Tag Archives: Saatchi Gallery

Beyond The Streets Exhibition Review

Into the second hour of my wander through Beyond The Streets a wall label poses the question “How do we get from graffiti on Parisian streets of the 1930s that Brassai captured, to the Academy Award nominated film “Exit Through The Gift Shop” by Banksy?”   Therein lies this exhibition’s dilemma.

Faile, Shepard Fairey

Beyond The Streets is part documentary and part art exhibition; part historic artefact and part new art; part museum and part gallery.  It explores the cross links, influences and the sparks that flowed between graffiti, music, fashion, street art and gallery art.  And it is HUGE.

That small wall label is the first and seemingly only mention of Banksy. The elephant most definitely is not in the room. There is no art by Banksy in Beyond The Streets.

“I suggest you ask Banksy” was curator Roger Gastman’s enigmatic reply when I enquired why not.

Toby Mott poster/flyer archive

The label also sets up a rather curious paradox about the exhibition.  Public awareness and appreciation of “street art” has magnified enormously since and to some extent because of Banksy’s “Exit Through The Gift Shop” documentary, but this exhibition doesn’t explore recent street culture or indeed much of anything that may have benefitted from the Banksy effect, which of course means pretty much the whole of modern street art.  Beyond The Streets is not a “street art exhibition”, street art is found on the streets, not in a gallery.

80s fashion

What the exhibition does skilfully and beautifully is show us the common DNA shared by key youth cultures over three decades from the 70s to the 90s.  The origins of Philly and New York graffiti, hip hop, dance and fashion are explored and building off that comes the transfer to the UK’s club land and train yards.  Layer upon layer of detail regarding what came from where, who met who and what influenced what can be unpicked from the ephemera and collections on display.  It’s everywhere you look, that’s not just a rack simulating the display of bedroom posters that every record store had in those days, it’s a collection of contemporary film and show posters.  Next it’s a bunch of graffiti mags.   A lot of the really interesting content in this show like those posters are from the Gastman personal collection.

Ol Skool record store

Roger Gastman is the ultimate geek, uber-collector, culture historian and super-documenter, many will actually be familiar with him already, in Banksy’s “Exit Through The Gift Shop” he is the fixer parachuted in by Banksy to rescue Mr Brainwash’s manic debut LA show from chaos.  Our conversation with Gastman about the nature of the show is the feature of this short clip with scene-setting visuals.

The New York art scene of the 70s and 80s is a key jumping off point so there is a Jenny Holzer installation, Keith Haring references pop up everywhere, look particularly for a nice surviving example of one of his NY subway chalk drawings but there is no Basquiat. When the subject is so vast and the space finite perhaps there is only so much a curator can include but of all the artists from that era, particularly those who had a connection with street art and graffiti, no one has had a more significant influence on modern art history than Jean Michel Basquiat.  There is as much chance of an answer from Basquiat as from Banksy.

The highlight of the exposition of the New York – London cross pollination is a massive canvas by Futura 2000 from NY who toured Europe with The Clash in the early 80s painting backdrops live on stage.  Research reveals the one on display failed to reach reserve at a Bonhams auction in 2014!


As a mover and shaker and a connector between the hip-hop and graffiti movements in New York, Fab Five Freddy is a recurring presence in the historic documents and with canvasses on the walls.

Fab Five Freddy

If the U.K.’s 1980s graffiti movement had its Fab Five Freddies there is a strong case for anointing Goldie and Rob del Naja as such.   Like Fab Five Freddy this genre straddling pair now regularly feature at contemporary art auctions in the leading auction houses as well as having cutting edge music careers. It is hard to recall the sponsor’s logo appearing so gratuitously in a graffiti writer’s canvas before.


Rob Del Naja

A fascinating time line photo display records key personas and moments in the parallel development of hip hop and graffiti in London.  Having had the good fortune to catch and photograph the last few years of the legendary Pit in Golbourne Road, the stash of polaroids from the early days of the Pit credited to “Rob Fever” was particularly exciting.  (The Pit was known as a place you entered at your own peril as there was with a high risk of getting robbed or “taxed” in the parlance).

