RJ Rushmore has been involved in contemporary art as a writer, curator, photographer, arts administrator, and fan since 2008. With a focus on street art, graffiti, and public art, RJ facilitates and promotes catalytic and ambitious art outdoors, in galleries, and online. He founded the street art blog Vandalog and has worked at The L.I.S.A. Project NYC, Mural Arts Philadelphia, and Creative Time. Currently, RJ is Co-Curator of Art in Ad Places.
Caledonia Curry aka Swoon‘s latest solo show opened last night in her home-state of Florida. Petrichor (a word I was unfamiliar with but she says means “the first scent of rain on parched ground”) is an installation at the State College of Florida, Manatee-Sarasota Fine Art Gallery in Bradenton, FL. The show runs through April 3rd. Petrichor was made for Curry’s father, who lives near the college.
Lush is returning to Backwoods Gallery outside of Melbourne for a solo show (I believe his 3rd there) this week. The show, The Evolution of a Graffiti Shit ****, is open for one night only: This Friday. Lush’s shows are always a bit of a madhouse, so I would definitely recommending checking this one out, although obviously not if you’re easily offended (or, just really ever get offended about anything really). Seriously, should be great if you can handle it.
Cannon Dill on the left, Zio Ziegler on the right, with Feral Child’s background. Click to view large.
Feral Child, Cannon Dill, and Zio Ziegler have been working together recently on some walls in Oakland and San Fransisco, California. The three of them seem to make a great combo, and I don’t think I’d seen Cannon Dill’s work before, so I’m glad Feral Child has introduced me to the work of such a skillful painter. Definitely make sure to check out all of these walls in large by clicking on the image.
Cannon Dill on the left, Zio Ziegler on the right, with Feral Child’s background. Click to view large.Zio Ziegler on the left, Cannon Dill on the right, with Feral Child’s background. Click to view large.
As we previewed on Sunday, Roa has a solo show, Stop Over, open now at BODSON-EMELINCKS in Brussels. So glad to see Roa finally getting a full-fledged solo show in his home-country of Belgium. Looks great.
Dain has a solo show coming up this week at Avant Gallery in Miami. Transformation opens February 28th and runs through March 20th, with an opening on the 27th from 6-9pm. But make sure to RSVP to the opening by shooting off an email to dain at avantgallery.com.
Update 3: Here’s a statement from the auction house, Fine Art Auction Miami: “Although there are no legal issues whatsoever regarding the sale of lots 6 and 7 by Banksy, Fine Art Auctions Miami convinced its consignors to withdraw these lots from the auction and take back the power of authority of these works.” and a statement from the owner of Wet Dog, Stephan Keszler (who will not say whether he also owns or represents the owner of Slave Labour) “We pulled it because of the hype. We did not feel comfortable in this environment. But I think we are very happy that an auction has tried to get Banksy’s street works into auction. It’s a breakthrough.” (via)
The Banksy street piece shown above (named Slave Labour (Bunting Boy) by the auction house which was trying to sell it), which a few days ago we mentioned was up for sale at an auction house in Miami, did not end up selling at the auction yesterday as had been the plan. Instead, the piece was withdrawn from auction, there has been a public outcry to return the piece to its original site, and investigations by British police have begun into how the piece was removed from London and put up at auction in the first place.
The local outcry about the piece’s removal reached a particularly hilarious point when a member of the local government arranged a protest requesting that the piece, which presumably was painted illegally, be withdrawn from auction and returned to its original location. Sounds like they might be successful in that effort, but I expect that the piece would be quickly destroyed by haters and/or street art/graffiti purists if it were returned to the street at this point.
Even the FBI got involved, asking the British police to investigate the origins of the piece. It’s still not 100% clear whether or not the piece was removed from the street with the permission of the property owner, but the owner has so far refused to comment, so at this point I’m guessing that they saw a chance to make a few bucks and organized the removal themselves.
While we’re on the topic of Banksy, I’d like to discuss dispel two Banksy-related rumors that popped up elsewhere on the web last week as a result of a lack of fact-checking by journalists and bloggers.
