RJ Rushmore – Page 19 – Vandalog

March 10, 2014March 6, 2014

The Museum of the City of New York saves the seeds of a culture

12447045205_3d5e7b7df9_z — Mural by Daze behind a display of spray cans. Photo by gsz.

Well, really, the headline here isn’t entirely accurate. The artist and collector Martin Wong saved the seeds of a culture, and then donated his collection the Museum of the City of New York. And then the museum mostly kept those seeds hidden away for about twenty years. But now the museum, with the help of curator Sean Corcoran and others, has brought those seeds back into the spotlight for a new generation to learn from. Of course, I’m talking about City as Canvas, the new show at the Museum of the City of New York, and the seeds I’m talking about are the seeds of modern graffiti.

The back story behind City as Canvas is pretty great. Wong, a painter who lived in NYC’s East Village in the 80’s, was noticing graffiti and as he met some of the men and women behind it, he began supporting the young writers by buying their work. Eventually, that turned into a major collection of work by New York train writers like Sharp, Daze, Lee, Futura and many more. Wong even tried to open his own “Museum of American Graffiti” in 1989, but it didn’t work out. Still, Wong had amassed something special and unique that captured a very important time period for graffiti as artists transitioned from trains to canvases and teenagers to adults, and as graffiti itself spread from New York City to the rest of the world. Eventually, he donated his collection to the Museum of the City of New York. Those are the basics, but really, the story of Wong’s collection has already been told very well and in more detail in the New York Times, so do check out that article.

As for the show itself…

Continue reading “The Museum of the City of New York saves the seeds of a culture”

March 6, 2014March 6, 2014

Pose comes to NYC for VOLTA and a mural

Pose_LISAProject_RRosa-F4

Yesterday morning, Pose MSK finished up this mural for The L.I.S.A. Project NYC at 188 Lafayette (Lafayette and Broome). This is phase one though. Later this year, Pose will be back to paint the entire five story wall.

Pose’s mural was organized by The L.I.S.A. Project NYC with support from Robin Mui, CEO of Sing Tao Newspapers NY, and Kate’s Paperie, which is right next to the mural.

Pose_LISAProject_RRosa-P1

Pose in in New York City because he’s showing with Jonathan Levine Gallery at VOLTA this weekend for Armory Week. VOLTA tends to be one of my favorite fairs, along with Fountain and Scope. Fountain is great because it’s unpretentious and fun, Scope tends to have the most artists whose work I’m familiar so it’s a nice way to see what people have been up to, and VOLTA is where I go to find great new artists. VOLTA’s format is a bit abnormal, but it works great. Each gallery only shows one artist in their booth, so (at least compared to other fairs) it feels a lot less like a flea market or a mall. For a more detailed list of the art fairs happening in NYC this week, check Hyperallergic.

Here are some more photos of the new mural:

Continue reading “Pose comes to NYC for VOLTA and a mural”

March 5, 2014March 3, 2014

The Wa brings the street inside, but not in that cheesy “I’m a street artist painting on canvas, therefore I’m bringing the street inside” way

the_wa_antiskate — The completed indoor component of “Skate-anti-skate” by The Wa

Not all of these works are particularly new, but I want to point out a series by The Wa where he’s been improving cities in subtle ways that might not be immediately apparent as art, until he brings the results of his interventions into the gallery as sculpture. These works by The Wa are reminiscent of Brad Downey‘s CCTV Takedown series, but with a more labor-intensive process and a slightly different focus on what in the city modification. At the end of the day though, both series attempt to improve the general public’s experience in cities by providing more freedom in public spaces and both series involve highlighting the work through sculptures that get displayed indoors. Which is not to say that I don’t love what The Wa is doing as much as I love Downey’s series. On an aesthetic level, I actually prefer the sculptural end product that The Wa produces.

The sculpture shown above, Skate-anti-skate, was made from metal “skate stopper” pieces that The Wa removed from the street in Berlin in 2011. If you don’t skate, you may not have noticed things like this before, or you may have thought nothing of them, but skaters know them all too well. The seemingly functionless metal studs that often break up otherwise long and smooth sections of marble or metal in public spaces are there to make those spots difficult or impossible for skateboarders to skate on. For this sculpture, The Wa removed some skate stoppers to salvage the materials and reassemble them into something that looks like a skateboard. See the GIF below for before and after shots of where he got the material from:

Continue reading “The Wa brings the street inside, but not in that cheesy “I’m a street artist painting on canvas, therefore I’m bringing the street inside” way”

March 4, 2014March 30, 2014

Practical tips: Secure communications

In the street art and graffiti community, many of us deal with sensitive data every day, but many of us do not protect ourselves from being snooped on. The NSA and GCHQ may have little interest in what you were doing running around with cans of paint last night, but other government agencies might care a great deal, and they also have a surprising level of access to your data and communications if you don’t protect yourself.

