Well, the big story this week was of course Hyuro’s wall under threat in Atlanta, but a lot more has been happening elsewhere on the web, plus I missed a week of link-o-rama when I was in Atlanta myself, so here’s what I’ve got to share:
Living Walls mentioned in the New York Times last week, but not because of Hyuro’s mural or even in the arts section. For some reason, some narrative was created about Living Walls relating to the recession. Well, whatever. I guess it’s a hook, and strange press is better than no press.
Everyone’s been quoting this Steve Powers interview where he says “Most Street art isn’t art and it isn’t street.” He’s such a provocateur (read: guy well-respected enough that the world allows him to be an asshole). Actually though, as annoying as the guy can be, he’s right. Particularly that most street art isn’t art. A lot of it is great graphic design or illustration or signpainting. Nothing wrong with that, but it’s a misnomer that confuses a lot of people.
Hate President Bush? You’ll probably love this book.
A portion of Hyuro’s finished wall. Photo by Dustin Chambers.
Update: It looks like the latest news, as of August 27th, is that this mural is going to be removed.
My personal favorite mural at this year’s Living Walls Conference (which took place in Atlanta last week and we’ll be covering more from there soon) has to by Hyuro‘s mural in the Lakewood Heights neighborhood. It’s also proved to be the most controversial mural of the conference to date, with some people worried that the mural is too lewd for having in a public space, particular a space nearby a church, a mosque, a lot of street prostitution and a federal prison. Personally, I think the mural brightens up an otherwise drab wall and parking area.
Photo by RJ Rushmore
Hyuro painted a frame-by-frame animation (of 30-some frames) which can be seen by walking down the length of the mural. The animation is of a women growing fur and then shedding that fur, which turns into a wolf and walks away from her. It’s based on an animation she made last year using drawings:
The way I read the mural, it was empowering to women, urging them to be strong and go out into the world with the strength of a wolf. The way I’ve heard Hyuro explain it, the mural is about shedding one’s animal instincts for higher planes of thought. Either way, a great message.
But not every mural is for everyone, and any mural that everyone likes is almost sure to be a boring one. In a thread on the website i-Neighbors, some Lakewood Heights residents have complained that they find the mural offensive, with some even saying that they will now change their usual routes to work or school in order to avoid them or their children seeing it. I had a quick read through of the i-Neighbors posts, and while there are certainly some people who want the mural removed, most of the posts expressing in opinion one way or the other are from people who are okay with the mural or who love it. According to Alex Parrish, Living Walls’ Director of Communications, the response to the mural over social media has been overwhelmingly positive.
Hyuro working on her mural. Photo by RJ Rushmore.
Unfortunately, the local newsseems to be over-hyping a friendly discussion amongst neighbors into a full-blown controversy and now Hyuro’s mural truly is at risk of being removed. Eeven though Hyuro had the permission from the owner of the wall to paint there, the city of Atlanta does still have some control over what goes there. The initial plans that were submitted to the city included a sketch by Hyuro, but upon showing up at the wall, the artist changed her mind aboutsample work by Hyuro, and upon showing up at the wall, she decided what to paint given the shape of the wall and how her animation could fit there perfectly, as well as provide an uplifting message for the neighborhood. As a result, the mural was not really approved by the city. On Wednesday, Living Walls resubmitted plans to the city based on the finished mural. The final decision is still pending.
Hyuro’s mural in progress. Photo by RJ Rushmore
If you want to voice your opinion on the mural, you can email Camille Russell Love, director of Atlanta’s Director Office Of Cultural Affairs. Her email is CRLove -at- atlantaga.gov. Living Walls (and I) would really appreciate your support of this beautiful artwork. As I understand it, many of the people upset with the mural have contacted Love and other city officials, and so it’s extremely important that those who are in favor of keeping the mural make their voices heard as well.
This new mural by Andreco is more than just a nice painting of a tree in Bologna, it actually helps the environment by reducing air pollution. Andreco used a special kind of photochemical paint that reduces the amount of nitrogen monoxide in the air. Andreco’s mural is part of the Frontier project, curated by Claudio
Musso e Fabiola Naldi and coordinated by the City of Bologna.
Caroline and I are out in Colorado this week with my family, so art is coming second, but luckily it looks like it’s been a slow week. Here’s what I almost missed…
Caroline and I went to the opening of Pandemic Gallery’s latest show and it certainly looks better in person than over photos, but it’s not bad at all.
