New York artist Dash Snows death in July 2009, two weeks before his 28th birthday, sent shockwaves of grief through the art world, though it was not unexpected. Since his late teens, Snow had used photography to document his days and nights of extreme hedonism nights which, as he famously claimed, he might not otherwise remember. As these Polaroid photographs began to be exhibited in the early 2000s, Snow was briefly launched to art-world superstardom, keeping company with the likes of Dan Colen and Ryan McGinley, with whom he pioneered a photographic style whose subject matter is best characterized in McGinleys brief memoir of Snow: Irresponsible, reckless, carefree, wild, rich we were just kids doing drugs and being bad, out at bars every night. Sniffing coke off toilet seats. Doing bumps off each others fists. Driving down one-way streets in Milan at 100 miles an hour blasting I Did It My Way in a white van. Dash Snow: I Love You, Stupid compiles these famous Polaroids, previously only published in relatively expensive editions. Opening with scenes of friends crashed on beds and couches, floors and even the street, it records hazily snatched glimpses of sex, hard drugs and hanging out; adventures in cars, baths, pools, subway cars, friends apartments, on boardwalks and rooftops. With 430 colour reproductions, this definitive and affordable monograph constitutes an extraordinary document of a life lived at full pitch.

Text by Kathy Grayson.

First comprehensive collection of Dash Snow's Polaroid photography.

A catalog of an exhibition that surveys the history of international graffiti and street art.

Book consists of photos taken of Dash Snow during his 2007 exhibition at Contemporary Fine Arts, Dash Snow : the end of living the beginning of survival, reworked by Meese and presented as a fanzine.

"Loves roses" are glass tubes, 3/8 inches in diameter, 4 inches long. Covered on one end with foil, each contains a cloth flower: red, yellow, blue, violet, white or green. They are duplicitous objects. If you ask one kind of person, they'll tell you these "stems" are romantic offerings, valentine's gifts. If you ask another kind of person, they'll tell you these are pipes for smoking crack cocaine. In September 2008 at a palazzo gallery in Brescia, Italy, Dan Colen and Nate Lowman installed the third incarnation of an evolving body of collaborative work. A long-envisioned but, until Italy, unrealized plan for a sculpture had been a "beaded" curtain made of "love roses" (and titled the same). The curtain was hung in a doorway leading into the ornate spaces housing the rest of their show. Dash snow arrived in Brescia when Colen and Lowman were finishing their installation. A close friend of the collaborators, snow had documented their shared process since its inception in 2007, and he continued here. As well-heeled Italian patrons (almost all of them women) arrived for the show's opening night, snow began shooting photographs of them passing through love roses on their way into the galleries. The piece created a theatrical plane through which snow could enter the partnership and break apart the odd boundaries of inclusivity and exclusivity inherent to art making and art consumption. In turn, this staging ground quickly provoked the visitors to make dramatic entrances. Every passage through love roses and across snow's lens built on the collaborative armature - whether or not the participants were aware of the potential irony of the curtain or of the cumulative performance itself. At certain points, Lowman and Colen enter the frame of the photographs; at others, Snow is visible in his simultaneously primary and tertiary role as auteur. The three planned to create a book from the images as soon as they saw Snow's processed film in 2008, however Snow passed away before they initiated the project. This book is made now through the collaboration of the Dash Snow Estate, Dan Colen, Nate Lowman and Brendan Dugan." -- Colophon.

This book aims to revisit the notion of subculture for the 21st century, reinterpreting it and extending its scope. On the one hand, the notion of resistance is redefined and applied to contemporary practices of cultural production and entrepreneurship. On the other hand, contributors reconsider the connection of subcultures to everyday culture, exploring more mainstream forms of cultural production and consumption across a wider range of social groups. As a consequence, this book extends the scope to look beyond the white, male, adolescent, urban cultures identified with earlier subcultural studies. Contributors also examine fusions and crossovers between Western and non-Western cultural practices.