This summer I am the SWAP resident artist at SPACES in Cleveland, Ohio. I’ll be in Cleveland from June to mid-July and then again at the end of August. The 10 year old international residency program is excellent and I’m excited to be a part of it.
The project, which for now will remain secret, is a large undertaking. Please stay in touch via my mailing list or twitter as I may reach out for help in the weeks and months to come. I will mention that I’ve re-enlisted Boston based artist and engineer Alex Reben on this project, that we researched buying an old Utica High School football scoreboard and passed, and that I’ve been consulting with all kinds of experts here in Ohio. More soon…
In 2006 I started work on Add-Art the Firefox add-on which replaces ads on websites with rotating curated art shows. The add-on is in use by 15,000-20,000 users each week and has replaced ads for over 3 years. I use it every day and it delights me everytime.
Today I am moving on from my role as the lead developer of Add-Art.
Add-Art will continue to work, but it requires a new maintainer. Perhaps you or someone you know would be interested?
Why am I stepping away?
This is a big question and not easy to answer. Rather than explain it all myself, I’m going to quote heavily (from someone who also quoted heavily)
A few years ago, Michael Mandiberg sent an email announcing that he was retiring from his project “the Calls and Opps list.”
He wrote this:
At the end of one of their essays in one of their books Critical Art Ensemble offers their definition of the gift economy (from Lewis Hyde), which i remember as going something like this: at some points certain people have more time/labor or capital and can give it away to others who have less, which they do until they no longer have more time/labor/capital and then they cannot give it away, so they stop and someone else gives.
Deleuze (in one of his essays in one of his books) speaks of the idea of ‘becoming,’ and the way i always understood it was that an idea/person/etc should always be in the process of becoming something, as opposed to having become something. always evolving, changing, not staying still.
At this point i do not have the time/labor/capital to continue [this project]. i thought about possible methods of sustaining the project, (advertising, membership fee, etc) all of which turned the project into an institution. an institution is about as un-becoming as you can get, and also the last thing i want to be responsible for at this point. (smile.)
I’m now working with several institutions; as an artist in a commerical gallery, Regular Full Time Faculty at the School of the Museum of Fine Arts, Boston, and co-founder of the School for Creative Activism, plus my own personal projects. I also need time to develop new things. I can’t do all these things and do them well. I need to make some decisions today so I can do quality work in the future.
What’s next? What does Add-Art need?
I am interested in helping and advising with Add-Art, but I’m not doing a great job in leading it’s development. For some time I have only been able to dedicate the time and energy to maintain it, when it deserves to be updated and expanded.
Add-Art has several volunteer coders, but ideally would be led by someone with experience developing Add-ons. That person can work to maintain our code and expand it.
Currently Add-Art does not work with FireFox 4, the latest version. I don’t think it would take much to update our code. I also believe we are very close at enabling “channels” on Add-Art so that anyone (from the MoMA to some guy in his garage) could create shows that any user could choose to subscribe to. This would expand the art available to users, the user base, and likely the pool of volunteer coders. But development of new features has stalled of late.
The new lead developer wouldn’t need to worry about creating, curating, or administering shows. The week to week (minimal) administration of Add-Art is done by the wonderful and generous Hana Newman, to whom we are all grateful. Curators refer each other to the project and more or less manage themselves with Hana’s oversight. Additionally in 2011 there is the potential to partner with a (for now nameless) non-profit foundation that would make it easier to create an publish shows. With the addition of channels, this area could be essentially covered.
The main work to be done is re-invigorating development of Add-Art, expanding the number of volunteer developers and organizing their efforts, and taking Add-Art to the point where it becomes an autonomous Free Software project, or as close as possible.
Against Generosity, or: Steve Lambert, and a Lot of Other People, Want Something From You
by Sam Gould
Generosity is a lie. To be more precise, generosity, as a form of absolute selflessness is almost never achievable, and most often when you come across someone attempting to be actively generous it’s an action rife with conflict and contradiction. Though we hate to admit it, we shouldn’t be worry about this too much. Unless you are training to be the Messiah why should it be any other way? People want to redeem themselves, they want to boost their ego, their sense of self-worth. People want to do good deeds for any number of reasons. And yet, to continue the adage, our punishment for our good deeds done is often the guilt in knowing that we wanted something in return for our actions, no matter how incalculable that return might be within our own heads and hearts. However benignly or benevolently, however grossly, we are selfish beings. Is that so wrong? How much good is psychically corrupted in hiding it?
