Retna. Photo by Lord Jim

Last week, The Los Angeles Museum of Contemporary Art opened an exhibit of street art and graffiti that promised to go down in history, Art in the Streets. It’s a massive exhibit of over 100 street artists and graffiti writers. I visited AITS three times, and still wasn’t satisfied that I’d appreciated the show fully. I think MOCA has delivered something special, but maybe did not quite fulfill that original promise.

I want to spend a good amount of time addressing criticisms of AITS, because that should not be ignored, even if they are far outweighed by the good of the show.

This isn’t the show that I would have put on. This isn’t the show you would have put on. AITS is the show that only Jeffrey Deitch, Roger Gastman and Aaron Rose would have put on. Artists that I would have included without a moment’s hesitation (Judith Supine, Faile, Brad Downey, Jenny Holzer…) were oddly absent, and some artists in the show were out of place or allotted too much space (Geoff McFetridge, Terry Richardson, Mr. Cartoon…). For a show attempting to paint the picture of a history, the historical timeline was given a strange second billing to a hodgepodge of individual artist installations.

The selection process for a lot of the show seems like it was a political battle rather than an ideal model of art curating. When the curators’ names were announced, a good chunk of the show’s line up could already be predicted based on their personal relationships. Luckily, the curators are connected to many of the same people that anyone would have put in a similar show to AITS. What would this sort of show be without a contribution from some Beautiful Losers and artists who had shown at Deitch Projects? The unfortunate thing is that there definitely could have been less of a focus on those well-connected artists, and the many talented artists who aren’t connected to the curators probably had a harder time getting invited to be part of the show (or weren’t invited at all).

Os Gêmeos. Photo by RJ Rushmore

Briefly, it’s worth mentioning the lack of strong political artwork in the show. Any political statements made were “safe” ones, and the most controversial (Blu’s message of “war sucks and people make money off of it”) was removed. But just as all illegal street art and graffiti is inherently political, putting work by street artists and graffiti writers in a museum is a political act, even if the content of the work is not explicitly political.

The outdoor murals and the way MOCA has generally dealt with truly accepting the “street” side of street art and graffiti has also been a bit of a mess, but I think that would be true of almost any institution of MOCA’s size. The buffing of Blu’s mural and then the buffing of Katsu’s tag both tainted AITS, regardless of MOCA’s right to do what they want their walls, and the murals that replaced those two are not fantastic (although Push and Futura’s contributions to Lee’s mural work pretty well). And just this past week, Deitch’s inability to publicly defend and embrace illegal street art being committed near the museum has been laughable and depressing. Critics of the show are right to point out the hypocrisy of his position on the legitimacy of street art being produced today versus that of a few years ago. But just like it is the critics’ job to point out that hypocrisy, it is Deitch’s job to say politically wise things to reporters. Simply put, MOCA haven’t been very ballsy when it comes to the “in the streets” part of “Art in the Streets.” This minor fail is maybe what best points out what AITS is and what it isn’t.

In essence, the show has the wrong name. It is not “art in the streets.” It is “documentation of art in the streets or art by artists who began their careers by making art in the street but probably don’t do that too much now, or maybe they do but this is a different side of their artwork.” Yes, a lot of these artists still get up outdoors, but, for many but not all of the AITS artists, it’s a different sort of thing these days: OBEY posters are advertising, Banksy stencils are tourist attractions that last a few days before ending up on eBay and Steve Powers paints amazing murals for an organization founded with the expressed purpose of covering graffiti like his. I’m not saying that artists can’t or shouldn’t evolve, but many of the street artists and graffiti writers that AITS focuses on make “museum friendly” art. And that’s great for them. But AITS is not a show of art in the streets but art by artists who have, as I’ve heard a few people put it, “graduated” from the streets, even if they still get up a bit. As Unurth points out, there is a general lack of names from the last 10 years. So let’s reframe this for what the show is, and look at it that way. Putting aside the politics and minor flaws that only a street art or graffiti fanatic will pay much attention to, AITS is a huge hit.

AITS has two main components: it has a brief history of street art and graffiti, and it has mini-shows of fine art from some of the most acclaimed street artists, street culture documenters and graffiti writers over the last few decades.

Part of the timeline. Photo by Lindsay T

The timeline is the most “museum-y” part of the show, and it should provide newcomers a history of what graffiti, street culture and street art are about, as well as give long-time fans some new insights. While visitors should also take a trip to see the show currently on at Subliminal Projects to get a better idea about 1980’s street art in NYC, the timeline definitely does its job as a brief overview of the history informing the rest of AITS.

