The Fugazi Photographs

Glen E. Friedman, one of the most important photographers of his generation, is known for his influential and iconic images of rebellious artists from classic skateboarding, punk, and hip-hop cultures. Friedman, first published at the age of fourteen, has produced over 100 record covers, countless magazine pages, and almost a dozen books. His work is included in several notable international collections, including the Metropolitan Museum of Art and the Smithsonian Institution. Friedman’s DogTown: The Legend of the Z-Boys (Akashic Books) is a case study of how the underground sport of skateboarding ascended in the world, starting in West Los Angeles in the early 70s. In Keep Your Eyes Open (Akashic Books), Friedman documents Fugazi's members onstage and off in almost 200 color and black-and-white images captured between 1986 and the band's last US concert in 2002.  

Guy Picciotto was a singer and guitarist with Fugazi, the subject of Photographer Glen E. Friedman’s Keep Your Eyes Open. Fugazi is a band that evolved from Washington, DC’s, hardcore punk scene of the late 1970s and early 1980s. It booked its own tours and performed in unconventional venues in order to maintain ticket prices that averaged just five dollars, a practice that opened many venues to other touring artists.  In Keep Your Eyes Open (Akashic Books), Friedman documents Fugazi’s members onstage and off in almost 200 color and black-and-white images captured between 1986 and the band’s last US concert in 2002

Jess Row is the author of the novel Your Face in Mine and the story collections The Train to Lo Wu and Nobody Ever Gets Lost. Row’s White Flights (Graywolf Press) offers a meditation on whiteness in American fiction and culture, from the end of the civil rights movement to the present. At the heart of the book, a collection of seven essays on cultural and literary criticism, Row ties “white flight” ― the movement of white Americans into segregated communities, whether in suburbs or newly gentrified downtowns―to white writers setting their stories in isolated or emotionally insulated landscapes. This might be the mountains of Idaho in Marilynne Robinson’s Housekeeping or the claustrophobic households in Jonathan Franzen’s The Corrections. His close readings of work from well-known writers such as Don DeLillo, Annie Dillard, Richard Ford, and David Foster Wallace examines the ways these and other writers have sought imaginative space for themselves at the expense of engaging with race. White Flights aims to move fiction to a more inclusive place, and consider writing as a reparative act. A starred review in Kirkus reviews noted that “Row is troubled by the way fiction “reflects and sustains” notions of whiteness as “normal, neutral, and central.” How do fiction writers, even unconsciously, perpetuate racism?  […] this is a significant contribution to the cultural landscape. A disquieting, deeply thoughtful cultural critique.”