The Pit, 1980s, photos: Rob Fever

The Pit, 2010, photo Dave Stuart

The connections and the documentary details are absolutely fascinating providing plenty of opportunity to make your own “degrees of separation” analysis. Among Toby Mott’s collection of agitprop posters and punk flyers is a gig poster for The Slits.  The Slits’ guitarist and lyricist Viv Albertine’s on/off/on/off (repeat) boyfriend Mick Jones of The Clash invited Futura2000 to tour with them painting backdrops during Clash gigs, Futura stayed with Don Letts whose massive influence (well represented here) was secured early on in a period as resident DJ at the Roxy in London, a Roxy guest book is displayed open on a page showing Joe Strummer of the Clash signing in and further up the page you can decipher the signatures of Ari Up and Palmolive, both of The Slits.  The loops, the links and the lines of influence between the characters who were the genuine innovators across multiple genres are so clear.

Old school graffiti legends from US and UK whose art is now as comfortable in the galleries and private collections as it was once on the streets contribute artworks that represent where their post street career has taken them.  The stand out is the exceptional draughtsmanship of Mode2 (London/Paris).


Shepard Fairey has a large display of art consistent with his impact, activism and influence – the significance of his 2008 HOPE poster in making the case for Barack Obama should never be underplayed and, a rarity in this show, he maintains a career which to this day continues to embrace stickering and street art muralism.

Shepard Fairey

ESPO is the Philly typographer who painted the iconic “Let Us Adore And Endure Eachother” in Shoreditch, and as well as a large typography based installation it was nice to stumble upon some fresh ESPO graff on a wall in west London.


ESPO, Shoreditch 2012, also feat Phlegm & Shok 1 (photo 2013)

Daze from NY has been a gallery artist for decades, it was cool to see Daze hit a proper wall in Shoreditch.


The show is also a homage to the documentarians, people that there were people there at the time who thought to record the scene and collect the crap.   Keep diving into the various glass cases displays, they hold a treasure trove of battered copies of relatively obscure but now indispensable books that appraised the many manifestations of the music and graffiti culture as it evolved and before it became of such widespread interest.

Henry Chalfant

Check out the photos being uploaded by Beezer on Instagram, they are incredible historic records.  When a graffiti legend like Haze from NY wants to take your photo, that’s respect shown where respect is due

Beezer in front of Beezer; photographer Eric Haze

Curious juxtapositions – or more degrees of separation:  Kenny Scharf’s Cosmic Cavern with its psychedelic day-glo assemblages zinging with UV lighting is the latest incarnation of a characteristic Scharf playhouse, the sort of which was clearly a huge influence on the 2010 Faile/Bast Deluxx Fluxx collaborative installations; Cosmic Cavern is set up next to Paul Insect’s Rubbish Shop with its playful upcycled trash characters, Insect produced characters like these for years with Bast before Bast’s untimely early passing in 2021.

Kenny Scharf, Cosmic Cavern 2023

Paul Insect, Rubbish Shop

Some contributions feel like their significance is perhaps undersold by lack of context in their gallery notes, with several of the photographer’s work feeling like it may have turned up in the wrong exhibition by mistake.  Swoon is one of the few artists in the show whose origins as a public artist sprang from an urge to put unfiltered, uncurated art on the street as opposed to morphing from a graffiti writer to a spraycan artist.  Swoon’s art practice ranges from stunning paste ups on the streets to intricate paper and print installations in institutions but in this show, her single wall creation feels overwhelmed by a “whole wall” piece by Pablo Allison documenting the humanitarian horror and desperation of migrating people travelling from Latin America to USA.

Swoon (Pablo Allison to right)

As a historical record, this exhibition peters out in the late 90s.  Beyond that period the dominant focus is on the way in which a selection of graffiti legends and a few street artists these days make their mark in the formal galleries and even museums of the art world, the evidence suggests many of the artists are adequate rather than transformative.

Some things in life, like walking on the moon say, will never be a lived experience for the vast majority.  If you haven’t cut a hole in a trainyard fence, sneaked through the tunnels under Fabric or dodged security to paint a train in a metropolitan train yard then the experience and passions that bond the graff writing community might as well be planting flags in a moon crater for most of us.  The point of art is to stimulate our imagination, to peer beyond the limitations of our experience and three of London’s finest, Tox, 10foot and Fume who live and breathe an intense London graffiti life have simulated a tube tunnel setting peppered with canvasses and photos cartoonising their adventures on the underground.  A series of 5 illustrations by Fume are based on am infamous incursion at Oxford Circus tube station on Christmas Day 2020.