Most of the highlights of the show can be found in the installations.

Three of the best installations make a point of acknowledging that their work is in a museum, even though AITS is meant to be about illegal outdoor art. I’ve said it before and I’ll say it again: Street art and graffiti is about good placement and understanding context. Neckface, Os Gêmeos and the trio of Barry McGee, Todd James and Steve Powers all understand this very well, and it came across in their installations.

Neckface. Photo by Gelatobaby

Neckface’s section was billed as one of his “haunted house” installations, but ended up being a recreation of a dark inner-city alleyway (complete with a drunk, drugged up or just plain crazy homeless man) with some Neckface tags on the walls. Of course, suits and bloggers like me were lined up to check it out, but few of us would be smiling so much if we actually found ourselves alone in that sort of an alleyway at 3 in the morning. That’s the street, the thing MOCA is supposed to be celebrating. It is like a voyeuristic natural history exhibit for historically middle and upper class museum visitors, pointing out the impossibility and absurdity of bringing the streets indoors in the fashion that the title of the show suggests.

Os Gêmeos reinstalled a show that they had last year at a museum in Portugal. It was definitely a highlight of the show, with a little bit of everything from the twins. Hidden in a bit in their cluster of work was one piece of wood where it was written: “This is not graff the graffiti is outside!!” Simple. That installation is their fine art and it is awe inspiring and thought provoking and should be seen. The graffiti is outside. And so is the street art.

Os Gêmeos. Photo by RJ Rushmore

Street (Barry Mcgee, Todd James and Steve Powers). Photo by Gelatobaby

And then there is Street. Barry McGee aka Twist, Steve Powers aka ESPO and Todd James aka Reas reunited to make a new version of their historic Street Market installation, versions of which had previously been put on at Deitch Projects and the Venice Biennale. First of all, this might be the best installation in the show. Particularly when the area isn’t too crowded with other museum-goers, it’s like being transported into another, more Technicolor and mad, world. It’s a graffiti writer’s urban dreamworld where taggers can hide invisible bushes and bodegas sell cans of street cred. The space is an art-crowd friendly dreamworld of a street, where Style Wars isn’t a documentary but a musical without any real-world consequences. Again though, the installation touches on the impossibility of bringing a true street inside, going for the asurd illusion instead. Street is what would happen if graffiti writers could have a ride at Disneyland, and I mean that in the best way, but it’s still a ride at Disneyland rather than an actual street and the artists know it.

Street (Barry Mcgee, Todd James and Steve Powers). Photo by RJ Rushmore

Street (Barry Mcgee, Todd James and Steve Powers). Photo by RJ Rushmore

The show is just too massive to write about everything. This review is already far too long. Sections by Margaret Kilgallen, Roa (who again, understands that he is in a museum), Invader (who plays with the fact that he is in a museum), Shepard Fairey, Banksy, The Fun Gallery, Rammellzee, Retna, Chaz Bojorquez, Swoon, Kaws, Ed Templeton and many others add together to be the most substantial gathering of art by this group of artists that has ever been assembled. I rediscovered artists I’d overlooked, found new favorites and enjoyed revisiting the work of my old favorites. The show is so massive that a pessimist will undoubtedly find something that they do not like and many visitors will be overwhelmed, but it would be difficult to go through the entire show and not find a few gems, no matter your taste in art.

Swoon. Photo by RJ Rushmore

For a moment, forget about the BS and the politics and the buffing and Deitch-hating and Alleged Gallery controversies from a decade ago and the lack of this person and that person and why this person got an installation and that person painted a mural and blah freaking blah. Outside of our art-world BS political pissing contest context where AITS can and will be criticized on many levels, people are going to visit AITS and they’re going to see some amazing art by artists who were and are pillars of street art and graffiti history. I expect that the vast majority of visitors will like what they see and they will learn something. And that’s important. This is street art. It’s supposed to be for “the people,” and “the people” will still enjoy this show even if my or your 4th favorite artist was snubbed or whatever other minor flaw you can find. And if you go and visit the show and you can put aside your minor internal art world squabbles for a couple of hours, AITS should be a magical experience for you, just as it was for me. I highly recommend setting aside a day to visit AITS.

