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The Perfect Gift For Any Film Geek To Get This Valentine’s Day, Birthday or Fan Fest



Q&A by Brad Balfour with author Michael Gingold“Ad Nauseam: Newsprint Nightmares from the 1980s”  (fall 2018)“Ad Astra: 20 Years of Newspaper Ads For Sci-fi & Fantasy Films” (fall 2019)“Ad Nauseam Newsprint Nightmares from the 1990s & 2000s” (fall 2019)“Ad Nauseam: Newsprint Nightmares from the 1970s and 1980s”(fall 2021)Publisher: 1984 Publishing

Michael Gingold

Growing up in the 1970s and ‘80s, author/collector Michael Gingold became obsessed with horror movies and other genre films. This love led him to become a Fangoria writer and then its editor for nearly 30 years, as well as a Rue Morgue contributor. He made that magazine the leading chronicle of all things horror/supernatural and more covering film, television and books for decades.Before all that, he took his scissors to local newspapers, collecting countless ads for these movies. Gingold first began reproducing newspaper ads for ‘80s horror films in the pages of his Xerox fanzine “Scareaphanalia,” which he wrote and self-published for nearly a decade. While still in college, he began contributing capsule reviews to the annual book “Movies on TV” and “Videocassette,” and later did the same for “The Blockbuster Video Guide.” He also wrote full-length reviews for CineBooks’ annual “The Motion Picture Guide,” many of which now appear at the TV Guide on-line movie database.So, when the 50-something hooked out with Matthew Chojnacki from 1984 Publishing, a genre book publisher, they organized a museum-worth of these ads as a visual history and graphic narrative of every kind of horror film, flick and movie.

Now, hundreds of pages of film ads from the last four decades (since the ’70s), these ads are spread throughout various editions. And the latest also includes a new foreword by legendary director Joe Dante.
First came “Ad Nauseam: Newsprint Nightmares from the 1980s,” which has more than 600 ads packed in the updated version. Rare alternate ad art for film franchises such as “Halloween,” “Friday the 13th,” “A Nightmare on Elm Street,” “Child’s Play,” “Jaws,” “The Texas Chain Saw Massacre,” and “The Exorcist” can be found in there.This book revels in oddities including “Invasion of the Blood Farmers,” “The Incredible Torture Show,” “Psycho from Texas,” “Dracula Blows His Cool,” “Zombie Island Massacre” and many more.This year-by-year deep dive into the Gingold archive led to “Ad Nauseam: Newsprint Nightmares from the 1970s and 1980s,” which was issued with more than 450 ads. Within these pages is the art for such films as “Gremlins,” “The Blob” remake, and many horror franchises. Oddities from such flicks as “Psycho from Texas,” “Dracula Blows His Cool,” “Blood Hook,” “Zombie Island Massacre” are among its pages as well.
 Gingold then compiled “Ad Nauseam Newsprint Nightmares from the 1990s & 2000s”” out of his collection of newsprint notices from those decades.
There are more than 500 striking ads for the big-budget gothics of the early and mid-’90s (“Bram Stoker’s Dracula,” “Interview with the Vampire”), the slasher-film revival (“Scream,” “I Know What You Did Last Summer,” “Halloween: H20”), gruesome franchises (“Saw,” “Final Destination”), remakes (“The Texas Chainsaw Massacre,” “Dawn of the Dead,” “The Ring”), found-footage films (“The Blair Witch Project,” “Paranormal Activity”) and so on. This volume also includes unforgettable critic quotes of the time, fascinating facts about the films’ releases, and insightful commentary.