Would it be more helpful for us to start describing these acts in a somewhat different fashion, a fashion more productive to the situation at hand, one that for semantics sake doesn’t degenerate into questions of intent? There’s no shame in admitting that we get something out of giving. It doesn’t dilute the gesture or its value. We create our own values when it comes to un-regulated and intangible systems of exchange. Let’s therefore promote a community of reciprocity wherein our return, the exchange in question, is self-determined. Let’s do away with the problematics of generosity for something more anarchic, more complex, more… generous in deed than definition.
Steve Lambert – his person and his work – exists on a continuum in a long line of absurdist provocateurs hell bent on changing the world for the better one sincere, well-formed, slightly ridiculous gesture at a time. Sometimes it’s not intentionally so ridiculous, it’s just that from the outside, for those not already there, it can seem a little far-fetched. But just wait. You’ll see. He makes objects and actions in equal measure, never favoring one over the other – they are all constructed as a means of provoking dialogue around various political subjects, profound and humorous alike. For Lambert these bits of provocation are intended to get people thinking (and talking) about how they act, what they believe, how they imagine the world around them, and how they imagine what it could be. Inaccurately defined, his work is generous. It gives a lot of itself. It also asks for much in return from its viewers and participants. So, from here on out, I’ll use Lambert as an agent for my argument.
Lambert’s newest project is an edition, a simple wooden box with the words, “I Want You to Have This” inscribed upon it. Keep it by your front door. Put that scratched copy of Come On Feel the Lemonheads inside, your old rabbit’s foot, the weed someone gave you and you’ve kept in the freezer for years, in the hopes it will remain fresh, thinking, “I like pot. I’ll smoke this someday. The perfect day…” and yet you just never got around to it. I Want You to Have This allows you to give away the shit you don’t want anymore, the items that follow you, from one house to the next, one phase of your life to another, like a benign demon, a cuddly, lice-free, and not all that heavy monkey on your back. They aren’t too much of an intrusion or burden, these items. But honestly, they take up space and you don’t need them now, and you might not ever have to begin with. Why not give them away? The piece is a very simple gesture that aims at discussing a less than simple subject; the transparency of a gift delivered insincerely. A gift can be a burden, and a burden given in the guise of a gift can really piss people off, as cultural norms state that you have to accept the damn thing without complaint.
These days it seems to call someone out as a Social Practice artist is to say they are doing something, which for one is public, as well as new and difficult to define. Or to call some a Social Practice artist is to say that their work is, again, public and that they aren’t trying hard enough. Lambert is a Social Practice artist, but not quite for either of those reasons. His work is about publics, yes. And his work is not hard to define or difficult. It is deceptively simple. Simplicity, as a methodology, is a great asset in the creation of a public around a piece or practice. It allows those who engage a work to enter into the piece easily, with confidence that they are aware of its place in the world, how it works, and how they are to engage it. From there on out, they gain the agency to consider, deconstruct, and absorb the work as their own. They are aware of the ruse, the trick, the framework, and in the case of Lambert’s practice, their “in on the joke.” His work, in line with a particular stain of Social Practice, is public in that it is often situated outside of the gallery space, but far more importantly it is about galvanizing a group of unknown people around an idea to consider it and make it their own. It is open. It is malleable. It grows from project to project to include others. It continues conversations from one to the next, and encourages the viewer/participant to converge with the work of other practitioners, as well as become one themselves if they do not consider themselves one already. It asks us to do this work till it doesn’t become work any more but life. It asks us to form A Public around our work so that through embodiment and accumulation it may become The Public, i.e., Common Place, Quotidian. It represents itself in a state of becoming, in that it suggests to those who encounter it a possibility of a future, a future which they are part of – with others.
