the bulk or rare punk poster art exists only as photocopy. so, how to you assess value and rarity if any photocopy is as legit as an original photocopy?
this thought turns upsidedown the notion that pristine condition is desirable, because th eonly way one can ever discern the "originalness" of the piece is by whether is was actually used at the time. - aka - beat up (they call it "danced" in the museum biz). otherwise, there's no way to tell whether it's a rewal original or not.
that's why i like my old posters to be used posters. beat up posters with tape and pinholes and creosote stains be worth MORE eventually, because they were real posters, not contemporary photocopies.
reid miles absolutley HATED his covers for blue note. we had to wait until he died before anybody attempted to put together a decent published collection. yet, it was probably one of the best and most powerful design campaignes of the last half of the century. profoundly impactful stuff.
i think pettibon(e)'s work fits the same bill. i hope we don't have to wait as lon as we did wirth miles.
why hasn't there been a book of his flyer work put together? it would be so easy because they are so many posters and they all exist in b&w photocopy, anyway. i'd pay good money for a publsihed collection of his punk flyers...