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…

Sim Cities

Photographer Gregor Sailer’s new book focuses on incredibly detailed, entirely uninhabited, completely fake urban landscapes.


“These Cities Might Look Real But They’re 100% Fake”
By Laura Mallonee
Wired
October 25, 2017

Junction City has all the trappings of an Iraqi town: a brightly painted mosque; shops adorned with Arabic script; the occasional humvee or tank rumbling by. But you won”t find it anywhere near Mosul. It’s a stage set at Fort Irwin, in the middle of California”s Mojave Desert, where US troops simulate fighting insurgents.

“It”s a lonely place, full of buildings no one will ever live in,” says photographer Gregor Sailer. “It”s like a ghost city””the wind smashing the doors, blowing through the streets.”

Sailer captured Junction City and 21 other fake urban landscapes for his fascinating new book The Potemkin Village. They include a New York-themed town in Sweden built to test cars for road safety; a Russian city with elaborate facades disguising forlorn buildings; and a Dutch hamlet in China that tourists visit for a taste of Europe. “Sometimes they”re more real and other times they”re more an illusion,” Sailer says. “I”m jumping between these two worlds, and that”s what makes it exciting for me.” Read more.

Sub-Urban Art Project

Street Art Way Below the Street
by Jasper Rees
The New York Times
October 31, 2010

A vast new exhibition space opened in New York City this summer, with a show 18 months in the making. On view are works by 103 street artists from around the world, mostly big murals painted directly onto the gallery”s walls.

It is one of the largest shows of such pieces ever mounted in one place, and many of the contributors are significant figures in both the street-art world and the commercial trade that now revolves around it. Its debut might have been expected to draw critics, art dealers and auction-house representatives, not to mention hordes of young fans. But none of them were invited.

In the weeks since, almost no one has seen the show. The gallery, whose existence has been a closely guarded secret, closed on the same night it opened. Continue reading “Sub-Urban Art Project”