Last night hosted a packed opening at Black Rat Projects entitled Printmaking Today. Normally print shows tend to be a bit tedious, since they are usually reproduced images of originals or have been so before upon their initial releases. But Black Rat hosted a refreshingly eclectic display of prints by artists ranging from Damien Hirst, Banksy, Matt Small, D*Face, Shepard Fairey and more. As much shit as I got for a previous post of mine about street artists becoming accepted into the art canon, this show only adds further evidence to my point. While many high end fine art establishments look down on street art and find it a passing trend in galleries, this show saw Hirst’s work next to D*Face and Bridget Riley (whose work is in the Tate) close to a Shepard Fairey, without any work looking out of place. My friends and I were discussing how not only does street art borrow from fine art, but fine artists are definitely borrowing from the work of street and outsider artists. The lines are quickly blurring between low brow and fine art, so it is finally nice to see the two in such a show, and not just in an auction.
The show also boasted an incredible pop-up project space by ROA. Each angle showed a new image, and I swear you could walk around it ten time and would still see something different. The works may not be new, quite similar to the LA and NY shows, but the concept is so much more complex and is worth checking out just for that reason.
My favorite of the night had to be Pure Evil‘s “Dripping Liza” work that culminated with a puddle of teal paint down on the floor near the canvas. Andy Warhol may be done to death, but Pure Evil still manages to put a new spin on an over-saturated piece of art that needs to be seen in person to attain the full effect.
Pictures by butterfly. View the whole set here