Besides horror films, Gingold also collected newspaper advertisements for the science fiction and fantasy releases that stoked his passion as a genre fan. So he developed “Ad Astra: 20 Years of Newspaper Ads for Sci-Fi & Fantasy Films,” another year-by-year look at the movies that shaped many childhoods in the ’80s and ’90s.Inside this 270-page book, images for films such as “Star Trek” to “Starship Troopers,” “The Dark Crystal” to “Dark City,” “Blade Runner” to “The Running Man,” “RoboCop” to “Robot Jox,” “The Empire Strikes Back” to “Back to the Future” are all here. There’s alternate artwork for such favorite films, where you can learn the fascinating behind-the-scenes stories of their marketing campaigns, and read the most entertaining and unexpected quotes from reviewers at the time.In addition to 1984 Publishing’s Ad Nauseam and Ad Astra books, Gingold has authored “The FrightFest Guide to Monster Movies” (FAB Press) and “Shark Movie Mania” (Rue Morgue). He’s also contributed to “Yuletide Terror: Christmas Horror on Film and Television” (Spectacular Optical). Beside books, his screenplays include “Shadow: Dead Riot for Fever Dreams,” “Leeches!” for Rapid Heart Pictures and the upcoming “Damnation” for director Dante Tomaselli. He has served on juries for festivals including Montreal’s Fantasia, The Boston Underground Film Festival and the Ithaca International Fantastic Film Festival.Gingold recently answered questions by email as to his passion that he now shares with the fan world.Q: How long have you been collecting?MG: I began collecting the ads in 1979, which was a fortunate year to start, since both horror and science fiction were booming in the wake of Halloween and Star Wars.  1979 was the year of “Alien,” “Dawn of the Dead,” “The Amityville Horror,” “Phantasm” and a lot more, and at that point, horror films that might have previously played only in drive-ins and 42nd Street grind houses started getting wider releases in the New York area, making their way into suburban theaters It was an exciting time to be a young horror fan, even if it was a little while before I could actually start seeing the movies in theaters! I kept collecting the ads right up through the mid-2010s, when newspaper advertising for movies pretty much died out.Q: How do you store it?MG: I kept the ads in file folders and large manila envelopes, carefully noting on them what titles were inside. Storing them that way took up a lot less room than keeping them in scrapbooks! Also, putting the ads in scrapbooks would have meant taping or gluing them, which might have led to damage if I took them out later. Maybe I somehow knew I’d be putting them to greater use someday!Q: When did you realize you had a world-class collection?MG: I guess it was around the late 1990s, with the rise of the Internet and people starting to run ads from their collections online. I realized I had compiled the ads for pretty much every horror film that got theatrical release — at least, in the New York area — for the past two decades, and started thinking a book might be a cool idea. And the title of that book was obvious–that came to me right away. I just kept on collecting, hoping I could find a taker for the book someday.Q: How did you organize it?MG: My publisher Matthew Chojnacki and I decided we should organize the book chronologically, year by year, so readers could see the progression of both the genre and the way it was advertised over the years.  With the addition of “Ad Nauseam II,” and now with the expanded version of the first book, you can see how horror and its promotion evolved over a 40-year period.Q: What are your favorites?MG: There are so many that it’s hard to pick a favorite, but I do especially like a couple of reissue ads from the ’80s that had a humorous spin to them. In 1981, The Blob and Son of Blob were rereleased on a double bill, not long after “Who Shot J.R.?” mania had swept the country. Since Larry Hagman, who played J.R. on “Dallas,” directed “Son of Blob,” it was described in that ad as “The Movie J.R. Shot”!  Then there’s a midnight-show ad for “Night of The Living Dead” paired with “A different kind of violence” — Three Stooges shorts!Q: What films were great but had bad ads?MG: “Evil Dead II” is a good example; the image of a skull with eyes is a really generic and half-hearted way to sell one of the great over-the-top horror movies of all time.  Q: What films were bad but had great ads?MG: Too many to count! That’s part of the history of horror-film advertising. Movies where the ads promised more and/or better stuff than the films themselves delivered. And then there were some that were outright lies. One notorious example is “Screamers,” where the ad proclaimed, “Be Warned: You will actually see a man turned inside-out.” Well, be warned: You won’t!Q: What ones are you looking for?MG: These days, as part of my work writing and creating video featurettes about classic genre movies, I sometimes seek out horror-movie ads from outside the New York area, using on-line archives. Since I grew up and went to college in and around New York City, that’s where the ads in the books came from, but frequently, especially in the ’70s and ’80s, movies would be released with different titles and campaigns in various cities across the U.S., and some films wouldn’t play in New York at all. One case in point: an interview I did with Gary Sherman about his involvement in John Huston’s “Phobia” recently ran in Delirium magazine, and I was able to find an ad for what I believe was its only U.S. theatrical play, in Kansas City. There’s another movie for which I’m writing liner notes for an upcoming Blu-ray — can’t reveal what it is at the moment—where the ads were different in practically every city where it was released.Q: Where do you hope this collection will go to be archived?MG: At this point, I don’t have plans to exhibit the ads any further; the books are so well-designed and packaged that they’re kind of the ultimate showcase for them.  I did make a tentative attempt to get a gallery show tied to the first publication of “Ad Nauseam,” but it never came together. What I have been hoping all along is that other collectors might come up with enough ads to put together books on comedy movies, or action movies. There were a lot of great ads in those genres too.  So far it hasn’t happened, but I’m still hoping.


