Anarchy in L.A.: The Sex Pistols' Designer, Reloaded

Never mind the Shepard Fairey criminal contempt conviction, here’s Jamie Reid. The designer who branded the Sex Pistols so indelibly by ripping across Her Majesty’s face now has his first solo West Coast exhibition at  Shepard’s Subliminal Projects Gallery.

Folk The Banks, 2011. Ink, collage and acetate on paper, 18 x 18 inches, image © Jamie Reid and courtesy Isis Gallery.

Shepard at a recent public session of my Art Center class: a "Creative Entrepreneurs" panel moderated by Petrula Vrontikis. Photo by Joan Dooley.

Shepard was still living in San Diego when we first met in 1999 in Silver Lake, which I described in my subsequent Print magazine feature story as “a hip but seedy neighborhood that separates Hollywood from downtown Los Angeles.” That area has since become his studio and gallery’s base of operation.

And “Ragged Kingdom” is a retrospective of Jamie’s work from the 1970s up to now. He’s still politically involved, as evidenced by his graphics. And his paintings reflect a new, spiritual side. His latest print collaborations with Shepard are also on display.

The show closes on April 14th.

Jamie Reid and Shepard Fairey: Shoplifters Welcome (Red, Cream, Black), 2012. Silkscreen and mixed media collage on paper, edition of 6, 26 x 34 1/2 inches, image © and courtesy Shepard Fairey / Obey Giant.

Never Mind the Bollocks, complete album cover

Never Mind The Bollocks (With Amendments), 1977. Lithographic proof print with overlay and collage, 14 ½ x 26 5/8 inches, image © Jamie Reid and courtesy Isis Gallery.

Sex Pistols Pretty Vacant album cover

Pretty Vacant 1977. Proof bromide print (framed), 10 x 7 3/4 inches, image © Jamie Reid and courtesy Isis Gallery.

Sid Viciousburger

Viciousburger 1979. Collage with oil paint on photographic print , signed, 11 1/2 x 16 1/8 inches, image © Jamie Reid and courtesy Isis Gallery.

Sid Vicious hand colored photo

Vicious Burger / Sid Vicious Action Man (Some Product), 1979. Collage, 11 1/2 x 16 3/8 inches, image © Jamie Reid and courtesy Isis Gallery.

Anarchy is the Key hand made type

Anarchy is the Key, 1979. Color photoprint collage on paper mounted on card, 9 ¼ x 7 ¾ inches, image © Jamie Reid and courtesy Isis Gallery.

Found newsprint, English queen

Nice Work by Nice Lady, 1977. Found newsprint, 8 ¼ x 12 ¼ inches, image © Jamie Reid and courtesy Isis Gallery.

Liberty and Out of the Dross

Liberty (Red), 2011. Edition 8/10, inkjet base print on 310 gsm Hahnemuhle ‘German Etching’ paper with acrylic screen print additions. 44 x 32 1/2 inches. Out of the Dross (Blue), 2011. Edition 2/10, silkscreen on Somerset radiant white velvet 330gsm with unique over screening. 44 x 28 1/4 inches. Both images signed, numbered, and titled by the artist, © Jamie Reid and courtesy of Paul Stolper Gallery, London.

Nature Still Draws a Crowd lithograph

Nature Still Draws A Crowd, 1975. Lithographic print, 14 x 10 7/8 inches, image © Jamie Reid and courtesy Isis Gallery.

Installation and opening night photos below © and courtesy Alan Shaffer.

 


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4 COMMENTS

  1. @paperacrobat I agree with you on Jamie sbeing the first shock artist… I disagree on Hirst – only being known for copying other artists work (not much creation there) and making bucket loads of ££££ from it.

  2. Pingback: teachevil » Blog Archive » Sid & Jamie… & Shepard Fairey