New York: Exit, 1987. Tabloid-sized magazine, publisher's stapled black-and-white illustrated textured paper wraps.
The year is 1995: David Bowie has been killed by a teen in a murder-suicide, Elvis Presley is a journalist at the New York Times, and Germany is still divided by the Berlin Wall. This probably won’t sound familiar to you, unless you've ever had your hands on a copy of Exit, the New York City-based punk-inspired magazine that ran for one depraved decade between 1984 and 1994. Stuffed with controversial content ranging from eugenics, race wars, and Nazism to sex, serial killers, and symbology, the publication is not for the easily triggered. This issue, the third, is true to the magazine's political-pornography format, chockablock with "Propagandart," including a preface by Joseph Goebbels, a 1995 Times mock front-page by Devo's Mark Mothersbaugh, biblical material championing Charles Manson's crimes by noise musician Boyd Rice, along with one or two advertisements for Hitler. Also includes film stills from downtown photographer Richard Kern's most ambitious film endeavor, Fingered, featuring counter-culture icon Lydia Lunch as a phone sex operator who ends up meeting the mystery man on the end of the line. Exit was the brainchild of art designer and editor George Petros, who pitched the idea for the magazine while working at the Strand with Adam Parfrey, a fellow writer also intrigued by the dark and deviant. Along with their friend Kim Seltzer, an artist and illustrator, the trio successfully co-founded the magazine in 1984. After Parfrey departed in 1987 to found Amok Press, Petros collaborated with various artists for the design of the final three issues, including Salvatore Canzonieri of punk band Electric Frankenstein. About the magazine's demise, Petros wrote, "...the world wasn’t ready for the magazine's vibe—it was too advanced, and so nobody was able to emulate it, and so nobody was able to rip it off, therefore it was doomed." Light edgewear. Near fine. Item #1935