Social Practice accepts and values the influence of other fields and histories outside of the aesthetic realm. Furthermore, contrary to what one might expect, Social Practice values art and aesthetics equally as much as the practices so-called outside influences. And, with that in mind, it finds that the designation of art can allow one to mine fields and hybridize them in a manner to elicit dialogue around issues that are important to the practitioner, and as this work is about the formation of publics, those that gravitate towards the work. Of course this forces one to mention an important issue – there’s a lot of disingenuous crappy social practice work out there that doesn’t work hard enough, that isn’t critical of its own intentions, and yet due to its relative “newness” gets lumped with the rest. This is work that wants to give, wants to be (pseudo)generous, without being honest with its intentions or desires, without being open with its tensions, which are generative and nothing to hide. I say this without a want to be cynical, and I’d argue that my statement isn’t that. It’s to say that to create a space that values the socio-cultural and political intentions of its rhetoric the person or people who envisioned and desired that space need to get naked, fight to relieve themselves of hierarchies, and attempt the creation of an area of questioning as much as an area of statement making. Too much Social Practice continues to value statements over questions. I’d argue though that the questions, in the end, are the slightly more valuable by- product of the two. Good questions provoke more thoughtful statements. Questions, which are of honest concern to those who ask them, are reciprocal in nature.
And this brings us back to my original point. A practice concerned with the formation of publics, the notion of social art as a form of generosity has become increasingly prevalent. For a practice whose strengths, for one, lay within its non-hierarchical stance, this is disingenuous when inconsiderately employed. In response to the work of artists such as Harrell Fletcher, do-gooder work abounds, with more and more works and projects proposing to do this and that for someone. But the imitators and the influenced, as well as Fletcher’s work itself, seem dangerously hollow. I say dangerous because I see and believe deeply in the public possibilities and political efficacy of a certain strain of Social Practice. When a work or worker presupposes that they have something to give to someone without making it plainly apparent that they get something in return for this act, a system of hierarchies is established and allowed to flourish; between artist and participant, between white people and people of color, between middle class or rich and the poor, able and disabled, and so forth down the line. A practitioner working in this way promotes dictation over facilitation in that its more about making statements through their interactions than it is about asking questions of the people who allow that interaction to emerge, or about being publicly questioned ourselves. We need to express, in overt, theoretical, even aesthetics terms that we as social practitioners are part(s) of the public which we are actively attempting to form, not actors alongside or outside the public(s) which we endeavor to help create. And, if it is evident to others that, in certain circumstances we do not consider ourselves part of that public, we need to ask difficult questions of ourselves if we wish to see the work we do as separate from ourselves while continuing to be politically effaceable. Simply put, our concerns and actions need to be reciprocal in some form or another, and this reciprocity needs to be visible. We need to ask, “What do I get out of this,” with as much intention as, “what can I give.” This is a problem that Lambert handles often, and elegantly.
Whether creating a space to publicly talk “about anything” (as in Lambert’s 2006 work, I Will Talk With Anyone…), or an object that asks its viewer to consider the manners and habits in which we give of ourselves to others (as in Lambert’s newest work), an exchange between maker and participant takes place in the work we make. In this sense, there really isn’t too much of a difference between I Want You to Have This and another work of Lambert’s, a collaboration with The Yes Men and many others, entitled NY Times Special Edition. Each work takes a simple object and presents a set of possibilities and problems in front of those who encounter it. Both are works that are supposed to live with you, rather than you visit them, in that they enter into the most quotidian aspects of our day; our commute, a visit to a friend’s house. While the scale of each project differs, the intentions of both are of a piece. They ask us to question the things in our life that we find most common place and immovable; the material wealth we collect yet find burdensome, our complicity in war’s fought in our name, education and the models we accept for ourselves and others, or our participation in economies of all sorts. With a slight smile they ask, “Well… what if?” They give something to you for free, and yet ask you to do something with the information or object you’ve received. They agitate for us to question our considerations. They are anything but singular, anything but passive, anything but generous as we know it.
Dread Scott invited me to be a part of this exhibition at the Harlem Stage on Monday to celebrate the publishing of Bob Avakian’s new book. Dread says “times like these demand a joyous celebration of the possibility of a radically different future.” and I agree.
The show includes artwork by: Derrick Adams, Wafaa Bilal, Richard Duardo, Emory Douglas, Skylar Fein, Kyle Goen, Guerrilla Girls BroadBand, Steve Lambert, Wangechi Mutu, Dread Scott, SEN ONE UZN and Hank Willis Thomas.
“These artist span generations, work in different media, employ different conceptual and aesthetic strategies, come from different countries and show everywhere from major museums to street corners. The exhibit includes photography, screen prints, video and painting. Some of the works starkly confront a world scarred by war and oppression. Other works encourage viewers to imagine how it could be radically different.” –Dread Scott
From Appropriation to Infiltration: Accessing Public through Tactical Media
You are cordially invited to attend the upcoming MFA Graduate Program Colloquium for spring 2011.