I’m not a lawyer or a security expert, and I’m not encouraging anyone to break the law. My tips in this post are not legal advice and they’re far from perfect. I simply want to get a discussion going about security in our community and suggest a few ways that we might begin to protect ourselves and communicate more securely. My suggestions are US-centric, but many of the same tips and concerns should apply no matter what country you’re in. Also, remember that no system is ever completely secure. If you have questions or more tips or you think my tips don’t work the way I say they do, please email me or leave a comment.

Continue reading “Practical tips: Secure communications”

February 26, 2014February 25, 2014

Roti’s gift to the new Ukraine

Last month, Roti presented a massive marble sculpture, titled New Ukraine, to the Ukrainian people protesting in Kiev, dropping it in the middle of Kiev’s Independence Square. You can read more about the sculpture over on Brooklyn Street Art. Last week though, Chris Cunningham posted the following video showing how the work was made and installed. The whole thing is quite inspiring.

‘To the new Ukraine’ – (Short) from Chris Cunningham on Vimeo.

Photos by Chris Cunningham

February 25, 2014May 31, 2015

Trevor Paglen and the public domain

NSA headquarters in Fort Meade, Maryland

A few weeks ago, a site launched that is being hailed a major experiment for 21st century journalism and a bastion of freedom in a world increasingly less safe for adversarial journalism, even in the USA (anyone notice how far the USA dropped in the press freedom rankings this year?). That site is The Intercept, whose contributors include Glenn Greenwald and Laura Poitras (best known for their articles based on documents leaked by Edward Snowden) and Jeremy Scahill (probably best known for the book and the film Dirty Wars). So, on a site like that, where the focus is politics, law and security and the contributors are world-class journalists who specialize in those topics, would you have guessed that one of their very first articles on launch day would be by an artist? Maybe I’m not giving the arts enough credit, but I was surprised to see a post by artist Trevor Paglen on my first visit to The Intercept.

In partnership with Creative Time Reports, The Intercept published three stunning photographs by Paglen of offices that make up a small part of the America’s international intelligence/surveillance network: The headquarters of the National Security Agency, the National Reconnaissance Office and the National Geospatial-Intelligence Agency. The publication of those photos alone is interesting, but not really news for Vandalog. What really makes these three photographs special, and why I’m writing about them here, is that Paglen released them into the public domain. That means anyone can legally reuse the images pretty much however they want without having to ask Paglen’s permission, crediting him or paying him anything.

The National Geospatial-Intelligence Agency in Springfield, Virginia — The National Geospatial-Intelligence Agency headquarters in Springfield, Virginia

The images are just out there. Free. Ready for whatever you might need them for. Go ahead. Use them. Spread them around. Paglen’s hope is that we can have better conversations about these agencies if we can picture them. He wants these photographs to be seen.

It’s that desire for sharing, and the will to act on that desire in a way that traditionalists would argue is against the photographer’s own self-interest, that makes these images are so fascinating to me. I write in my recent ebook Viral Art about how images exist online in much the same way that street art exists in public spaces. Photos on Facebook or Tumblr reach the same general population that street art is trying to reach, except perhaps more efficiently. Sure, plenty of images get reposted and shared on the web every day, but so much of that sharing technically violates copyright laws and is illegal. In this case, Paglen is actively encouraging sharing and making it legal, which can only amplify how far and wide the photographs are spread.

These photos are artworks not just because they’re beautiful images of interesting subject matter and speak to issues of the surveillance state. They’re conceptual artworks in which we are all implicated by our moral obligation and legal right to freely share them, a legal right that Paglen has chosen to grant us. And I’m writing about them because Paglen’s choice of licensing makes them organic viral art, in the freest way possible, and I also felt an obligation to share the images.

Plus, I wanted to finally write about some viral art that is completely disconnected from street art, hopefully providing some idea to those who haven’t yet read the book of my thinking about what viral art is and can be.

The headquarters of the National Reconnaissance Office in Chantilly, Virginia

Photos by Trevor Paglen

February 24, 2014February 12, 2014

Tim Hans shoots… Mon Iker

Mon Iker_TimHans

I met Mon Iker at Living Walls in 2012, when she was a muralist for the conference’s all-female year. Since then Mon has relocated to New York. Last summer, Tim Hans photographed her on a Brooklyn rooftop for his continuing series of photo-portraits of artists. I took the opportunity to reconnect with Mon and ask her a few questions over email (although I should have edited them first, note the error in question 4).

RJ: What brought you to New York?