Come To The Light Brings Artist Janet Hennessey Dilenschneider Art To The Sheen Center



“The world is in turmoil and I hope to offer people a respite by providing some calm” Janet Hennessey Dilenschneider. “I am motivated to paint and share my passion. I strive to create a place of serenity that nature offers us. Landscape, skyscape and seascape are my means of communication. Ours is a beautiful planet and I encourage all to take good care of it.”

T2C’s Magda Katz talked to the artist about her work

“If we wish to have the light, we must keep the sun; if we wish to keep our forests we must keep our trees; if we wish to keep our perfumes, we must keep our flowers- and if we wish to keep our rights, then we must keep our God.” Archbishop Fulton Sheen.

The Gallery at The Sheen Center for Thought & Culture, 18 Bleecker Street, presents “Come To The Light,” an exhibition of paintings by the artist Janet Hennessey Dilenschneider May 16 – June 14. The exhibition, exclusively at The Sheen Center, is free and open to the public daily from 11AM – 5PM. All artwork on exhibition is available for purchase. The Gallery at The Sheen Center is open daily from 9AM to 11PM. For further details, visit

“Come To The Light,” returns to The Gallery at The Sheen Center, having previously exhibited there in 2021 and 2022. Ms. Dilenschneider has had five solo exhibitions in Paris and Avignon, plus she participated in two invitational art fairs, one in Paris at the Grande Palais and another in Monaco at the Grimaldi Palace.

His Eminence Timothy Cardinal Dolan, Archbishop of New York, says “Jan Dilenschneider is a wonderful friend and I am grateful she shares her talents and treasures with us. We are fortunate that Jan’s beautiful works of art will once again be on display at The Sheen Center, and encourage everyone to pay a visit and share in her vision of bringing people into the Light!”

Janet Hennessey Dilenschneider created her first oil on canvas painting at the age of 12. At 16, her entry at the Ohio State Fair was rejected because it had no hanging wire affixed to the canvas. A kind, older gentleman came to the rescue and quickly fashioned a wire to the back. That kind man was Roy Lichtenstein, one of the world’s most acclaimed artists. The watercolor won 1st Prize in the competition and Dilenschneider has been painting ever since.

Based in Connecticut, she finds much of her inspiration in the wondrous variegation of nature. Dilenschneider is an expressionist painter who has been influenced by many styles of art including impressionism. She is known for her rich palette, loose brush strokes, and luminous misty vistas. Her affinity for landscapes and the atmospheric effects of light and color create a mystery in her artwork that draws you into the unique painting. Jan has plans for several exhibitions for later in the year. She wants you to fall in love with nature all over again.