Photos by Lord Jim, Gelatobaby, LindsayT and RJ Rushmore

The entrance at Art in the Streets

Why haven’t hotels figured out that they should have strong free wifi in all rooms? And, if they make you pay for wifi, the signal and speed had better be amazing? Starbucks has it figured out, and I don’t have to pay a boatload of money to hang out in a Starbucks for a couple of hours (unless I’m drinking their coffee while I’m there). And yet, hotels haven’t seemed to get the message. So that problem, and the general busyness of the last few days in LA, is why I am woefully late covering the opening of Art in the Streets at MOCA in LA, probably the biggest indoor event this year relating to street art or graffiti. And I’m still going to be woefully late with coverage today. Expect a full review in a couple of days, but in the mean time, here’s some of the best reviews and coverage from around the web:

• Some overviews of the show by Arrested Motion and Sour Harvest.
• Lots of photos of sections by Lee, The Fun Gallery, Swoon, Barry McGee, Todd James, Steve Powers, Rammellzee, CR Stecyk III, Ed Templeton, Shepard Fairey, Banksy (whose section is a work in progress) and Os Gêmeos.
• Some thoughts on KATSU’s fire extinguisher on the side of the museum (since buffed and painted over with a mural).
• Unurth’s thoughts on the show (and Hyperallergic’s comments on Unurth’s review).
• Jake Dobkin’s comment on the lack of political content in Art in the Streets.
• Hyperallergic on this being the “first” exhibition of its kind.
• A review from The LA Times.
• The LA Times reports on an increase in graffiti throughout LA because of the show. A. Umm… duh. B. MOCA director Jeffrey Deitch attributed this increase to “some of the young taggers who are anarchic,” but neglected to mention that some artists in Art in the Streets are involved too. Barry McGee, Amaze, ESPO and friends painted some graffiti. I saw some McGee stickers around the museum. And Shepard Fairey’s crew has been hitting up electric boxes right out in front of MOCA without permission.

Patti Astor at Keith Haring's Fun Gallery show, 1983, Photo by Eric Kroll

If you’re the Jeffrey Deitch or museum-hating type, the next few weeks are not going to be your favorite weeks, at least not when it comes to Vandalog posts. I’m gonna be talking a lot about this topic. I could hardly be more excited for MOCA‘s upcoming Art In The Streets show, and some substantive information about the show is finally starting to come out:

• First of all, what lots of people have been asking for: a solid and confirmed opening date. Art In The Streets opens on April 17th.
• There will be 50 artist installations including Futura, Margaret Kilgallen, Swoon, Shepard Fairey and Os Gêmeos. Arrested Motion has some photos of Shepard’s installation process.
• The MOCA iteration includes a lot of West Coast stuff like Cholo graffiti and writers like Revok and Saber.
• Oh, clarification on the last point: The show movies to The Brooklyn Museum next March. Presumably the show will be refocused a bit NYC graffiti for that iteration.
• The show will include some mini-shows within it including a space dedicated to The Fun Gallery, a RAMELLZEE installation and Todd James, Barry McGee, and Steve Powers’ new iteration of their legendary Street Market show.
• Because MOCA is looking at skateboarding as art on the streets too, there will be a custom skate ramp in the museum and Nike’s skateboarding team will be skating there throughout the run of the show.
• There will be a film festival component to the show.

So yeah. Sounds good. Can’t wait for the opening. If this show succeeds, it could be the American equivalent of Banksy Versus The Bristol Museum in terms of impact.

Here’s some more preview images:

Chaz Bojorquez, Señor Suerte tag with ‘veterano/veterana’ roll calls, Arroyo Seco River, Los Angeles, 1975, photo by Blades Bojorquez

RAMMELLZEE, Battle Station, New York City, 2005, photo by Charlie Ahearn

Photos courtesy of MOCA

So umm… Apparently Steve Powers, Todd James and Barry McGee are reuniting for MOCA’s upcoming Art in the Streets show. Then this thing popped up online. Steve Powers’ says on his blog, “Im in LA, working with Todd and Barry building the first solar powered rumor mill,” and Todd James says on his blog, “Style Wars the cult classic documentary By Tony Silver and Henry Chalfant has been reimagined by Todd James and Steve Powers as Style Wars the musical!!   To be seen at “Street” at LA Moca’s “Art in the Streets” April 2011.”

