Carlo McCormick

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    Artist Interview: Shepard Fairey

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    Shepard Fairey: I’m Shepard and I’m an artist, and an activist best known I guess for my Obey Street Art and Clothing line, and of course the “Hope” Obama poster that I made as a grassroots tool to aid the Obama’s campaign. Or maybe the, “We the People” posters that I created for the Women’s March on Washington.Matthew A. Eller: Perfect, and can you tell me a little about this beautiful Blondie Print you are currently signing?Shepard Fairey: Well I have worked with Lisa Project on a few different projects over the years including in 2016 painting this Blondie mural depicted in this print. So when the opportunity came up to paint this image on a wall at Bleeker and Bowery, right across from where CBGB’s used to be, I couldn’t turn it down. I absolutely loved the idea because my first solo art show in New York in 1998 was at the CBGB’s Gallery, plus I love all the music that came out of CBGB’s like The Ramones, Television, Talking Heads, Bad Brains played there a lot, and of course Blondie.Additionally, in 2016 I worked on Blondies album package for their “Pollinator” album, and the flower and the bee at the top right corner of the mural is from that album art. I was extremely excited to do something that tied in with a band like Blondie that I loved historically, but who I had also worked with recently. So this print is based on the mural that I previously painted across from CGBG’s, which is now coming down and I’m replacing it with a new mural of the one and only Bad Brains. It’s just great that this mural is now being memorialized with this really beautiful large format screen print by Gary Liechtenstein with the proceeds helping the LISA Project fund future murals and events. And just in time because as of this morning it’s just a yellow wall. We already started on prepping for Bad Brains!Matthew A. Eller: How is this new Bad Brains mural going to be different then the old Blondie one?@obeygiant, @glenefriedmanShepard Fairey: So this Bad Brains mural is basically an update to the first Bad Brains collaboration I did in 2008. In that image three out of the four photos were based on pictures taken at CBGB’s. Only the HR image in that 2008 collaboration was photographed at the Whiskey in LA. So to keep it geographically relevant, I talked to Glenn (Friedman) and said, “You know, why don’t we re-illustrate HR? But Glenn was so partial to his shot of HR that I ended up re-illustrating two of them. So this will be something special when it’s finished that people haven’t seen exactly before, but it’s definitely reminiscent of the 2008 piece.Matthew A. Eller: Were Bad Brains your first choice for the mural?Shepard Fairey: Well, my first choice after Blondie , but I also love, the Talking Heads, I love Richard Hell and the Voidoids who were all in the running, but I think that having an opportunity to remind people that Bad Brains are the first all black hardcore band (honorable mention off course to A Band Called Death the first all black punk band). And even though they’re from DC originally, that first album cover with the Capital being struck by Lightning was recorded on the Lower East Side of Manhattan and they played CBGB’s all the time. So they are as important as anybody who was part of that history of the first wave of New York punk. They were a very crucial band. They heavily influenced that next wave of New York hardcore bands like the Cro-Mags, and Agnostic Front to name just a few. All of those bands were massive fans of Bad Brains. So I feel honored to get to paint a mural to represent that era.Matthew A. Eller: I know that skateboarding culture and Punk Rock has been a huge influence on your work. For this new Bad Brains mural you used Glen E. Friedman’s Bad Brains photos as we just discussed a bit, and he got his start as a photographer for Thrasher and later captured every punk band and hip-hop artist you can imagine. Can you talk a bit about this fusion of skateboarding culture and your art?Shepard Fairey: I grew up in South Carolina and skateboarding was my gateway to creatively as well as my social life. Skateboarding was rebellious, it was creative, just like street art. Street art was re-enacting things on landscapes that weren’t supposed to be written on. But punk was just as in your face if not even more outspoken. It was political and I became very interested in it especially later when I started doing my street work, I was massively influenced to say the least. I already at this point in my life was skateboarding, making t-shirts, stickers, skate zines, and putting up flyers with glue. So I thought, well I wanna do work on the street… but I want to do it with techniques that I already have been using and refining. So pasting up posters seemed to fit the best.Matthew A. Eller: There also seems to be a common thread between the two because skateboarding and street art both involve objects that you need to destroy to create something new. More

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      John Fekner – Detective Show – Bio Editions Book Release

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      The latest release from UK publishing house Bio Editions is a photography book from John Fekner, entitled ‘Detective Show’. Featuring a foreword by legendary art critic, Carlo McCormick, the title explores the formative steps of street-art-as-installation, transporting readers back to 1970s Queens, New York, and shining a light on an era of authentic, artistic freedom.Detective Show maps the conception and creation of a strikingly unique outdoor urban art event organised in 1978, spanning the breadth of an unloved park in Jackson Heights, Queens, NYC. Contributors included Fekner himself, Don Leicht, and numerous acclaimed artists, including Richard Artschwager and Gordon Matta-Clark.Fekner ultimately decided to invite those he shared studio space with in the P.S.1 Contemporary Art Center to join him in hiding works across the park, including Richard Artschwager, Gordon Matta-Clark, Len Bellinger, Don Leicht, Frances Hynes, Claudia DeMonte and Karen Shaw among others.Envisioned as a ‘beyond the visible’ hide-and-seek art game of sorts, with visitors given clues and urged to seek out the works strewn across the concrete expanses or even hidden among the trees, Fekner’s objective was simply to create thoughtful interaction with surroundings through art, to the benefit of the public, young and old alike. The end result, he hoped, would provide what he thought of as ‘the magic of discovery by happenstance’.Careful to ensure that the painted and sculpted contributions worked in harmony with the space, Fekner notes he “had to place some restrictions on the artists – no monumental stuff that might disturb the park.”Interspersed between photographs documenting the scope and joy of the show, artists fondly recall a period of artistic freedom that felt unencumbered by the trappings of commercial art.“It’s hard to remember what an exciting and different time 1978 was in the art world. It was pre-PR machines, hype, mega-money, business plans,” notes DeMonte.“For a few weeks in the spring of 1978, about two hundred kids were exposed to original artwork in their own backyard, by some of the most renowned artists of the day,” adds Dave Santaniello, “and that experience changed their perception of their environment forever.”Fekner himself was particularly pleased by the low-key nature of the show’s impact: “The Detective Show was quite unlike current street art festivals with their spectacular large murals, bright colours and street fair atmosphere.“The show was quiet and removed; distanced from the usual New York art world locations and audiences. Extremely low key, it was a temporary art installation about subtlety, nuance, and the magic of discovery by happenstance.”Many of the artists involved in the show have since gone on to become revered names within the contemporary art world, some were renowned before they took part, and others went on to teach, or lead ‘ordinary’ lives. This only serves to further act as tribute to a show that was created with solely the art and those who would experience it in mind, a great unifying cause for creators that urged others to look for beauty in hidden places.In notable contrast to today’s large scale mural-style street art festivals, this 84-page book charts an ideologically-pure reinvention of the urban landscape for the benefit of all, made without corporate sponsorship or underlying motives.Like the show itself, the book – which includes numerous lovingly-printed photographs documenting the event, flyers, newspaper clippings & other ephemera, and written recollections by many of the artists themselves – is a love letter to the innovation of art within public spaces.Two editions of the book, including those featuring limited-edition prints, will be available from 5pm on 1st December 2022.In addition to the first Edition of 450, Bio will also release a special edition of 78, signed by John Fekner. These are sold along with a limited edition gicleé print with silkscreen varnish, signed and numbered by the artist.Detective Show will be available to order via Bio Editions’ website. Photography courtesy John Fekner / Bio Editionswww.bioeditions.com More