Old Punk Artistry
You might not know Winston Smith by name (not to be confused with the fictional protagonist from Orwell’s dystopian novel 1984), but there’s a good chance you’ve seen his work.
The San Francisco based collage artist has been creating dynamic, absurd and confronting imagery since the late 70’s. Countless images for flyers, album and single covers along with his most recognisable work, the logo for the legendary band the Dead Kennedys.
The iconic logo for the Dead Kennedys - seen on pretty much everything during the early to mid 1980’s and is still recognisable to this day.
When the punk scene exploded like a pipe bomb in the US, Smith began creating flyers for bands that didn’t exist. Plastering them around San Francisco and swiftly promoting himself as an artist. In his own words from a Vice interview about the fictitious band flyers,
Since San Francisco is such a physically small city—it’s really a walking town—posters were the way people communicated about new shows or events. Most of the flyers back then were unintelligible, advertising events, but a small amount were for nothing having to do with anything. They were just made to be. Their only reason for existing was to see if you were paying attention. I found that to be a great inspiration. Since I was a talentless hack with no musical skills or connections in the punk scene, I saw this as an opportunity to dive into a world where an obscuro-nobody like myself could have a voice. At last, a chance to be a real nobody, with nothing to say!
A small selection of fake punk bands 
Although rough around the edges, this poster for The Clones is a great example of Smith’s composition skills and visual sensibilities
This led to the creation of a self-published punk zine Fallout part satire, part art portfolio, it thrust the artists work into the punk community and got him flyer work for real bands.
Fallout
Then Smith met Jello Biafra and a perfect storm of creative chaos ensued, aside from the iconic band logo, he collaborated with the Dead Kennedys frontman to create the artwork for multiple releases, including the infamous In God We Trust release, that was banned in the UK. At this point you can see the refinement of Smith’s style, images pack more punch and depth.
A small selection of work produced for the Dead Kennedys
Unlike many artists attached to the music industry, Smith created images for himself, usually out of a sense of curiosity, this lead to some expansive art pieces. Still packed with absurdist observation, contrasting subject matter and wit as sharp as the scalpel he used to cut up the original component images.
Pax Americana 
Armed Madhouse 
Untitled
The work is dense, with depth and movement. Underlying messages are easy to discern and cuttingly clever. What’s more impressive is to remember these pieces are completely analogue, one man, a ton of images and a scalpel are combined to unleash these Punk Art Surrealist pieces. Although created from others work, the new assemblies create uniform and cohesive artwork.
Jello Biafra has employed Smith on subsequent post Kennedys projects, such as his epic collaboration with Canadian hardcore outfit D.O.A., the resulting EP, Last Scream of the Missing Neighbors used Smith’s Demolition Derby piece for the cover.
Last Scream of the Missing Neighbors
A side note, if you’ve never listened to this EP, check it out. It’s conscious social commentary wrapped in a blistering punk rock coating. The highlight is the 14 minute opus, Full Metal Jackoff. This song needs to be a movie.
Again with Jello he provided art for his collaboration with NoMeansNo and the powerhouse Lard, his project with Al Jourgensen of Ministry fame.
The Sky Is Falling and I Want My Mommy - Jello Biafra with Nomeansno 
The Last Temptation of Reid - Lard
Greenday’s Insomnia Release artwork
Still producing art, Smith continues to sear the viewing publics eyes with his special brand of visual anarchy. It’s worth a dive into if you’re looking for some inspiration.
He can be found at his website winstonsmith.com.
Mona Mohawk