For more information, visit

Sheen Center for Thought & Culture ( is a haven for the arts and provides a platform for provocative conversations about diverse and inclusive aspects of humanity as seen through the creative lens of faith and respect. Located on historic Bleecker Street, the Sheen Center is a venue where art and spirituality meet. The Sheen features a 273-seat neoclassical proscenium theater and a newly renovated, 80-seat, flexible Black Box – The Frank Shiner Theater. The Sheen Center also features an art gallery, rehearsal studios and meeting | reception spaces. Since opening in 2015, the Sheen has hosted several movie premieres as well as innovative productions by companies including Houses on the Moon, Red Bull Theater, TheaterWorksUSA, and Bedlam. Included among the hundreds of artists who have performed at The Sheen are Board Members, Vanessa Williams, and Frank Shiner as well Kristin Chenoweth, Nora Jones, James Taylor, Bernie Williams, Kirk Whalum, and Eileen Ivers. The Sheen is a preferred venue for WFUV Radio’s Membership Marquee Concerts and hosts SOHO Forum monthly debate series, and in 2022, was chosen for the filming of the series, “Inside the Black-Box” hosted by Emmy Award-winning actor Joe Morton and producer Tracey Moore, and featuring prominent creatives of color, ranging from actors to producers to directors, writers, and musicians.

Featured photo is “Light on the Water,” 30 x 30, oil on canvas (left); and “Sunrise,” 36 x 48, oil on canvas (right), by Janet Hennessey Dilenschneider

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The New Banksy Museum Opens Today on Canal And Broadway



The Banksy Museum opens today at 227 Canal Street and Broadway. T2c was given a special preview of the over 160 works and talked with William Mead the Executive Director Of The Museum.

This is the largest collection of Banksy’s life-sized murals and artwork in the world.

This show has already debuted in Barcelona, Brussels, Kraków and Paris, all of them projects by Hazis Vardar, also the brainchild behind the famous Palace Nightclub in France.

“Street art belongs in the raw setting of the streets, but if people can’t see it, is it even art?”

Banksy is undoubtedly the most famous and controversial street artist. The Banksy Museum has set out to introduce Banksy and his unusual approach through the creativity he has shown in the streets all over the world. There was no question in the mind of the curating team of simply putting Banksy in frames. Visitors will be immersive in his way of looking at the world. The Banksy Museum give a new lease of life to Banksy’s street creations – as many of them have disappeared.

To do the work justice, the creators of the museum created a space that “reflects the street experience” and employed a number of anonymous street artists to recreate Banksy’s work. What you see on the walls isn’t Banksy’s own work but celebratory recreations of both iconic and lesser known pieces that have faded from view no longer.

Tickets for the museum, which will be open daily from 10am to 8pm, are available here. The exhibit spans the second and third floors of the building.

All photo’s and video are by Magda Katz

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What Tatpocalypse? From May 10th to 12th, 2024, NYC Midtown Manhattan will play host to the Empire State Tattoo Convention. This vibrant event brings together world-famous tattoo artists, Inkmaster stars, and enthusiasts for a weekend filled with creativity, artistry, and community.

Friday Jones

Yet as thousands of unlicensed YouTube-trained “scratchers” face an overly saturated market and drop their stick-and-poke passion for a regular salary, Empire State Tattoo Convention organizer Stefano Alcantara isn’t bothered. “Its a healthy thing for the industry.” said the artist, now in his tenth year in one of the world’s most exciting gathering of tattooers and collectors. “It’s a good cleanse.”

Attendees choose from top of the line tattoo equipment at Unimax.

One week a month, in typical New Yorker fashion, Alcantara makes the trip from his shop in Florida to his Williamsburg shop, Stefano Tattoo Studio. ‘I like the Brooklyn vibe, its more artistic,” says the Peruvian-born entrepreneur. “What happens in NYC has repercussions throughout the world.” 

The sleek new look of tattoo “pens” are said to have multiple functions.

Tattoo fever began to echo off the American landscape twenty years ago with the launch of TLC’s Miami Ink. “Tatsurance” entrepreneur Kim Zem was clever enough to capitalize on the industry’s need to level up professionalism as workplace acceptance grew. “I’ve been selling insurance for 25 years. I had to be very professional in manner and dress…but I loved tattoos!” 

