The Strokes. The Yeah Yeah Yeahs. Fischerspooner. These were some of the bands that gave rise to the grit and grime of NY’s counterculture scene in the early 2000s - a time where musicians and artists created work as a way to subvert the norms of mainstream society.
Don’t miss this exciting and rare opportunity to own a piece of rock’n’roll history by purchasing a limited edition print signed by some of this period’s most accomplished artists, musicians, and photographers. Curated by Lizzy Goodman and Hala Matar, Absolut Art’s “Meet Me in the Bathroom” compendium print collection features work by Todd DiCiurcio, Fischerspooner, Adam Green, Colin Lane, André Saraiva, and Pieter Van Hattem, all of whom embody the era’s irreverent spirit. Works include portraits of musical geniuses The White Stripes, The Strokes, and Fischerspooner, as well as a rare concert poster, and a live illustration of The Strokes performing.
Absolut Art offers this selection in conjunction with the exhibition “Meet Me in the Bathroom: The Art Show,” at The Hole Gallery, in New York’s East Village, not far from where some of these bands had their early performances. On view will be artworks and ephemera from musicians such as TV On the Radio’s Tunde Adebimpe and Interpol’s Paul Banks, and artists like Doug Aitken and Urs Fischer. The exhibition, organized by UTA Artist Space and the Hole, is named for Lizzy Goodman’s bestselling 2017 book Meet Me in the Bathroom: Rebirth and Rock and Roll in New York City, 2001-2011, and curated by Goodman along with Bahraini film director Hala Matar.
The Strokes Live At MSG 2011Todd DiCiurcio
Artist guideAdam Green
Sometimes I just want to stab myself in the heart with a crayonAdam Green
Music is just a bunch of people wearing clothesAdam Green
Ninth Avenue, Is This It Press Shoot, 2001Colin Lane
Casey: Sweetness 2001Fischerspooner
Beatrice InnAndré Saraiva
White StripesPieter M. van Hattem
Greek Theater, Los Angeles, November 2, 2002Colin Lane
"It was a crossroads in time between digital and IRL culture"
A few of the artists shared their thoughts about what made New York into the cradle not only of a rock ‘n’ roll revival but also of a lively visual art scene in the aughts.
“It was a crossroads in time between digital and IRL culture,” said Casey Spooner, of the multimedia performance art troupe Fischerspooner, which has offered a photo of a live performance at the Astor Place Starbucks and a portrait of Spooner. “You still had to go to a place, a city, a neighborhood, a club, a gallery to connect with your creative community. Simultaneously computers became more and more affordable, including software available and new interfaces to share information, such as Napster. Regional popularity became global popularity very quickly.”
“There was finally a communion of art and music happening then,” said artist Todd DiCiurcio, who offered Absolut Art a drawing of rock giants The Strokes performing live. “A multimedia revolution was percolating, it seemed. … Art was becoming an intervention to the disconnect between culture and scene, and like sharing a hit of whatever was being passed around to expand the palette.”
"New York wasn't exactly a boom town in the late ‘90s,"
Photographer Pieter Van Hattem offered a slightly darker analysis of what made Gotham a cradle of creativity. “New York wasn’t exactly a boom town in the late ‘90s,” says Van Hattem, who has supplied Absolut Art with an iconic photo of rock duo The White Stripes. “You could find relatively cheap places to create art, rehearse, store your gear, etc. And Giuliani was such a prick. You couldn’t dance in clubs. You couldn’t display a photograph of a piece of plastic in your own piss.”