If I do a picture, I want the audience to be the people I was just packed against on the subway or on the street, walking on Fourteenth Street. I don't want it to be some narrow public that I myself feel alienated from.
Eric DrookerPoster art was always my way of being involved in the conversation. So it wasn't just a one-way conversation with the police yelling at us or freaking us out. Street posters allowed you to have the last word.
Eric DrookerThe poster art over the years, art with social critique in it, has always been on class war theme. It's been trying to make that point - that we are larger than they are. They may have guns and pepper spray and helicopters and F16s and the whole U.S. military on their side, but when it comes down to it, we still have the numbers.
Eric DrookerAs I developed as an artist and studied art history, I noticed that all the great works were dealing with the human condition. [Art] had humor in it. It had sex in it. But it also had sorrow running through it.
Eric DrookerStreet posters allowed you to have the last word. If you put them up in your neighborhood, you were speaking to your neighbor.
Eric DrookerWe had collaborated with Allen Ginsberg on one of his last projects just before he died in the spring of '97, a book called Illuminated Poems - it was Allen's poems and songs and I illustrated them. Or, I illuminated them with paintings and drawings that bounced off of them. You want the picture to relate to the text without it slavishly regurgitating it or merely illustrating it, because that's redundant. You want to show another angle of what the text is saying.
Eric Drooker