WHEN: Monday April 4th, 10:30 AM – 4:30 PM
WHERE: The Remis Auditorium at the Museum of Fine Arts located at 465 Huntington Avenue, Boston, MA.
TOPIC: This colloquium intends to facilitate a rigorous conversation at the point where performance and appropriation tactics intersect our technologically mediated public sphere. With interest in eliciting a healthy range of perspectives, faculty member Nate Harrison and MFA graduate student Jordan Tynes have invited a group of artists and activists to present their projects and working methods. Each representing a model for critical cultural practice today, all share in common an interest in the infiltration of the apparatuses of mass media and its construction of a public towards renewed senses of autonomy and agency.
SPEAKERS:
Bill Drummond is a Scottish musician, media personality, record producer, writer and artist. He is best known as co-founder of late 1980s avant-garde “pop group” The KLF and its 1990s “avant-art” media-manipulating successor, the K Foundation. He has also written several books, produced a variety of different conceptual art projects, and helped to set-up The Foundry, an arts centre in Shoreditch, London. Drummond’s current project is a choir called The17.
Steve Lambert made international news just after the 2008 US election with The New York Times “Special Edition,” a replica of the grey lady announcing the end of the wars in Iraq and Afghanistan and other good news. He is the founder of the Anti-Advertising Agency, lead developer of Add-Art (a Firefox add-on that replaces online advertising with art) and has collaborated with numerous artists including the Graffiti Research Lab and the Yes Men.
Eva and Franco Mattes are the Brooklyn-based artist-provocateurs behind the infamous website 0100101110101101.org. Pioneers of the Net Art movement, they are renowned for masterful subversions of public media, such as their notorious (and unauthorized) Nike advertising campaign.
Superflex (Rasmus Nielsen) is a Danish artists’ group founded and directed by Jakob Fenger, Rasmus Nielsen and Bjørnstjerne Christiansen. It has been working since 1993 on a series of projects related to economic forces, democratic production conditions and self-organization.
Marisa Olson‘s work combines performance, video, drawing & installation to address the cultural history of technology, the politics of participation in pop culture and the aesthetics of failure.
I am looking forward to speaking at this symposium…
The Populist Front On the Role of Myth, Storytelling and Imaginary in Populist Movements
Symposium marking the publication of Open 20, titled The Populist Imagination. On the Role of Myth, Storytelling and Imaginary in Politics.
Friday March 18, 2011
Time: 10 AM – 6 PM
Location: De Balie, Kleine Gartmanplantsoen 10, Amsterdam Full Programme
Language: English
Entrance: 15 Euro (incl. lunch and drinks during the break) / students: 10 Euro Order in advance
The symposium is a coproduction of SKOR | Foundation for Art and Public Domain, De Balie and the Jan van Eyck Academie.
Marking the publication of Open 20, SKOR | Foundation for Art and Public Domain organised a lecture by Stephen Duncombe in collaboration with De Balie on Monday February 14.
A video introduction to Trespass: A History of Uncommissioned Urban Art featuring interviews by Marc and Sara Schiller (Wooster Collective) Carlo McCormick, WK Interact, Anne Pasternak, Martha Cooper.
Donate to The Best Show on WFMU and win “Unstoppable” the Grand Prize for the The Best Show on WFMU’s 2011 fundraising marathon.
The details:
UNSTOPPABLE
30 inches wide, 6.5 inches tall, 5.5 inches tall deep
Wood, laser cut acrylic, and internal lighting.
Can be hung on the wall or on a table top.
It’s a hand signed artist proof from an edition of 10.
Bonus: also signed by Tom Scharpling
WFMU is a independent, non-commercial, free-form radio station based in Jersey City, NJ. The Best Show is a long-form comedy and call-in show I have been listening to for years. I decided to donate the piece to support the independent, free form radio I love. Now it’s your turn to step up!
Whoever pledges the most over the two week period will have the “Unstoppable” sign delivered to their home.
WFMU’s 2011 fundraising marathon is underway, and I’m doing my second and final fundraising marathon show this Tuesday, March 8th from 9 PM- midnight EST, asking for your pledges to help keep WFMU up and running for another year. Remember, WE ARE A LISTENER SPONSORED STATION, and the way we make our operating budget is through our marathon. We don’t take sleazy corporate grants or shady government subsidies or any of that stuff, and that allows us to bring you freeform radio that is 100 percent free – that’s the beauty of not having ties to The Bad Guys.