No idea how real, if at all, this is, or what it might have to do with what they are actually planning if this isn’t happening. But just thought I’d mention it because it’s sort of funny.

Overunder

This week is spring break, so I’ve been enjoying some relaxation and watching too many films on Netflix, but in the mean time, there were of course some stories that slipped by me. Here are some of them:

• Some of my favorite photographers in the UK have put together a graffiti zine.
• So apparently, the name Banksy written on a piece of cardboard automatically adds exactly $68,500 of value to said piece of cardboard.
• Speaking of Banksy, this post raises some questions about what really separates Banksy from the crowd.
• Todd James, Steve Powers and Barry McGee, the three artists behind the legendary Street Market show are reuniting at LA MOCA’s Art In The Streets exhibit next month.
• Mark Dean Veca is going to be doing a live painting event in New York for most of next week.
• Stik’s show in London is at possibly the coolest indoor gallery venue imaginable.
• Becca has some new work up.
• This piece by Snyder has fantastic placement.
• That cool-looking film about the guys who illegally buff graffiti, Vigilante Vigilante, is almost done but needs a bit more money for editing, so they’ve got a Kickstarter campaign started.
• Looks like The Leonard Street Gallery saga from a few years ago isn’t quite over.

Photo by Overunder

Back in November, Steve Powers spoke at a TEDx conference in Philadelphia about his Love Letters and what he’s been up to recently in Brazil. Very cool.

Via Nuart

A few months ago, there was talk about a film being screened in Philadelphia. A film based on Steve Powers‘ amazing A Love Letter For You project. Unfortunately, I missed the screening, and didn’t hear much about it until this week when I spoke with someone at that screening. They said it wasn’t just a documentary about the project, but actually a fictional account of a graffiti writer, which was surprising. Well now there’s a trailer. Check it out:

No info on further screenings yet, but the trailer says to keep an eye on this page.

Photo by Nikkirk

Via Juxtapoz

I’m glad to be back in Philadelphia today, so here’s a photo of a mural here by Steve Powers.

Photo by break.things

The Underdogs project is a new venture from Vhils and a number of other (primarily Portuguese) street artists who are trying to gain more awareness for street art in Portugal. Some of the artists included in the group include Vhils and Tosco. Vhils tell Vandalog that the core of The Underdogs is a drive to make a platform for showing and uplifting street art in Portugal in a variety of different ways.

I’m still not 100% sure of everything that the project will involve, but their launch event is taking place this Friday at Vera Cortês in Lisbon. For that event, The Underdogs have teamed up with Pictures on Walls to show some prints by Blu, Steve Powers and others. In addition to being an art exhibition, the launch event will double as the launch of The Underdogs’ first book, a book about the Portuguese street art scene and its history.

For more info about The Underdogs and their launch party, check out Target’s blog.

This could be the start of something pretty interesting. If you’re in Lisbon, definitely something to check out. Let us know how it goes.

Dave the Chimp takes a little look at “the buff”, it’s uses and misuses, and where it can head in the future.

I used to live by a small park. Kids walked through the park to take a short cut to school. Drug dealers worked the same route. There was a garage there covered in tags. I had the idea to paint the garage with some friends, covering the tags with a brightly coloured mural. The idea was to make the space a little brighter, a little less like a spot where drug dealers would hang out. I made a fake letter from my local government authority giving me permission to paint the garage, just in case anyone asked, and set to work. This is the result:

One of my neighbours saw me painting and later told me she thought I was doing “community service”, which in England is an alternative to a prison sentence!

ESPO made his own “community service” projects as a way to get his name up, starting with his “Exterior Surface Painting Outreach” program in New York (those infamous shutters), and later with his “Community Service” project in LA, where he buffed graffiti in the way we are all familiar with today (blocks of colour) so that the buff-marks spelt his name.

You can see these projects here and here.

What I like about this latter project is that it uses the anti-graffiti weapon as the weapon, like a martial artist using their enemies’ strength against them. It also sits nicely with the way graffiti is abstracted so that it becomes a code that can only be read by certain members of society. And it’s incredibly amusing.

Here are some photos of some abstract compositions I made earlier this year by adding my own buff marks to a wall that had been buffed, and other buff marks that I added to spell my name, much like ESPO did, though I created huge letters by only painting the negative spaces in the letters. I didn’t think much about this piece. I had a bucket of paint that was left over from another project I was working on at the time, and I just walked outside to see how I could use it, and this was the result. I’m sure with more thought better pieces could be created with this method. Feel free to take this idea further.

