What is Post No Bills?
And, Why is it a Maga{zine}?
And, Why is it a Maga{zine}?
A reintroduction by Tyler Exum Nov 20, 2024
The phrase Post No Bills typically refers to the city law discouraging unauthorized advertisements,
flyers, or art on public and private property. To me, these signs symbolize more than a legal
directive—the sign often evokes the imminent threat of gentrification. The deep hunter green construction
slabs feels tied to the almighty dollar, a force dictating where new developments rise and
existing communities fall and fade away.
At the same time, the phrase Post No Bills feels humorously outdated, like
something you'd imagine an old, Oliver Warbucks type of guy saying as he sternly wags his finger,
warning me not to plaster my Gen Z rhetoric onto his pristine, developing property. As Jesse
Pearson writes in A City in Flux: “A Post No Bills notice is an assertion that a wall is sacrosanct,
which is a fundamental misunderstanding of the city, where signage both legal and illegal
accumulates like wild foliage.” Posting something on these walls (or, posting a bill) is an act of
subversion and rebellion, and for a city such as New York, I believe it would be very difficult for
New Yorkers to adhere to a white sacrosanct phrase telling them what to do...especially those
who are artists (and not white).
something you'd imagine an old, Oliver Warbucks type of guy saying as he sternly wags his finger,
warning me not to plaster my Gen Z rhetoric onto his pristine, developing property. As Jesse
Pearson writes in A City in Flux: “A Post No Bills notice is an assertion that a wall is sacrosanct,
which is a fundamental misunderstanding of the city, where signage both legal and illegal
accumulates like wild foliage.” Posting something on these walls (or, posting a bill) is an act of
subversion and rebellion, and for a city such as New York, I believe it would be very difficult for
New Yorkers to adhere to a white sacrosanct phrase telling them what to do...especially those
who are artists (and not white).
Whether graffiti, guerrilla marketing, or spontaneous art, Post No Bills signs often mark spaces
where people share what matters to them (Im excluding capitalist ads, of course). I’ve seen sculpture
art depicting the book of Leviticus (yes... i saw this) and even flyers from an Astoria man
looking for his perfect woman. These signs can’t silence city expression; they invite it.
This rebellious energy drives Post No Bills Magazine {PNB}. At heart, it’s a zine, but I
sometimes call it a magazine to appeal to the cool crowd. But the concept remains rooted in
radical self-publishing, resisting the norms of established literary systems. Post No Bills is a
gathering place for voices demanding to be heard in a city alive with diverse perspectives. It’s an
assembly of works meant to disrupt, engage, and inspire, just like the tattered bills you see on
those hunter green walls.
Both Post No Bills signage and Post No Bills magazine share a mission to archive and
amplify future voices. Here, Black, Brown, and queer artists—often pioneers of innovation—are
always encouraged to “post a bill” of their own. These voices are integral to our cultural
narrative, constantly pushing the boundaries of artistic innovation, and yet rarely receive their due
credit.
amplify future voices. Here, Black, Brown, and queer artists—often pioneers of innovation—are
always encouraged to “post a bill” of their own. These voices are integral to our cultural
narrative, constantly pushing the boundaries of artistic innovation, and yet rarely receive their due
credit.
Post No Bills Magazine visually embodies what it means to be “anti-design”. Just like the
tattered conglomerate of colorful ads, posters, and art that plaster the streets of New York.
With no pretense toward pristine layouts,
PNB should capture a raw and vibrant feel, something reminiscent to the streets of New York circa 1970s.
Accessing this magazine should feel like stepping up to
a city wall bursting with expression, memory, and artistic energy that refuses to be erased.
tattered conglomerate of colorful ads, posters, and art that plaster the streets of New York.
With no pretense toward pristine layouts,
PNB should capture a raw and vibrant feel, something reminiscent to the streets of New York circa 1970s.
Accessing this magazine should feel like stepping up to
a city wall bursting with expression, memory, and artistic energy that refuses to be erased.