfly and Shaft.

It was after meeting Bob, and taking pictures of him and everything else, that I got sucked into the music business. At the time I was very much into music. Very much into rock, into reggae. That’s why working with the Sex Pistols wasn’t as much a problem for me. I was very much into rock music and reggae music. I was a rare breed as such as a black guy.


Slave Driver by Dennis Morris – the first live photo of Bob Marley by Dennis Morris at The Speakeasy Club, May 15th, 1973.

1x: So you mentioned that you weren’t very much into rock photography at the time, were you doing other things and just going to these shows on the side? How did it all come together?
Morris: The tour was in the winter, and they had never experienced winter before. So what happened was that after about 6 days or so basically Peter Tosh and Bunny Wailer didn’t want to continue the tour because it was too cold for them. They didn’t like the food. So that was tough for them. Everything had to be Ital food, and Ital is basically like vegan. Obviously in those days nothing like that really existed. So basically Peter Tosh and Bunny Wailer said “well we don’t want to this anymore” and went back to Jamaica. After that the tour collapsed.

1x: How many shows did they play on that tour before it ended early?
Morris: Six or seven. They had been together for a long time before that, but that was basically their first tour of England. So they came over, and it was a very hard winter. Peter and Bunnie didn’t really like touring at that point, so they had a big argument and they decided to go back to Jamaica. So they went back. That was the end of that. They didn’t really want to continue touring like that anymore.


Dennis Morris captures Bob Marley backstage (L) in Bournemouth, May 1973 / Marley onstage in 1975 at the Lyceum Theatre.

But, two years later, Bob came back to play the very famous Lyceum (Theatre) show, without Peter and Bunny. But Bob came back and played the Lyceum with at the time it was “The I-Twos” which at the time was just Rita (Marley) and Judy Mowatt, replacing Peter and Bunny on the harmonies.

How I got into the music industry was that I was the only photographer who had pictures of them prior to the Lyceum. So Bob came back with a vengeance, and knew that this was an important show to him, and he played literally one of the shows of his life. After that everybody wanted pictures of him. NME. Melody Maker. So I ended up getting the cover of Melody Maker and Time Out Magazine. That’s how I got into rock photography.


1x: So were you reading all these magazines at the time as a fan?
Morris: Yea, I was obsessive about photography and music. I was always buying those magazines.

1x: What was the thing that really spurred you to go see Marley initially? Was there a moment where you heard about it and said I have to go check this guy out?
Morris: Bob Marley was really big among the West Indian community. He was known within the West Indian community. He was the new voice of reggae music coming out of Jamaica at the time. He wasn’t known within the rock fraternity as such. Only young white kids, who were maybe into ska music would have known about him. But when you would go to blues parties, dance parties in the West Indian community there would always be music playing, and everyone would always talk about Bob Marley. It was like if you go to any bar or club, or whatever it may be and there’s a new band around, and people say “have you heard this band? They’re really great.” It was that sort of thing. There was a buzz going around in the West Indian community, but he was not known much outside of the West Indian community. So the record company, Island Records, really wanted to sell him on a cross over basis. That is why they booked him into all these rock venues.

1x: Yea, I’ve definitely heard of that venue and that specific Lyceum show fairly historic.
Morris: I’ve also got the cover photo for the live album that put out later.

1x: Do you want to talk about any difference in how you approach some of these live shots vs. your more “candid” shots?
Morris: Not really. No. To me photography is a bit like art. Like being a painter. You either have it or you don’t have it.

1x: Right, but you’re not staging any of these photos. It’s all natural shots.
Morris: Right, if you understand the approach of reportage, everything that I’ve ever taken of Bob Marley or the Sex Pistols, they were all taken by available light, as they were, where we were. None of it was taken inside of a photo studio. They look like they were, but they weren’t. That’s how reportage works. It’s like a study of your subject. The technique is to take away the mask and go beyond what this projected self is. Get their inner self.


Bob Marley photographed in 1977 by Dennis Morris.

1x: Yea, you seem to have both, a nice collection of live shots, as well as these more candid moments, did you have a preference of one over the other?
Morris: Live photography for me…I like it. Well, I don’t like it anymore unless I’ve got a close personal relationship with the band. Now they only let you do I think three songs. There’s no way to do anything with that. Back in the day once you had your photo pass you were the from the beginning to the end. Realistically what you were trying to do, if you were doing a live thing, was to capture that defining moment of he/she/their live performance.

1x: So you were given fairly free range to shoot anywhere? Was there an instant comfort with you being there?
Morris: Yea, I had full access. From the very beginning when we met we just clicked. It was one of those things.

1x: Anything else about that photo that you’d like to add?
Morris: This is a very special photograph. It’s a very important photograph for me. It’s one of the first images I took of him.