“My tattoo artist friends asked me to help them develop insurance that made sense for them and their clients.” Zem continues, “I started on a laptop as a single mom to an eight-figure annual enterprise. Pigment and Skin is absolutely developed by artists for artists.”

Traveling to the Big Apple was another industry perk for the bubbly Seattle native. “I love the people!”

The Empire State Tattoo convention will be open from noon to Midnight Friday and Saturday and until 8pm Sunday. Tickets are $40 at the door. For more information see

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Fame and Fortune With Mark Kostabi, Peter Max, and Paul Kostabi!



There is an exciting night of art and NYC culture at the Park West Gallery SoHo Live Auction “Fame and Fortune” featuring Manhattan Masters: Mark Kostabi, Peter Max, and Paul Kostabi! The auction will be conducted by John Block, certified auctioneer and Park West Executive Vice President on May 9th from 4:30-8 pm at 411 West Broadway.

Experience Mark Kostabi’s surreal world of faceless colorful figures, Peter Max’s Pop and Neo-Expressionist works inspired by the 60s and 70s, and Paul Kostabi’s dynamic blend of music through visual art from the early 80s punk rock scene. It’s an evening celebrating these iconic artists and their remarkable contributions to contemporary art!

Mark Kostabi is unquestionably one of the most recognizable icons to emerge from New York’s legendary 1980s East Village art scene. A contemporary of Andy Warhol and Jean-Michel Basquiat, Kostabi invented a wholly unique art style that has resonated with audiences around the globe. His universal, faceless figures inhabit surreal worlds of colors and contrasts. Worlds where his subjects interact with themes of love, isolation, technology, and modern anxieties.

Peter Max has evolved from a visionary Pop artist of the 1960s to a master of Neo-Expressionism. His vibrant and colorful works have become a lasting part of contemporary American culture and are synonymous with the spirit of the ‘60s and ‘70s. During his long career, the artist has painted for six U.S. presidents, was the official artist for the 2006 Winter Olympics U.S. team, and has created art for Woodstock, World Cups, U.S. Opens, and Super Bowls.

Paul Kostabi, originally from Whittier, California, immersed himself in the punk rock scene of the late 70s/early 80s across California before relocating to New York City, where he found a niche in the East Village art scene while playing with his band Youth Gone Mad at renowned punk venues like CBGBs. Despite being the brother of established artist Mark Kostabi, Paul carved his own path, blending various artistic styles into his work and adopting a unique approach to creation, which he symbolizes as A-R-T: Attack, Release, Threshold, leading to a successful career spanning music and visual arts, with his creations showcased globally in galleries, publications, and museums.


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A Dazzling Frieze New York 2024



Frieze New York 2024 closed on May 5 with rave applause at The Shed. The event over the long weekend had robust market activity and high-level collector attendance. The fair attracted in 25,000 visitors hailing from 66 countries during its five-day run.

Honoring the creative community, the fair successfully united artists, galleries, institutions, non-profits, collectors, and patrons at The Shed. Opening with major sales, galleries saw ongoing interest throughout the entire weekend, with continued news of sustained transactions and sold-out booths.

Frieze New York is presented with Global Lead Partner Deutsche Bank, reflecting a shared commitment to artistic excellence for over 20 years.

Christine Messineo, Director of Americas, Frieze, said: “On behalf of everyone at Frieze, I want to thank all the artists, galleries, collectors, visitors and partners who came together to make another year of Frieze New York truly special. It has been gratifying to see the response to our non-profit and artist collaborations that have extended the cultural conversation across the city. The Shed continues to prove itself as the right home for Frieze New York, and we are already looking forward to 2025.”

Claudio de Sanctis, member of the Management Board and Global Head of Private Bank, Deutsche Bank, also remarked: “As a long-standing partner, we are pleased to be part of another successful Frieze New York. With our commitment to contemporary art and our renowned collection, we’re thrilled to share this experience with our esteemed clients. Thanks to everyone who joined us and congratulations to Frieze for another spectacular fair.”

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