Fume, Tox, 10Foot

Fume “Platform Damage” (detail)

While the exhibition does a great job on graffiti’s old testament and the crusade to Europe is revealed in compelling detail, the tailing off of the historic forensics coupled to the absence of Banksy leaves the street art story somewhat lacking its Book of Genesis.  The presence of Faile, Shepard Fairey and Keith Haring brings in the US behemoths while Kaws and Monsieur Andre, here under his real name, represent tributes to the inventiveness and subversion that should and occasionally does characterise street art.


Faile, Shepard Fairey

The flat and sugary and flat colours of paintings by Pose, Dabsmyla and Husk towards the end juxtaposed with Priest’s “crime scene in duplo-land” sculpture create the impression that post graffiti urban art is characterised by nursery land imagery, which is little unadventurous.

Pose, Dabsmyla, HuskMitNavn

For visual impact the geometric super saturated colour overload of a Felipe Pantone mural is hard to beat, Pantone has set up a dizzying illusion room suggesting Anish Kapoor stalactites on acid in an old Radio Rentals showroom where the TV sets have lost their signal (the older generation in the UK may recall TV shops displays of the trade test transmissions in the days before VHS and daytime TV). Mesmerising and disorientating.

Felipe Pantone

Cunningly placed right before the gallery gift shop is Duncan Weston’s Ralph Lauren brand pisstake, poised somewhere between critiquing brand power and poking fun at our inclination to obsess over brands.  It works so well some were questioning if it was bad taste having a Ralph Lauren outlet in a show of activism and youth culture.

Duncan Weston

Peppered around the gallery are genuine tags by many of the graffiti writers who were around for the set up and launch of the show, look for locations such as on the roof of Insect’s Rubbish Shop and the spoof street furniture like newspaper bins in various locations. Unsurprisingly perhaps there has been a steady accretion of unsanctioned and opportunist tags and stickers, deliciously reflecting the irreverence this culture has always had for the formal gallery environment and the fact that this is a living vibrant culture which is appropriately in the hands of (extra)ordinary people.

16th Feb v 3rd March

The big picture for Beyond The Streets is it weaves through the various sub cultures, sampling key moments and pinpointing connections and influences.  Its short coming perhaps is that the joining of dots and drawing of lines for street art does not quite match up to the high bar set for the other art forms.


There are about 18 artists with art on display that fit within a reasonable definition of what street art is, of those only 4 have art practices not based on spraypaint which obscures the reality that in today’s street art culture, particularly if the gaze is turned away from the world of permissioned murals, there is far more going on with materials on the streets than just spraypainting.


The show rates high on fascinating early history.  Plenty to geek out on, plenty of nostalgic “oh yes, I remember missing out on that moment”.   The show feels like an amalgam of several different brilliant shows bought together.    However, there is just so much art and a huge quantity of fascinating archive material that extended or even repeat visits are recommended.

Celluloid Records – covers by Futura2000; Gastman collection

UK legend Nylon: Graphotism cover star

Daze, Shoreditch 2023

ESPO, Westbourne 2023

All photos: Dave Stuart

Detail of art by street artist Faile and Shepard Fairey in Saatchi Gallery exhibition "Beyond The Streets"

Beyond The Streets Exclusive Intervew

Beyond The Streets, a huge public exhibition dedicated to the history of graffiti, street art and related cultures related has arrived in London after previously showing in New York and LA.

The exhibition is epic in scale and wide ranging in content and features art and installations from many household names from the urban art realm.   Yesterday, the day before the official opening to the public, we manage to put together a taster video and we grabbed an exclusive moment with the curator Roger Gastman, if you have seen Banksy’s Exit Through The gift Shop he was the Zvengali saviour parachuted in by Banksy to wave his “make-shit-happen” wand over the chaos of Mr Brainwash’s LA debut show.

One burning question is why no Banksy The elephant is not in the room.  Yet.  We have a sneaky feeling that these guys could still have something up their sleeve.

Our full review will follow eventually, there’s no rush!

Public mingle in front of artist Toby Mott's display of anarchist posters at Beyond The Streets exhibition at Saatchi Gallery London

Beyond The Streets

“Beyond The Streets”

Feb 17th – May 9th

Saatchi Gallery, Duke Of Yorks HQ, King’s Road, London SW3 4RY



JR: Chronicles Saatchi Gallery Exhibition

One question I always flounder with is “Who do you think the up and coming future stars in street art are?”, like I have any idea about art picking!   The easier question is “Who has emerged?” and if there is one person who can’t be left out of that answer it is French artist JR.   JR: Chronicles at the Saatchi Gallery is a comprehensive examination of JR’s very impressive back catalogue of art on the streets.  Through a succession of rooms a large number of JR’s street projects are reprised, dissected and explained,  the best part of a couple of hours is recommended.

