Streetfare Journal: The Magazine of the Rider. Vol. 1 No. 1 (n.d., ca. 1984) through Vol. IX, No. 2 (1997) (Complete collection
Altogether 102 posters, comprising a complete collection of the poetry posters released by Streetfare Journal, arguably the largest and most successful public art program in U.S. history, delivering striking combinations of literature and visual art to an estimated 15 million riders daily in 16 major cities, including New York, Los Angeles, Chicago, Washington D.C, Philadelphia, San Francisco, Phoenix, New Orleans, Fort Worth and Fort Lauderdale. While several of the early posters are composed solely of typeset words on a white background, the majority of later issues pair stanzas of verse with paintings or photographs by noted visual artists. Poets featured in the series range from established figures such as Charles Bukowski, Langston Hughes, Thomas McGrath, Carl Sandburg, and William Carlos Williams to diverse contemporary voices including Ho Xuan Huong, John Kinsella, Joaquin Pasos, and Daisy Zamora. Among the visual artists represented are painters David Hockney, Kenneth Noland, and Clyfford Still as well as photographers Mary Ellen Mark, Dorthea Lange, and Sebastiao Selgado. Broadsheet posters, loose as issued. New York and San Francisco (Transportation Displays Incorporated) 1984-1997.
Under the direction of its founder and editor, George Evans, Streetfare Journal functioned through the in-kind sponsorship of Transportation Displays Incorporated, a New York based broker of national transit system ad space, as well as grants from the Lannan Foundation, the National Endowment for the Arts, the Lila Wallace-Reader's Digest Fund, and other agencies. According to Evans, the project meant to expose a broad cross section of the American public to modern poetry and contemporary art, and to encourage literacy. It featured Pulitzer Prize winning poets, a Nobel Laureate, and poets with lengthy publishing histories alongside writers at the beginning of their careers. Most were American, but the project also drew work from the international poetry community, and produced several bilingual issues. In 1990 a selection of the posters was included in the Smithsonian's exhibition of public art, and four series of the broadsheets are in its permanent collection.