We’ve got special guests galore coming down to make the show as much fun as possible. What kind of ‘special guests’ you may ask? For starters we’ve got TED LEO returning to the Best Show airwaves! And we will also have CARL NEWMAN from the New Pornographers on hand! And JOHN HODGMAN will also be in the studio! And KURT VILE is gonna swing by also! Four of the most talented people in The Biz are all going to be LIVE IN THE STUDIO this Tuesday night! Unbelievable, right?
So call and pledge 1-800-989-9368 or pledge online at www.wfmu.org this Tuesday March 8th between 9 PM- midnight EST!! But you gotta pledge DURING the show to get the exclusive Best Show DON’T STOP ME NOW FANTASY PACK, available to anyone who pledges $75 or more!
The first item in the pack is a vinyl 7” record called RATED GG! The single is comprised of exclusive songs by notorious scum rocker GG Allin cleaned up and recorded by BEN GIBBARD, THE MOUNTAIN GOATS, FUCKED UP, TY SEGALL and TED LEO!
There will also be a DIGITAL DOWNLOAD of the single that will feature additional content by HOME BLITZ, SCHARPLING AND WURSTER, DUMP, JULIE KLAUSNER and more!
Seriously – this thing is going to be legendary. And it is ONLY available by pledging DURING MY SHOW. After that it will not be for sale anywhere ever!
The second part of the pack is a POSTER designed by CHARLES BURNS! Burns is a true mega-talent – one of the all-timers in the comics game for the last two decades – and he has been kind enough to lend his talent to The Best Show! And again, this poster will be GONE FOREVER if you don’t pledge DURING MY MARATHON SHOW ON TUESDAY MARCH 8th!
There will also be an awesome T-SHIRT included in the pack, which is shown here! And if that’s not enough I’m adding a BUTTON to the mix! Also awesome and also available ONLY BY PLEDGING DURING MY MARATHON SHOWS.
Once the marathon is over, ALL THESE THINGS ARE GONE FOREVER.
There are pledge levels at $150, $365, $500, $1000 and $3000, and the station takes care of you big-time with a TON of awesome prizes and shirts and CDs that you can’t get anywhere else. And unlike that PBS or NPR crap, WFMU’s premiums are all top-notch and well made – who hasn’t seen a cool WFMU t-shirt in their travels? And everything is 100 percent TAX DEDUCTABLE!
And as an added bonus, anyone who pledges $500 or more will receive a SCREENED VERSION of the Charles Burns poster in addition to the printed version! Amazing!
And for you white whales out there, we have a truly amazing prize on the table for whoever pledges the most money over the course of my two shows. STEVE LAMBERT designed an absolutely beautiful work of art called UNSTOPPABLE that will be given out to the largest Best Show pledger! I’ve included a picture of it here and you can check out more info on Steve Lambert by checking out visitsteve.com!
And if you want to support the station but don’t have the money right now, YOU DON’T HAVE TO PAY YOUR PLEDGE RIGHT AWAY! The station sends you a bill in the mail and you can take care of it later. You can structure your payments in EASY MONTHLY INSTALLMENTS! But the important thing is pledging and being a part of something Good in a world that is filled with Too Much Bad, especially in These Troubling Times.
IF YOU ARE UNABLE TO CALL OR PLEDGE ONLINE DURING MY SHOW, I will gladly write the pledge up myself. You can email me your information – name, address and pledge amount – and I will fill it out myself. All addresses and information is completely confidential and is not sold or distributed in any way shape or form, so don’t worry about your privacy. Write me at toms@wfmu.org and I’ll take care of it.
And PLEASE SPREAD THE WORD ABOUT THIS! Put it on Facebook and Twitter and MySpace and maybe even Friendster if you can still remember your password. Post it on like-minded message boards! Tell co-workers and friends and family members and whoever! The station has a huge mountain to climb this time, but we can do it if enough people step up to the plate and pitch in.
THE FACTS:
Tuesday March 8th between 9 PM-midnight EST
TED LEO, CARL NEWMAN, JOHN HODGMAN and KURT VILE LIVE IN STUDIO
CALL 1-800-989-9368 or PLEDGE ONLINE at www.wfmu.org on TUESDAY MARCH 8th between 9 PM-midnight EST and be counted!