JR: Chronicles Gallery Art by Street Artist JR showing photos of JR's street art and installations

Portrait Of A Generation inside demolished building

JR’s artistic origins were as a not terribly stylish tagger in Paris who chances on a camera, takes some pretty cracking photos in fairly lairy sink estates dotted around Paris, print them out super cheap and pastes them up on the streets. Among the images is one of a young video maker surrounded by local “yoots”, that cameraman is now better known as the award winning director Ladj Ly and just to digress for a moment, watch Ladj Ly’s 2019 “Les Miserables”, it makes a superb companion to this exhibition as a semi fictional and unaffectionate look back to the environment that shaped JR’s early adult life.

JR: Chronicles Gallery Art by Street Artist JR shows photos of JR's street art

JR: Ladj Ly at Les Bosquets

If you haven’t spotted the jarring “trick of the eye” in the Les Bosquets photo, if you find it inexcusably intimidating well you’re not alone, JR tells us that when that photo was pasted on the side of the Tate Modern in 2008, the Director initially refused the image as he thought it was a gun as well.  That was the point, JR was challenging your inclination to jump to racist conclusions.

JR photo of Ladj Li holding camera like a gun at Tate Modern Street Art Exhibition 2008

JR: Tate Modern, 2008

Banksy’s first London exhibition was an un-authorised street take-over in 2001, JR adopted the same tactic in the same year.  His “Expo 2 Rue”, translated as “Sidewalk Gallery”, involved guerrilla pasting his photos on building site hoardings and to add emphasis to his paste ups he sprayed picture frames around the paste ups linked together by straight lines.  JR: Chronicles has a little humorous play with the form of JR’s Expo 2 Rue concept, a blown up photo of an Expo 2 Rue installation incorporates a video screen framed where the paste up was. “Tres droll” he probably wouldn’t say.

JR: Chronicles Gallery Art by Street Artist JR shows photos of JR's street art

JR – Expo 2 Rue

The scale of JR’s achievements transcend the boundary between street art and fine art, appealing as readily to art world snobs as to people who would never normally contemplate attending an art exhibition.  This can perhaps be appreciated by splitting his endeavours into three component parts, vaguely and inadequately summarised (my inadequacy, not the exhibition’s) as Idea, Execution and Documentation.

JR: Chronicles Gallery Art by Street Artist JR shows photos of JR's street art

JR au Louvre et le Secret de la Grande Pyramid

The ideas and concepts are the things that earn JR a place among the giants of contemporary art in the “proper” art world and galleries like Saatchi.  JR has completed a very impressive number of major projects in what is still a comparatively young career.  The hallmark of them all is quality and originality, from his Expo 2 Rue at age 17 to Women Are Heroes and Gun Chronicles by way of Wrinkles Of the City, Portrait of A Generation and more, a mere 7 huge rooms at Saatchi’s Kings Road art palace is barely sufficient.

Gallery Art by Street Artist JR shows photos of JR's street art

JR: Projects

If JR has a secret cellar to which failures are condemned, surely there must be some, it is well hidden.  The execution of them is undoubtedly thoroughly thought through, one of his charming trademarks is corralling local volunteer’s enthusiastic assistance in putting up his large paste up projects.  For those who may have no idea how printed street art can be created on such magnificent scale various display cases, models and prop do great job of lifting the veil on those production secrets.

Work In Progress JR photo of Ladj Li holding camera like a gun at Tate Modern Street Art Exhibition 2008

JR Work In Progress, Tate Modern 2008

How do you print out the images?  They are made from continuous sheets of paper 36 inches wide and in one of the films you see an architect’s printer spewing paper like a long string of spaghetti.  How many sheets?  In one of the vitrines are JR’s working images with the construction lines drawn by hand which divides the image into the stripes for printing and ultimately for putting the strips in the right order,  a laden trolley laden demonstrates how many rolls of paper might go into one of those epic paste ups.

Gallery Art by Street Artist JR shows photos of JR's street art

JR: work in progress

There’s nothing quite so unpredictable as the public which coupled with JR’s “suck it and see” approach to putting up installations in locations where authorities are hostile (Israel, USA border) has given him a wealth of anecdotes which are well with tuning into, you can access his spoken word stories online away from the gallery.  Treat it like a podcast, you can for example access it using the QR code further down this page or it is currently available on youtube.