1x: What is unique about this photo compared with some other shots of Bob Marley?
Morris: With somebody like Bob people get into different phases. Sometimes people get really into the live side of it. There are times when people get really into the political side of it. There are times when people get into the music side of it. There are times when people like the live shots. There are times now where people want the softer, more delicate side, and that’s where this one falls into.

dennis-morris-one-love-24x20-1xrun-01Bob Marley: One Love by Dennis Morris – Click To Purchase

1xRUN: Where else can people find out more about you?
Dennis Morris: WebsiteInstagram @dennismcvoymorris


Dennis Morris was interviewed on the phone while in his Los Angeles studio by 1xRUN Editor-In-Chief Pietro Truba. He has previously interviewed Niagara, Leni & John Sinclair, Ricky Powell, Doze Green, Fred Armisen, Janette Beckman and Shepard Fairey among others for 1xRUN. Follow him @pietrotruba

Glenn Arthur Always Remembers 10 Years Later

1xRUN is excited to welcome back California artist Glenn Arthur as he returns with his latest edition Always Remember. Revisiting his very first painting created a decade ago, Arthur has reworked and refined this acrylic painting to include 10 years of progression, showing his signature looks at hummingbirds, flora and skulls with attention to detail that his fans have come to expect. Available in Standard and Hand-Embellished editions, these prints also coincide with Glenn Arthur’s birthday! Read on as Glenn Arthur gives us the lowdown on this painting 10 years in the making, a look at his process, and much more. . .

1xRUN: Tell us a little bit about this piece, anything immediate you’d like to highlight?
Glenn Arthur:  This piece is an updated painting of a 10 year old concept. The original design was done in late 2008 and it was one of the first times I had ever attempted to paint. I had only ever worked in graphite and ink before that. The plants that are surrounding the girl in the painting are actually succulents called aeoniums. I have a pretty big garden full of succulents and these are some of my favorite.



1x: Was this piece part of a recent  theme, series or show that you had?
Arthur: It wasn’t for anything specific. I just realized it had been 10 years since I started painting, and I thought it would be fun to show a side by side progress of my style and skill using the same concept.

1x: When was this piece created and what materials were used ?
Arthur: The painting is acrylic on wood. I started working on it towards the end of 2018 and completed it at the beginning of 2019. From start to finish it took about 2 months.


1x: Tell us how the idea and execution came about?
Arthur: The original piece from 2008 was painted around, and inspired by, the holiday Dia De Los Muertos. My family on my mother’s side are from Mexico, and I’ve always enjoyed the rich and colorful culture.

1x: What is unique about this piece?
Arthur: It really shows that although my style and skill have progressed, I still pretty much continue to work in the same themes of love, death, nature, and beauty.


Always Remember – Original Artwork by Glenn Arthur

1x: Why should people buy this print?
Arthur: Because it’s cool! And I feel like it’s a 10 year milestone of my work.

1x: Describe this piece in one gut reaction word.
Arthur: Beautiful!


Always Remember – Standard & Hand-Embellished Editions + Original Artwork by Glenn Arthur

1x: It’s been a while since our last release, bring everybody up to speed on what you’ve been up to over the last two years…
Arthur: I think it’s been longer than two years. I’ve missed you guys! Since the last time I’ve moved from Southern California to the San Francisco Bay Area. I love it up here so much! When I’m not painting, I’m either working in my garden or wrangling my small herd of cats.

1x: We’ve seen a few recurring themes in your work including skulls, flora and hummingbirds pictured in this recent edition, where did the fascination with each come from and is it a conscious effort including them in your work?
Arthur: I think it’s a matter of things that tend to defy my level of reasoning. Hummingbirds are so fast and small that they seem to almost break the laws of physics. Plants are extremely resilient and adapt to the craziest conditions to thrive and bloom. And death is the greatest mystery of all.


1x: What are some of the most challenging subjects to draw/paint for you? What are some of the more fluid ones?
Arthur: The most challenging subject for me to paint is anything mechanical. Organic subjects are much more second nature and way more fluid and for me.

1x: What are some of the ways you’ve been trying to push yourself with your work as of late?
Arthur: Lately I’ve really been working on painting in different mediums. I’ll always love acrylic, but I’ve recently been loving watercolor and ink. Eventually I want to try gouache and oil paints.

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1x: What strides do you feel you’ve made as of late with your work?
Arthur: I feel like I’ve perfected the art of painting with a cat on my lap. Haha.

1x: Any new artists that you have been turned onto lately?
Arthur: Kate Zambrano, Kurtis Rykovich, Kelogsloops, Margaret Morales, and Ahmed Aldoori to name a handful.


Kate Zambrano / Leilani Bustamante

1x: What was the last piece of art that you bought?
Arthur: It was a print of a beautiful Nightmare Before Christmas inspired painting called “Til Death Do Us Part” by Leilani Bustamante.