Another body of work utilising the buff was the Toasters‘ Bluff Buff, which inserted the shape of their toaster into areas of buff, as a comment on the inaccurate colours used to cover graffiti: here and here.

I painted characters so they looked as though they were behind areas of buff in Berlin and Hamburg, and turned the actions of the buffer into comedy:

And in this case, the original piece was buffed for real, so I pulled out a marker and turned the buff into fog:

Earlier this week we saw a piece by Mobstr which became a game, with his opponent being the buff man. Comments posted suggested further ways to play the game.

Banksy took a shot at New Orleans famous buffer Fred Radtke AKA The Grey Ghost when he visited the city:

Photo by eastcolfax

Photo by Lauren Craig

Mr. Radtke has taken it on himself to buff, with grey paint, any graffiti he sees, and even got himself in trouble with police by buffing a legal mural.

He is featured in an upcoming documentary, along with other buffers such as the “Silver Buff” from Berkeley, California, who believes there is too much “visual noise” on the streets. Watch the trailer here. Something I found interesting is that one buffer in the movie talks about how buffing makes him feel “in control” of life. This suggest that the actions of graffiti and street artists can make people feel like they have no control, making them victims. This is something to consider next time you hit the streets.

The buff itself can also be seen as art. Artist Cody Vanderkaay recreates the grey shapes left by buffers in the streets as “black boards” for people to draw on.

Photographer Chris Brennan documents the layers of colour haphazardly applied to the city walls to cover up layers of colour that were made with more thought. His photos often look like the work of abstract artists. One of the photos we see at that link puts me in mind of the work of Mark Rothko, though I doubt the buff in the street can ever be as effecting as being in a room with one of his huge, deep paintings.

Another weapon in the buffers armoury is the pressure washer, that cleans off graffiti. It can also be used to clean dirt off of walls, a fact ZEVS put to great use. Other versions of “clean graffiti” can be seen here. I’m sure we’ve all seen advertisers use this technique too, usually to place logos on city sidewalks.

It’s not unusual to see advertisers use street art techniques, just as it’s not unusual to see street artists fight back against advertising.

I like these pieces by the Thought Police member Eric Pentle, who will happily cut out your carefully constructed copy, or simply paint your whole billboard black. Unlike other artists, such as OX, that use advertising space as their canvas, there appears to be no clever message in Pentle’s billboards. He simply removes their ability to be effective. He is reacting to the lack of control he has in a world full of messages constantly being shouted at him, and thus makes his environment quieter. This is much the same as the Silver Buff does with graffiti. I find this very interesting, as I live in a country where I understand little of the language, and so advertising has no effect on me. It creates a more peaceful daily experience to not be told what to do all the time. See Pentle defuse more advertising here.

As we can see, the buff is nothing to fear. In fact, let us embrace the buff, and see where we can take it. Let us use this negative energy and turn it into a positive force.

One of the advantages of the buff is that, with a little effort, you can get the materials for the job for free. Try ESPO’s technique and tell the city you want to cover the graffiti in your neighbourhood, and are willing to work for free if they give you paint. Failing that, many cities have “paint recycling depots” where unused paint is taken to be disposed of. My friend Ekta in Sweden gets most of his paint for free by going to his local recycling depot and simply asking for the paint. Also keep your eyes open to see where legitimate painting work is happening. Brushes and rollers are often thrown away as people don’t want to make the effort of cleaning them. Soak them in water and the paint soon comes off. Or if they use an oil-based paint and you don’t want to mess around with turps trying to clean them, just wrap them in a plastic bag, they’ll be good for a few more days. Free brushes and rollers! Sorted!

As buffing requires little skill, this fun activity is open to everyone. No need to spend hours cutting stencils, screen printing posters, or learning how to draw – just grab your roller and a bucket of paint and make your mark in the world. The streets are a playground for everyone! I would suggest though that you have an idea before leaving the house, otherwise your efforts will be as destructive and unattractive as The Grey Ghost and his friends.

So come on kids, lets get buffing! Maybe by employing the buff as one of our weapons, applying it liberally around town, we can confuse city authorities so much that they start employing artists to paint art over all of the ugly buff marks in our cities. They can pay us to do what they paid themselves to undo.

- Dave the Chimp

Photos by Dave the Chimp, Eric Pentle, eastcolfax and lacraig819