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Friday, Apr 13, 2012 12:00 AM UTC

Anarchy in L.A.

A West Coast exhibition looks back on the work of the Sex Pistol's signature designer

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Topics: Imprint, Design,

Anarchy in L.A.
This article originally appeared on Imprint.

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.

ImprintNever 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.

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 14.

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.

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

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.

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

Nice Work by Nice Lady, 1977. Found newsprint, 210mm x 310mm, 8 ¼ x 12 ¼ inches, image © Jamie Reid and courtesy Isis Gallery.

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, 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.

Copyright F+W Media Inc. 2012.

Salon is proud to feature content from Imprint, the fastest-growing design community on the web. Brought to you by Print magazine, America’s oldest and most trusted design voice, Imprint features some of the biggest names in the industry covering visual culture from every angle. Imprint advances and expands the design conversation, providing fresh daily content to the community (and now to salon.com!), sparking conversation, competition, criticism, and passion among its members.

More Michael Dooley.

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Salon is proud to feature content from Imprint, the fastest-growing design community on the web. Brought to you by Print magazine, America's oldest and most trusted design voice, Imprint features some of the biggest names in the industry covering visual culture from every angle. Imprint

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