I’ve been working away at 2 new pieces for If These Walls Could Talk a concurrent exhibition at Charlie James Gallery and Marine Art Salon. These are new signs that are lined with aluminum. I’ve wanted to use this technique for a year, but just now was able to get everything together to make it happen. I’m quite proud of how these new signs turned out. It was exhausting work but I can stand back and say “I can’t believe I actually made this.”
I will have photos up as soon as I can. In the meantime, please come (or send your friends) to these openings:
Santa Monica Reception
Saturday Feb 12, 2011 6-9pm <– I am flying out for this one Marine Art Salon, Santa Monica
This year I am doing an edition with The Present Group – an art subscription service. It’s $150/yr for 3 limited edition works from 3 contemporary artists. Subscribe!
Since 1990 the Electronic Frontier Foundation has defended free speech, privacy, innovation, and consumer rights online. Bogus copyright and trademark complaints have threatened all kinds of creative expression on the Internet. EFF’s Hall Of Shame collects the worst of the worst.
DeBeer’s attempt to take down New York Times Special Edition website is listed on the EFF’s Hall of Shame. I am proud.
Creating a Life Worth Living by Carol Lloyd – I coincidentally found this book when I worked at a motorcycle job and decided I wanted to get out. This is what I recommend when people tell me they want to get out of a job.
False Documents and Other Illusions, looks at the various ways in which contemporary artists approach the idea of trompe l’oei, lillusion, or fooling the eye. It runs in conjunction with a traditional 19th-century trompe l’oeil painting show on view in another gallery called John Haberle: Master of Illusion.
Funds Awarded to Support Artists and Activists Working Together in “School for Creative Activism”
Stephen Duncombe (NYU) and Steve Lambert (SMFA) Receive $45,000 Through George Soros’s Open Society Foundations Grant
Founded and directed by Stephen Duncombe, a professor at the Gallatin School of New York University and long-time activist, and Steve Lambert, a faculty member of the School of the Museum of Fine Arts, Boston and recognized political artist, the School for Creative Activism is a participatory workshop infusing community organizing and civic engagement with culture and creativity. As co-director Lambert describes it, “Imagine if Saul Alinsky took a class in performance art.”
Working directly with organizers and community actors, the SCA leverages the strengths of grassroots activism and the attention grabbing and complex messaging of art through a curriculum designed to:
Teach cultural tactics and creative strategies employed effectively by organizers in the past.
Recognize and draw upon the cultural resources and creative talents residing within individuals, organizations, and communities in the present.
Collectively run scenarios and plan campaigns that utilize culture and creativity.
Build a network of organizers and artists using a model of creative organizing more effective in our media-saturated, spectacle-savvy world.
“The first rule of activism is to know the terrain and use it to your advantage,” explains co-director Duncombe, “and the current political topography is one of symbols and signs, images and expressions. This is the avant-garde of activism today. From small community organizations to international NGOs, visionary activists are looking to broaden their base of appeal and the reach of their message by employing culture alongside more traditional organizing practices. Our training will help these organizations use innovative and creative ways to engage politics.”
“The SCA is not just about ‘better messaging,’ adds Lambert. “Our goal is more effective organizing. Our curriculum updates the activist tool-kit through the reimagination and reconfiguration of tactics, strategy and organization in such a way that creativity and culture factors into every plan and every action.”
Over the 2010-2011 year the SCA will run two training sessions working with local artists and Open Society Foundations organizing partners, one in the New York area, the other in North Carolina.
The Power and Democracy fund of the Open Society Foundation (formerly Open Society Institute) recently awarded the School for Creative Activism (SCA) a grant for $45,000 for curricular development and organizer training over the 2010-2011 year.
The School for Creative Activism is a new project of the Center for Artistic Activism. For more information about the center and its programs use contact information above.
What is Trespass? A beautiful new book of “Uncommissioned Urban Art” compiled by the folks from Wooster Collective. I will be at the Taschen Books Store on Wednesday night signing copies. If you are in NY, please do come by. If you know anyone that would be interested, please pass it on.
With an introduction by Banksy, Trespass features over 300 pages of photographs and texts by Carlo McCormick, Tony Serra, Anne Pasternak and Wooster Collective. Edited by Ethel Seno, the book is organized by theme, not chronologically or by artist. Chapters include: Conquest of Space, Public Memory/Private Secrets, and Magical Thinking.