Mon Iker: Although I’ve been in NYC off and on since 2011, last spring I received a scholarship to participate in an artist residency program at the Hemispheric Institute of Performing Arts & Politics (EMERGENYC) where I was able to study and create with world-renowned artists/activists such as the YesLab, ERRO GRUPO, and Peggy Shaw. It was extraordinary, and I’m very thankful for that opportunity, but living expenses weren’t paid so I had to find a means to make it work. Happenstance – in particular, a facebook post by the Yes Men – led me to apply for a paid internship at what appeared to be a cryptic sounding but politically minded arts studio called Not An Alternative. The residency only lasted three months, and I hadn’t planned my life that far in advance to know what I was going to do after it ended. Not An Alternative winded up being exactly what I was looking for, so I’ve decided to settle in the city to continue to work with them while also working on my own stuff.

RJ: Your mural from Living Walls 2012 is one of my favorite murals in Atlanta, but I don’t think of you as a prolific street artist. How did you end up painting on the rooftop where this photo was taken, painting with a bunch of street artists?

Mon Iker: Thanks; that means a lot to me. I enjoy what you do. Trek had come to the city and we were hanging out when he told me about a rooftop that a bunch of folks were going to paint later. Art in reclaimed space always gets me excited, so I hopped on board. I ran into LNY, whom I’ve known since Living Walls, and met Icy & Sot, ND’A, Kyle Hughes Rodgers, and Vexta – all incredibly friendly people. I actually didn’t have any tools on me, so freeloaded some primer white and a leftover paintbrush to make a quick doodle. Hearing about the tragedy that occurred later on that same rooftop really devastated me. My heart goes out to Icy & Sot and all those affected.

RJ: What attracts you to muralism?

Mon Iker: The idea that advertising is the only large scale visual language sanctioned in public space is revolting to me. I feel like muralism and other forms of public art are the only media with the subversive potential to rupture a culture overstimulated by an alternate reality that consumerism creates. One of the things I like to focus on in my work (as well as at NAA) is the repurposing of authoritative language; something that is exploiting all of us is especially ripe for exploitation in itself. Also, did I mention I love to paint? And, to be honest, my piece at the conference in 2012 was the first time I’d ever used spray. I feel like there’s no going back. Absolutely addicted.

RJ: What are the essential tools in your studios?

Mon Iker: I work in a variety of media, ranging from street art, paintings, and photography to performance, animation, and film. So, if I had to narrow it down: my camera, my journal, some microns, spray, and any cheap house paints I can find. I’ll still always love my oils, though. Its funny you mention “studios”, because I’ve actually been homeless for a little more than 2 years. Deciding to stay in NYC was a huge decision; one I’m glad I made because I’m finally able to set up a studio again. I’m also currently in the process of setting up a new site, publishing new work, etc.

RJ: How does New York compare to Atlanta?

Mon Iker: Although I’m not originally from ATL, it’s easy to find the arts community there. Everyone knows each other. Even so, I still never quite felt like I fit in. The support base for artists who are interested in activist/political expression doesn’t really exist there as it does in the city, and my work leans strongly in that direction. Regardless, not having my feet planted firmly in either place yet still makes me feel like a drifter. But perhaps I’ll always feel that way.

Photo by Tim Hans

February 21, 2014February 24, 2014

mobstr proves that street art + phone number = been done (but that’s okay)

Check out the above video. It’s the first part of mobstr’s new series, The Number. Earlier this month, I wrote about how Geoff Hargadon has decided to share voicemails that he has acquired as part of his Cash For Your Warhol project. Fauxreel has also put up a phony ad with a phone number. Banksy used phone numbers for Better Out Than In last October. Swampy has a voicemail now too. And of course COST and REVS put a working phone number on their wheatpastes in the 90’s. I think it’s a fun idea. Now, mobstr has joined in.

He painted his phone number at a prominent spot in London, right on top of Old Street station at the Old Street roundabout. To give some sense of this location, it’s a stone’s throw from a few Banksy pieces covered in plexiglass and even more that have been destroyed. It’s where I used to start my street art walking tours. The roundabout is just blocks from the thick of London street art. Actually, the exact spot mobstr painted was host to this domino piece for years. Apparently, it’s now gotten to the point that people are so used to street art around Old Street that it’s entirely expected.

It used to be that a phone number would surprise or confuse people. Even as recently as last week, I’ve heard people say, “I saw those COST and REVS wheatpastes back in the day, but I had no idea what they were.” The voicemails that have been shared from the Cash For Your Warhol project are mostly from callers who are confused or angry about the signs. I haven’t heard of many people calling Swampy’s number (although I definitely encourage you to give it a try). Banksy had to explain the concept on his website.

