Religious Iconography as Protest Art

Reminiscent of Joey Skaggs’ Vietnamese Christmas Nativity Burning, Central Park, 1968


“Zip-Tied Baby Jesus Guarded by ICE Agents in Illinois Church Nativity Scene,” by TMZ Staff, TMZ, December 4, 2025.

No Room at the Inn, or the Border!!! Baby Jesus Tied Up in Church Nativity Manger.

If Jesus comes to the U.S., he’d better have a valid visa … at least that’s the worry of an Illinois church that’s installed a controversial Nativity scene depicting the baby messiah zip-tied in a manger.

Lake Street Church of Evanston — just north of Chicago — reimagined the Nativity with masked centurions wearing green vests labeled “ICE” surrounding the Holy Family. Mother Mary and Joseph wear respirator masks to shield themselves from tear gas, according to the church. Read the whole article here.

Art & Place Conference Keynote, May 2, 2025

I thought I was getting on a flight to Germany to deliver my keynote at the
Art & Place conference in Saarbrücken.

Instead, I wound up giving it via Zoom—from a prison cell.

Not literally, of course. But I dressed for the part. A fitting backdrop for a talk on creative dissent.

Guerrilla theater, unsanctioned public art, protests in disguise—these are the tools I’ve used to question authority and reclaim public space. Sometimes with humor. Sometimes with a bullhorn. Always with intent.

While my prison cell was symbolic, the consequences of challenging power are very real. So, this was a reminder: dissent isn’t just a right. It’s a necessity. And we need to protect the freedom to speak out—especially when it’s uncomfortable.

Thanks to the organizers for inviting me. And to everyone still raising hell where it matters.

Art in Odd Places

Art in Odd Places, presenting visual and performance art in unexpected New York City public spaces, has released its call for projects for 2023.

Soap Boxes Photo by Daniel Talonia

Art in Odd Places (AiOP) 2023: DRESS, scheduled for October 13-15, 2023, curated by Gretchen Vitamvas, invites proposals for its eighteenth annual outdoor public visual and performance art festival taking place on select blocks each day along 14th Street, Manhattan.

Past photos:

Chris Kaczmarek, Scaled, Photo by Maxwell Williams 2022
Gretchen Vitamvas, Modern Plague Doctor, Photo by Chloe Evans
Christopher Kaczmarek Photo by JosefPinlac

Lawless John Law Revealed

John Law, co-editor of Tales of the San Francisco Cacophony Society, is a pioneering adventurer who defies gravity and the status quo. From the Suicide Club to Burning Man to the Billboard Liberation Front to the Cacophony Society and beyond, John is a true inspiration to artists and activists. He’s also a helluva driver. I’m glad to call him a friend. His one-man show “SIGNMAN: John Law” is at the Pro Arts Gallery in Oakland until August 24.


John Law, iconic Bay Area prankster, now has his own ‘art’ show
by Angela Hill
Mercury News
July 5, 2019

A famed Bay Area prankster and underground artist just got his first exhibit

Here’s the way one of John Law’s longtime cohorts describes an early encounter with the neon artist/prankster/culture jammer/urban adventurer/enigma:

It was 1982 and Mark Pauline got a phone call from Law saying he had a bunch of body parts in the refrigerator at his house and they had to get them out of there before the cops came. “Sure enough, he had a big plastic bag full of human body parts, preserved in formaldehyde,” says Pauline, director of performance art group Survival Research Labs (known for building things that spew fire and blow stuff up).

“John was in the Cacophony Society and those guys would go in abandoned buildings and do adventures,” Pauline says. “They’d gone into an abandoned mortuary college and found all these body parts left in these tubs there, so they took ‘em.”

Frankenstein-style, for another pal to tattoo and display in a big Lexan case which hung around for a while and eventually cracked and rats got in and ate all the skin. But that’s a story for another day.

“That is one of my hundreds of John Law tales,” Pauline says. “At least one we can talk about in public.”

Indeed, if you add up all the pranks and adventures and happenings Law’s been part of over the decades, it becomes a cacophonous calculus, an astronomical amalgamation of mischief in the Bay Area’s underground arts scene.

Now, Law has gone above ground for his first art show, “SIGNMAN: John Law,” a retrospective of his four-plus decades of devilish deeds, on view at Pro Arts Gallery in downtown Oakland through Aug. 24. All this despite the fact that he doesn’t really consider himself an artist and uses air quotes whenever he talks about his “work.”

So who is this man? Culture jammer? Gentleman joker? Prankster with a purpose?

“I’m an unindicted co-conspirator,” he says, a sly smile curling above his silver goatee. “But I guess I’m an artist now, since I have an art show.”

Read more…

JR Brings the Immigrants’ Plight to Ellis Island

Artist JR has augmented his earlier haunting installation of immigrant photos pasted in the derelict Ellis Island Immigrant Hospital with new photos pasted on the outside of the building. This time, he altered the faces of the 19th and 20th century migrants to the faces of current day Syrian immigrants he had photographed in a refugee camp in Jordan. Asked what the project’s commissioners thought of this unsanctioned transformation, he said, “No one noticed.”


Artist’s hidden message on Ellis Island
by Brit McCandless Farmer
CBS News
July 07, 2019

The street artist JR has brought his trademark oversized photographs to an abandoned immigrants’ hospital, but there’s more than meets the eye

The building is derelict. On the walls, paint peels, illuminated only by what sunlight peeks through the grimy windows. Time has worn the floors. The filing cabinets, covered in dirt and dust, have been sitting empty for decades. Rust peppers the metal lockers.

But turn a corner, and see something remarkable: A group of men, dressed in fine hats and overcoats, appears to ascend the stairs. The sound of the wooden steps creaking under their weight is almost audible. Close a shabby door, and a young girl stares back, her hands folded calmly in front of her. In another vacant room, a family of three gazes out the window. Over their shoulders rises the Statue of Liberty, the symbol of a new life just out of reach.

These black-and-white photographs feature some of the 12 million immigrants who passed through New York Harbor from the late 19th century to the mid-20th century. They’re part of an installation by French street artist JR, who blew them up to life-size and pasted them in the former Ellis Island Immigrant Hospital, where they bring new life to the abandoned building. He also used photos of doctors and nurses who worked at the hospital.

Read more about this second phase of the project