The Haringey Independent has published twostories about what they call “a new ‘Banksy'” on the same street where the Slave Labour piece once was. The piece is a stenciled image of a rat holding a placard with the question “Why?” on it. The only hint in either article that the new stencil might not be by Banksy are the quotes, but there’s no real discussion and it’s basically assumed that the piece is legit. After even just a quick glance at the piece, I’m 99% certain that it was not done by Banksy, but was just an homage and comment on the removal of the real Banksy piece. The rat stencil is poorly cut, poorly sprayed, the font on the placard isn’t one of Banksy’s standard fonts, I don’t believe Banksy has done a 1-layer rat stencil since 2009, and (save for the Banksy versus Robbo events) I can’t think of any instances of Banksy doing a street piece which directly addresses a specific controversy of his career. Of course, the funny thing is that the property owners where this new rat is seem to think it’s a real Banksy, since the second article reports that the non-Banksy is now covered in a protective layer of plexiglass.
And then there’s the hoax story that Banksy was supposedly arrested in London last week. A press release posted to prlog.org claimed that Banksy had been arrested. The news quickly spread on Reddit and Twitter. Although the press release was quickly removed from the site, UK Street Art has the full text available. Give the press release a read. Think about it for a second. Does it sound legit? Blogs such as Jezebel and Death and Taxes, and Clutter Magazine reported the story as fact. At least Complex.com made clear that the release was basically an unconfirmed rumor. If those blogs wanted some hits, posting that press release without actually thinking about it was probably a good move. But it wasn’t too difficult to determine that the press release was a very likely hoax, even before it was removed from prlog.org. And the press release was a hoax. Betabeat has a good brief summary of how the hoax happened, some reasons why it was a hoax, and who was behind it (it seems that site was). Reddit and The Banksy Forum have more detailed discussions as to why the press release was clearly a hoax.
With Banksy, things are rarely 100% clear, which opens up the door for hoaxes (I can’t think of any off the top of my head, but I’m sure I’ve fallen for one or two before), but if we exercised a bit more caution, perhaps these kinds of hoaxes and misattributions wouldn’t be quite so common.
Photo courtesy of Banksy, aka lifted from his website
Roa has returned to his home country of Belgium for a solo show, cleverly titled Stop Over, at BODSON-EMELINCKS in Brussels. The show opened a couple of days ago, and we’ll likely have more coverage soon, but for now here are some preview shots by Henrik Haven of the show’s installation.
gilf!‘s solo show i Exam is open now at Arcilesi Homberg Fine Art in Brooklyn. The show includes a number of unexpected new pieces from gilf! that really separate her outdoor work from her indoor work. The basic themes are still the same, but the technical complexity of some of the work is beyond what we’ve seen from her outdoors. I haven’t included too many photos in this post because many of the pieces include somewhat obscured text which is difficult to read in a jpeg, but I’d love to hear what people who saw the show in person thought of those pieces.
i Exam runs through March 10th.
“Common Wants & Common Cares”“The Ghost of Gold” (the text reads “POST DEMOCRACY”)
As I tweeted the other day, my mind is kinda stuck on how much I wish the Parra show at Jonathan Levine Gallery opened today and not on Saturday so that I could go see it. So while I’ve been distracted by that point, here’s some of what I almost missed this week:
Nice video of Eine updating one of his walls in London from saying PRO PRO PRO to PROTAGONIST. Interesting comment about street art being a thing that “looked like it would offer what graffiti promised but didn’t deliver.”
Jonathan Jones is up to his old tricks of dissing Banksy to get more hits for his column, and I’m biting. He writes, “Banksy, as an artist, stops existing when there is no news about him.” Even if that is the case, is that the end of the world? Does that relegate Banksy to “art-lite”? No. Banksy is one of the most talked-about artists in the world. I would bet that the same criticism was leveled against Warhol, who I believe Jones likes. Banksy’s manipulation of the media, playing it like a damn violin sometimes, is some of his greatest artwork of all. He manipulates the media to spread a message. The best example of this was probably him going to Bethlehem to paint on the separation wall because he knew that the media would cover it. He was able to play the media to draw attention to an issue that he felt strongly about. Banksy’s paintings are sometimes great and sometimes not. But his ability to make people fascinated with him and his paintings is just as much of an art, and that shouldn’t discredit him.