You might not find the “process” insights interesting, poor you, but scrutiny of those aspects can reveal secrets hidden in plain sight.  The image of a tea party JR arranged to take place through the USA Mexico border fence is well known, JR explains in one of the videos that on the Mexican side they sit at a table; on the USA side the party was “guerrilla style” as the artist was denied permission so the party on the American side takes place not on a table but a printed canvas unfurled and passed through from the Mexican side.  My chin dropped.

JR: Migrants, Mayra, Picnic across the Border, Quadrichromie, Tecate, Mexico – USA, 2017

JR’s contact sheets from earlier analogue photography projects are displayed in several vitrines in various rooms.  In the contact sheet of the images of Ladj Ly holding his camera like a gun the famous image is the very first one on the sheet, it captures the ominous energy of the kids surrounding Ladj just at that moment as they clamoured to be in the photo, in the other photos the kids were basically posturing and with the absence of spontaneity the menace becomes cartoonised.

Gallery Art by Street Artist JR shows photos of JR's street art

JR: Portrait Of A Generation Contact Sheet

The third pillar of JR’s enterprise is the element that allows JR to produce stunning books and exhibitions.  It’s the documentation, JR takes brilliant photographs of JR’s photography projects!

Gallery Art by Street Artist JR shows photos of JR's street art

JR: Portrait Of A Generation

JR attributes his trademark hat and glasses to the early need to avoid being identified by a local mayor who wanted to sue him.   He does however explain his art to camera in a comprehensive and articulate way but always in hat and glasses.  For someone so preoccupied with anonymity shyness is not an issue!

street artist JR in front of the Inside Out Travelling Photo Booth

JR and Inside Out photo booth at Somerset House, 2013

JR does not sign his paste ups though sometimes the artist is unavoidably present at a microscopic scale, check the reflection in the subject’s eyes in, for example, the Nairobi train!

Gallery Art by Street Artist JR shows photos of JR's street art

JR: Women Are Heroes, Kibera, Kenya

JR’s projects are concerned with humanity, often illustrating the unnecessary impact that boundaries, borders and schisms in society have on humanity, or should that be the impact the unnecessary borders have?  In essence he probes and highlights people’s impact on people.

Child peeps over US Mexico Border by Street Artist JR

GIANTS, Kikito and the Border Patrol, Tecate, Mexico – USA

The humanity becomes a teeming multitude in the Chronicles project, JR photographs up to a 1,000 people in basically the way they would like to be photographed then collages the individuals into a huge mural.  There is a tendency for the impact to resemble a hyper realistic nightmare or disaster movie.  JR toys with your own interpretations of the evidence of your own eyes, is what you see really a violent disorder, or is it actually a community out playing and dancing?

Gallery Art by Street Artist JR shows photos of JR's street art

JR: Chronicles de Clichy-Montfermeil (detail)

Another thing that the show achieves which you can’t really replicate on a book or in a tiny screen is to impress with the scale and the level of detail in the augmented reality Chronicles.  Download the JR – net app then point your phone at the relevant Chronicles mural causes a pointer to skip from person to person in the mural and through the magic of multi media you can hear that persons’ story as recorded by JR.  Gun Chronicles occupies the whole of a large wall and incorporates 245 different viewpoints on the gun issue.  JR avoids casting judgement, pro and anti Right To Carry folk are included and your reaction to the arguments tells you all you need to know about yourself rather than the issue.  Good luck on completing the dive into the stories of all 1,128 citizens in The Chronicles Of New York City!

Gallery Art by Street Artist JR shows photos of JR's street art

JR: Chronicles Of New York

The opening of JR: Chronicles in June was accompanied by another iteration in several London locations of JR’s Inside Out project.  This manifests as a travelling photo booth in a van modified to look like a polaroid camera where, after a long queue, your photo is taken and printed out on a large sheet and pasted on the ground like a massive outdoor version of a school yearbook if you went to that kind of school, not me!

Street Art Tour Guide Dave Stuart from Shoreditch Street Art Tours participates in JR's Inside Out photography project at Somerset House London 2013

JR Inside Out Project, Somerset House 2013

The same van stars in JR’s film “Faces Places” made with the acclaimed French director the acclaimed late Agnes Varda (click HERE for trailer).

