Post No Bills Filming Locations
Where was Post No Bills filmed? Post No Bills was filmed in 4 locations across United States in the following places:
Post No Bills Filming Locations
Los Angeles is a sprawling Southern California city and the center of the nation’s film and television industry. Near its iconic Hollywood sign, studios such as Paramount Pictures, Universal and Warner Brothers offer behind-the-scenes tours. On Hollywood Boulevard, TCL Chinese Theatre displays celebrities’ hand- and footprints, the Walk of Fame honors thousands of luminaries and vendors sell maps to stars’ homes.
New York City comprises 5 boroughs sitting where the Hudson River meets the Atlantic Ocean. At its core is Manhattan, a densely populated borough that’s among the world’s major commercial, financial and cultural centers. Its iconic sites include skyscrapers such as the Empire State Building and sprawling Central Park. Broadway theater is staged in neon-lit Times Square.
San Francisco, officially the City and County of San Francisco, is a commercial, financial, and cultural center in Northern California. With a population of 808,437 residents as of 2022, San Francisco is the fourth most populous city in the U.S. state of California behind Los Angeles, San Diego, and San Jose.
Washington, DC, the U.S. capital, is a compact city on the Potomac River, bordering the states of Maryland and Virginia. It’s defined by imposing neoclassical monuments and buildings – including the iconic ones that house the federal government’s 3 branches: the Capitol, White House and Supreme Court. It's also home to iconic museums and performing-arts venues such as the Kennedy Center.
Post No Bills (1991)
Political heavy-weights populate this urgent and humorous documentary on the detonative mix of art and politics as embodied in the work of infamous "guerilla" poster artist Robbie Conal, a professional painter who estimates that hundreds of thousands of his caricatured paintings-as-posters have been splattered across the United States' urban streets, militantly affixed by himself and his cult following of urban guerilla volunteers to construction sites, traffic light switching boxes and any other surface area large enough to house one of these satirical images. Specializing in what he calls "info-tainment," Conal's posters offer an immediate response to today's headlines through the expressionistically decaying depiction of the socially and politically powerful accompanied by several words of dichotomous text. Beginning in 1986 with the onset of the Iran-Contra scandal, Conal has distributed his work in a way even Andy Warhol might not have dreamed possible. As Conal modestly points out, "these are some of the most famous paintings of any contemporary artist because I make you see them whether you want to or not." The original canvases, from which the posters are reproduced, simultaneously grace elite gallery walls and wealthy collectors' homes. Post No Bills foregrounds the tension between Conal's creative process and the lures of a desperate notoriety achieved through catering to the newsmedia's craving for controversy in his journey to express himself and benefit from the notoriety generated from his endeavors. In September 1990, after "reasonably outspoken" Los Angeles Police Chief Daryl F. Gates casually stated that "casual drug users ought to be taken out and shot," Conal began collaboration with student Patrick Crowley on a poster criticizing this hyperbolic remark. When an outraged world focused on Los Angeles in March of 1991 with the release of the graphic video footage of the beating of Rodney King by Los Angeles police officers, Conal and Crowley took to the L.A. streets his most daring, inciting and inflammatory image to date; a poster depicting the police chief on a full torso N.R.A. shooting target with the text "casual drug users ought to be taken out and beaten. Post No Bills concentrates on this poster of Gates, including an interview with the beleaguered Chief himself, celebrating the potential of this piece of political street art and exposing the dissociation to be made between Conal and his subject matter.