(Above: Alien movie poster with winged Giger Xenomorph. Photography. Ernie Wolfe. From Extreme Canvas, Death Wish 4 becomes a monster movie in this hand-painted poster. Photography by Brian Chankin and the Deadly Prey Gallery and the Deadly Pearl Field, the Jurassic poster, painted the “Reward Scene.” Terry Zwigoff’s “Ghost World” has been processed by Ghana poster. Photo courtesy of Brian Chankin, Leonardo’s Cujo poster seems adorable in this poster. Photo courtesy of Brian Chankin and Deadly Prey Gallery,)
When Dr. Joseph Oduro-Frimpong, a cultural anthropologist at Ashesey University in Accra, discovered that the owner of a single-player video store in Odorkor was closing for refrigeration repairs, he bought every stock. Most of the videos rented to the club became a permanent collection of the African pop culture centre established by Frimpong at Ashesi University.
“I’m going to say for professional purposes and for nostalgia reasons,” he explained with cool academic precision, refusing to say exactly how many posters there are in his personal collection.
But for Robert Kofi Ghartey, thirty-six, there is no academic deletion. The poster shaped him, and the art form is still alive and is still evolving.
“I’ve been alive almost my whole life, interested and learned about hand-painted movie posters.”
Ghartey is from the small coastal town of Winneba and now runs the Ghanaian gallery of origin in Accra. But, back in the 1980s, he was a poster boy.
“We are in charge of the advertising; both of us bring the posters to the board and pair with our hands, with a bell around it to raise awareness of the venue with the sound of the bell.
We were in charge of the advertising; the two of us carried the poster on the board and held the bell in the town with our hands.
Currently, Ghartey works closely with seven poster artists (their Stoger, Heavy J., Salvation and Farkira) who began working for video clubs in the mid-90s (sometimes the original Leonardo in 1986). Everyone is still making movie posters, usually on the appeal of Brian Chankin. Just as they once portrayed the names of videotapes like Zaap, Pal Mal, Osu and Sly Fox, they now include the weird obsessive video club, as if Chankin might have attracted the crowd. They are not wrong.
In pure aesthetic joy, Chankin began looking for Ghana’s original film posters when he discovered Wolfe’s Extreme Canvas and Thibaut de Ruyter’s 2009 Ghanavision. He found that Ghartey was buried in the ubiquitous page of the World Wide Web and received about twelve original posters to hang. Chankin wasted very little time asking for new works.
“I don’t know if the artists are still working, or if Kofi knows them, or if they will do that, but I ask for all five Death Wish movies – I’m a big fan of Charles Bronson – you know, you know the first two movies are good, but the other three are terrible.”
It is undoubtedly such appreciation for disgusting, unforgettable and almost forgotten, which exacerbates the growing popularity of Ghana’s film posters, especially among cult movie lovers and their low-key Art-Lovin’Kin. Soon, other committees began rolling and deadly prey galleries (named after Ghartey and Chankin’s beloved low-budget hired movies) were born. The collection of eight hundred posters (including new and old) currently lives in the studio adjacent to Chankin’s apartment, which gives him eternal joy.
Philadelphia Director Eric Bresler
The Mausoleum of Contemporary Art, home to the local iteration of the Cinedelphia Film Festival and the Society for Spiritual Photography Film, has held three exhibitions of works from Deadly Prey, the last one consisting entirely of original African film title posters. Despite Bresler’s personal preference for authenticity and style on the road of the original poster (especially Mr. Bru’s), he also recently commissioned Philamoca’s eraser.
“In any field of collection, there are typical tensions.[between] Those who were there first, not newcomers – practicality and imitation. In the art world, of course, the original works will be more valuable than the new committee because of this authenticity… [but] This is indeed a matter of personal preference. I didn’t distinguish between these two time periods, although I did in other aspects of poster collection. ”
Phoramoca’s customers are an accepted and enthusiastic audience of both works, but Bresler says its group is like everything is terrible! – A video blog site that commissioned the original Jerry Maguire to accompany the world’s largest Jerry Maguire VHS tape, which really makes the internet sit and click the internet.
This commission is disgusting for historians and dealers like Wolfe, who still work with many first-generation poster artists – they devalue the art form. He insisted that the work lost tension, creativity and fearless abandonment.
Stegg must disagree: “I do it whether it’s for movie theaters or collectors.” However, he acknowledged his desire for the Golden Age, which made him notorious for his country.
“When we work in the cinema, we have the opportunity to see our work happening all over the country,” Stegg said. “Collectors, they only buy one, you can’t see it,” he said. [poster or the buyer] again. ”
Apart from being on the internet, the committee certainly has legs.
Heavy J.’s vivid interpretation of the ghost world – the Seymour character (played by Steve Buscemi in the movie) wield a double-barrel shotgun; Doug held a grenade; Enid held Doug’s invisible head-hadowed the attention of graphic novelist Daniel Clowes, and film director Terry Zwigoff, which in turn attracted R. Crumb’s deep appreciation for Heavy J.’s heroic proportions poster Cramb. Leonardo’s doubtful Mrs. Fire, depicts the title character piercing Pierce Brosnan with a broom handle while Robin Williams takes the shoes, bypasses the shoes, tours, and helps us all laugh a little in tears.
Recently, Chankin has engraved Nigerian movie poster designs on his body, the latest addition to more poster-loving tattoo artists. Even signed a tattoo, Mr. Brewer was a tribute to many fake signatures that Shangkin found.
“I’ve been looking for information about Mr. Brew,” Chankin said. Jackson Pollock, who was once described as Garner’s poster art, Mr. Brewer is notorious among collectors because he gets drunk and paints while still capsizing in genres, such as his Predator mashup, featuring total recall and the role of Arnold Schwarzenegger. “He has been missing for about eight years, but we have a book about him on 2019’s Featherproof. This will be the first monograph from a Ghanaian film entrustor.”
We can’t wait.
(Picture below: The Madam Suspicion in this funny explanation of Robin Williams comedy, the photo provided by the photo, Brian Chankin and the Deadly Prey Gallery, Twin Peaks poster (with a very scary log Lady log log), is a shocking explanation of Gaurdian, the Ernie Wolfe Gallery the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book the Book
The plain text first appeared in 2019’s Hi-Fructose Issue 50, and the issue was sold out. You can subscribe to Hi-Fructose here to get our latest issue. Your support in our independent publications is appreciated and crucial to us. Thank you for reading!