With The Number, we seem to have hit a critical mass. Phones have been used in street art so much now that people are calling the number ready to perform for whoever is on the other end. They seem to know what’s up. Maybe that’s just because the piece is at Old Street, I’m not sure. But mobstr’s callers definitely become part of the piece in a knowing way that the Cash For Your Warhol callers are not (and voicemails for the other projects that used them haven’t been released).I’m a fan of street art that is innovative, work that pushes boundaries. At least that’s what I like to think. mostr’s piece doesn’t do that, but that turns out to be okay. Now, only because the concept is a somewhat familiar one, a phone number associated with a piece of street art provides an opportunity for a new kind of honest interaction where the caller/viewer is at least partially in on the joke and can participate with the street artist in the completion of the piece.My hat is off to mobstr for once again creating street art that thrives on away from keyboard audience interaction while still having a finished product that looks great online. That’s not easy.

February 20, 2014February 20, 2014

Pure Evil reflects on the perceived financial value of street pieces

With this Tuesday’s auction of alleged artwork ripped from the streets in order to destroy it’s meaning and increase its value, I thought it would be a great time to share some recent pieces by British street artist Pure Evil. He’s been working on a series of street pieces that comment on both the theft and protection of street art in London. For years, it’s been common in London to cover “valuable” street art with a layer of perspex/plexiglass in order to protect it from would-be vandals. And of course, more recently, work (mostly by Banksy but also by a few others street artists) has been removed from the street and put into private hands. But what am I rambling on for? Here’s Pure Evil’s response to all of that:

I encourage you to try calling this number. — I encourage you to try calling this number

Photos by Pure Evil

February 19, 2014April 8, 2014

Ben Eine and Ludo join up with The L.I.S.A. Project NYC

Ben Eine on the Bowery. Photo by Rey Rosa.

I’ve got two small but exciting pieces from The L.I.S.A. Project NYC to talk about today.

When I first started working on organizing murals in Little Italy, we called it The L.I.S.A. Project NYC for Little Italy Street Art. We never expected to get beyond Mulberry Street, but about 18 months later, have our first mural in Chinatown. Earlier month, The L.I.S.A. Project NYC invited Ben Eine to paint a mural at 161 Bowery, and he knocked it out just before the opening of his show at Judith Charles Gallery. Eine and his work will always hold a special place in my heart. His work helped me get interested in street art when I saw shutters much like his piece for The L.I.S.A. Project NYC peppering Shoreditch six years ago when I knew absolutely nothing about street art or graffiti. Ben was also one of the first artists that I spent any proper time with or chatted with about street art, and he really inspired me to explore things further. For all those reasons, plus I just plain enjoy his shutter alphabets, it was a joy to help arrange a spot for him to paint, and for him to be our first artist painting outside of Little Italy. He helped me expand my horizons six years ago, and now he’s doing the same for The L.I.S.A. Project NYC.

Eine’s show at Judith Charles Gallery in NYC, Heartfelt, runs through March 16th, but here’s one photo from the show. You can see more over at Arrested Motion.

Ludo on Mulberry Street. Photo by Rey Rosa.

This month we’ve also worked with Ludo. Earlier this week, he pasted a piece on a door on Mulberry Street in the heart of Little Italy. I’ve been a fan of Ludo’s work for years, so I’m bummed that Wayne and Rey, my partners at The L.I.S.A. Project NYC, got to handle this one themselves while I sit in Philadelphia. On the plus side, in addition to the door with The L.I.S.A. Project NYC, Ludo has been getting up around NYC and he has a solo show opening at Jonathan Levine Gallery this Thursday evening (6-8pm). So I’ll have a lot to check out next time I’m in town.

Ludo at work in Little Italy. Photo by Rey Rosa.

I think these are great pieces, but let’s face it: Ben and Ludo both painted work with The L.I.S.A. Project NYC in the run-up to gallery shows. And some of the work we have planned for the next few months also coincides with gallery shows. I know some people find that controversial, suggesting that the murals become mere ads for the gallery work. As someone who really doesn’t like outdoor advertisements, this is something I think about. I look at things from a different angle: In many cases, the artists we work with who time their pieces with a gallery show are out of town artists. They aren’t going to come back in a month when their show is down to put up work, so we grab them while they are around. And yes, the work may function as an ad to some viewers, but the work has no real branding on it beyond the artist’s own signature style. For 99% of the people who see these works in person, they see pure public art, not ads. And if you look at a work of street art or public art and do see an ad, it’s only because you’re already aware of the show that you may think the work is there to promote. Do murals help promote shows in a roundabout way? Sure. But it’s a subtle promotion that results in the creation of public art, and personally I have no problem with artists working in galleries. I want to support my talented friends so that they can live off of their art, if they choose to do so. So yes, we at The L.I.S.A. Project NYC are proud to say that sometimes we work with artists who are putting up art that coincides with gallery shows, because it allows for a more diverse set of murals and furthers supports the artists we love.

Photos by Rey Rosa for The L.I.S.A Project NYC