Tour Guide Dave Stuart collects photo from JR's Inside Out photo booth at Somerset House, 2013

The Inside Out photo booth at Somerset House, 2013

That segues us nicely into an appreciation of how JR’s story is really like a street art fairytale.  The promise of street art is that anyone can present their art to a public audience, you don’t need an art degree, critical approval or gallery acceptance, you create your own art world by placing your art on the streets.  Direct from you the artist to the consumer, no middleman necessary.  JR has basically parlayed this circumventing the art system system from untutored photography to hijacking wall space and from there to projects in Israel and Palestine meeting with military disapproval, to exhibitions in posh London galleries and films with the luminati of the film world.  No formal art education or art world blessing required.  Know anyone else who did that?

Gallery Art by Street Artist JR shows photos of JR's street art

JR: Face To Face Contact Sheet

Gallery Art by Street Artist JR shows photos of JR's street art

JR: Face To Face, Separation Wall

One more thing in a show where so much effort has gone into making the artist look effortlessly cool, the QR codes are functioning pieces of art.  No doubt if I ask a young person I will find yet again I am ages, like months behind the times dude.

Gallery Art by Street Artist JR shows photos of JR's street art

QR Code Art (go on, test it)

The show dissects it’s subject into 7 themed zones, in each an idea and to a greater or lesser extent the process is revealed.  The whole show is the manifestation of the third dimension of JR’s activity, the documentation, it really earns that title “Chronicles”.

JR: Chronicles

Saatchi Gallery 4 June – 3 October 2021

Duke of York’s HQ, King’s Road, London, SW3 4RY

Booking essential: tickets


JR’s website

Graffoto review of JR’s 2015 exhibition “Crossing” at Lazarides Gallery

Photos of JR’s photos of JR’s Photos by Dave Stuart

Cash Is King, Saatchi Gallery, Bob Osbourne, Carrie Reichardt, money, notes, coins, street art

Cash Is King Again

Bob Osbourne and Carrie Reichardt created a stir last year with the book Cash Is King featuring real currency notes abused, defaced and revalued by artists.   Not satisfied with one book of defaced cash they have only gone and done it again and published Volume 2 of Cash Is.

Cash Is King, Saatchi Gallery, Bob Osbourne, Carrie Reichardt, money, notes, coins, street art

Antony Lister, Daze in Cash Is King Vol 2

Last year the book launched at the Saatchi Gallery on the Kings Road and a bevvy of artists grabbed copies to vandalise the covers more than they were already.   Same thing is going to happen again this Tuesday can you believe.

Cash Is King, Saatchi Gallery, Bob Osbourne, Carrie Reichardt, money, notes, coins, street art

Money Talks!

As well as copies of this subversive tome, specimens of paper money in frames from many artists are available to be purchased at what may look like attractive prices.  Capitalists welcome.

Cash Is King, Saatchi Gallery, Bob Osbourne, Carrie Reichardt, money, notes, coins, street art

We Fail in Cash Is King Vol 2

Many artists have contributed art  and provided explanations that sometimes seen even quite lucid.  There are several fascinating essays and even a small section from me mulling over that wobbly intersection between cash and street art, don’t say you haven’t been warned.  My fav essay is one by Jonathan Harris who recaps a career of burning money, it includes musings on theories of money, human nature, hallucinations and builds towards an anecdote involving a staged money burning at the entrance to a graveyard in 2016, crowned with the genius gag “Failure now would have grave consequences”.

Cash Is King, Saatchi Gallery, Bob Osbourne, Carrie Reichardt, money, notes, coins, street art

Arthur Uther Pendragon’s £23 Note

Apart from Bob and Carrie, various other people have winged some form of curation in the exhibition including Olly Walker, Suze Hansen , Martyn Reed, sxselli, Rosie Osbourne and mutoid waste.

Copies of the book can be acquired through the author Bob Osbourne or from Saatchi Gallery.

The framed notes can be viewed at and purchased from the Saatchi website or from the exhibition which is live and open to the public from Wednesday, closes 8th September.  Do try to make it.

One of the Cash Is King dust jackets photographed in Cash Is King 2 is “Mommon” by Peter Dunne, which provides a tenuous in the extreme leap street artist Mammon (as in “wealth regarded as an evil influence or false object of worship and devotion”) who put up three slogans fabricated out of coins late last week, literally turning cash into street art.



SLAVE by Mammon


Bob Osbourne Instagram

Carrie Reichardt instagram

Olly Walker Instagram

Saatchi Gallery Cash Is King 2 webpage

Street art photos by Dave Stuart

Other images from book, copyright in art as stated in the book.