1x: What else do you have coming up in the next 2-3 months here as the year gets going?
Arthur: I’m working on a new series of paintings that are inspired by my favorite desserts. I have a huge sweet tooth and I like sugar way too much so I thought it might be more beneficial for my health to paint desserts rather than eat them. Haha.

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1xRUN: Where else can people find you?
Glenn Arthur: WebsiteInstagram@glenn_aurthur_art – FacebookTwitter


Aaron Nagel Channels Masami Teraoka For Tattoo Inspired Edition

1xRUN welcomes back Los Angeles based artist Aaron Nagel as he returns with his latest edition Reclining With Teraoka. Pulling inspiration from Japanese artist Masami Teraoka, this edition is available in Standard and an extremely limited Hand-Embellished edition. One of two tattoo themed paintings created for his recent exhibition at Abend Gallery, this image finds Nagel returning to one of his earliest loves, paying homage to the Ukiyo-e paintings that played an influential role in his art career. Read on as Aaron Nagel gives us the story behind Reclining With Teraoka, what he’s been up to and more below. . .


1xRUN: Was this image part of a recent theme, series or show that you had? If so how did it fit into that given grouping?
Aaron Nagel:  This piece is one of a pair I painted for a group show at Abend Gallery (Denver, CO) in 2016.  They both feature a figure with “tattoos” of work by artist Masami Teraoka,  who has always been one of my favorites. I’ve always thought Teraoka’s work would make great tattoos, but often 2d artwork doesn’t translate very well on a body unless it’s created specifically for it. But here I can flatten out the work, and set things up as if it only needs to look good at one angle…which it does, because it’s a painting.

I’ve always stayed away from painting tattoos, even if the models had them – mostly because it really tilts things toward the modern. And I was always weary of straying into the territory of Shawn Barber and other artists that frequently use tattoos as part of their work.

1x: When was this piece originally drawn and created and what materials were used?
Nagel: Oil on ACM (acrylic composite material, AKA Dibond) panel in 2016.


1x: Tell us how the idea and execution came about for this image?    
Nagel: The process was similar to most of my paintings except that once the figure was complete, I added the tattoo in a few semi-transparent passes. I was concerned that if it was too opaque and saturated it wouldn’t sit on the body right – but it was also a little nerve racking each layer had to dry and I was scared I was going to ruin it.

1x: What is unique about this piece compared with your other work?     
Nagel:  The tattoos on the two pieces in the series mark the only time I’ve tried my hand at anything remotely in the style of ukiyo-e, even if they are essentially reproductions. This is significant to me because Ukiyo-e paintings and prints played a good part in what got me into art in the first place. I love the style but have always felt it off limits to a white guy from California. There are non-Japanese artists that can certainly pull it off (more on that later), but I always felt like I wouldn’t do it justice…and shouldn’t really. So these pieces were kind of a way to get it out of my system a bit, while keeping it in a realm I was more comfortable with.


1x: Why should people buy this one of these prints?    
Nagel: Personally, I always feel great buying art – – I never regret it and feel somehow like I’m contributing to and supporting that which is rad and true. Eloquent I know.

1x: Describe this image in one gut reaction word.     
Nagel:  Ouch.

nagel-reclining_w_teraoka-hold2-news Reclining Teraoka - Standard Edition by Aaron NagelReclining Terakoka –

1x:  What have you been up to over the last year? Bring us up to speed on how things have been going recently for you since our last release…     
Nagel:  I had two larger shows last year, in New York and Denver. For weird scheduling reasons I couldn’t help they were a little too close together and preparing for both was super super tough. I seem to be progressively working slower and slower, so painting enough for both shows, working my other two jobs, and trying not to be a total mess really took a lot out of me. So for the last 6 months I’ve been working slower and taking my time. I don’t have any larger shows on the horizon for the moment which has allowed me to take a few commissions and just generally focus on getting better. I’m also enjoying the process a lot more.

1x: What are some of the ways you have been trying to push yourself with your work over the last year?     
Nagel:  Mostly I’ve been trying to work outside of my comfort zone and spend a lot more time thinking about paintings, instead of just painting them. I’d like to work on some new stuff conceptually so I’m spending a lot of time invested in what that’s going to look like.

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1x: What was the last piece of art that you bought?    
Nagel:  I bought a painting from Mike Dorsey who is both fine artist and tattoo artist in Ohio. He does modern ukiyo-e style paintings – actually kind of in the same vain as the era of Masami Teraoka’s work I referenced for this series. Lots humor and tons of skill in his work and I love it. I have two of his larger pieces and have to actively prevent myself from buying more.

1xRUN: Where else can people find you?
Aaron Nagel: WebsiteBlogTwitter + Instagram@aaronnagel