Last week, a small show by everyone’s favorite set of identical twin graffiti artists opened at the ICA Boston. The show is not the massive, playful and immersive installation you might expect from Os Gemeos, rather it is a much more traditional show in a white-walled room. I went to Boston hoping for an installation to rival their museumshows in Brazil or at least comparable to their 2008 show at Deitch Projects. But, in its own way, a white-walled show makes sense.
Curator Pedro Alonzo described the show as an attempt to show that Os Gemeos’ work could hold up in a traditional museum setting with just a few paintings being hung on walls and plenty of space between each picture. Another person suggested to me that hanging a white-walled show is a way to prove that Os Gemeos’ work will continue to be interesting long after the twins are dead and no longer make new installations. I think they are right, but I just wished that Os Gemeos picked another time to prove themselves, perhaps a time when I wasn’t taking six hours of buses to see their show.
So I went into the show with expectations that could never be met, but I did find something else there. Alonzo’s bet has been proven right: As hundreds or perhaps thousands of collectors around the world already knew, now the world too knows that an Os Gemeos painting may look great when put into one of their installations, but it can be absolutely brilliant just hung on a wall by itself too.
The piece originally made for Viva la Revolución: A Dialogue with the Urban Landscape. Photo by Lois Stavsky
The two weakest pieces in the show are actually both pieces that are just the sort that might shine as components in an installation. One was made for Viva la Revolución: A Dialogue with the Urban Landscape, a show at the Museum of Contemporary Art San Diego also curated by Pedro Alonzo. The story that Alonzo told about the piece turned out to be a lot more interesting than the work itself. The twins were in San Diego prepping for the show when they saw a bunch of tablesaws and similar tools that aren’t as widely available in Brazil, and they were inspired to use material that would have otherwise been discarded (including bits leftover from Swoon’s installation) to make something. Only problem is, the result of their recycling just doesn’t look like much alone on a white wall and without the story.
Upside Down Sunrise. Photo courtesy of the ICA Boston.
Thankfully, most of the paintings work well in a traditional gallery, and a few are absolutely brilliant. In particular, I practically couldn’t look away from Upside Down Sunrise and an untitled painting of vandals on the New York subway tracks (which happens to be owned by Lance Armstrong). For any graffiti nerds out there, it is probably worth seeing the show just to see how many names you can recognized painted into the subway piece.
Photo by Lois Stavsky
Of course, there’s also the sound installation, a corner of the gallery filled with brown and yellow faces shouting and singing, if the right buttons are pressed on the accompanying piano. I just hope there’s someone there during the show’s run to play it, since I doubt that visitors will be allowed to.
And for those of us who wanted a little more, the twins did not disappoint outside. They painted two murals (and a van) in Boston.
The smaller of the two murals is on the Revere Hotel, and features two writers tagging the wall. It’s a great little piece to be surprised by. I think I overheard one man trying to contact the police about just what the hell was going on, but most of the people whom I saw come across the mural were loving it.
Both in scale and awesomeness, the piece on the Revere is nothing compared to The Giant of Boston, Os Gemeos’ largest mural in the United States by painted surface area, but it’s been causing a bit of controversy. The Giant of Boston is located at Dewey Square, and you really can’t miss it. But just what it is has proven to be not very evident to people who are not already familiar with Os Gemeos. The masked is most likely a protestor or a vandal, as the twins have painted in the past, but at least hundreds of Boston residents have looked at The Giant and seen a “terrorist” or a “towel head.” A photo of the mural was posted on the Facebook page of a local Fox station, and literally hundreds of people have posted similar ignorant/racist responses. Bostinno has more on this controversy.
Photo by Lois Stavsky
I do not think that this show is what most Os Gemeos fans were hoping for, and it certainly wasn’t what I was hoping for, but damn it I couldn’t stop smiling the entire time I was in the gallery or looking at either of their murals. There’s some good work, and Alonzo isn’t wrong to want to show that the work can hold its own in a white-walled space or brighten up the streets of Boston. Now, I’m just hoping that both murals stay up for the full 18-months that they could potentially be around for. Os Gemeos’ show is open at the ICA Boston through November 25th.
A mural by Alan Ket, Noxer and Tres (pictured above) was buffed by two NYPD officers this week. Ket says that the store owner was contacted by the police about having the painting removed, even though it was painted legally. Ket was planning to go talk to the police and see what was up, but then the police just went ahead and painted over it. The owner of the store where the wall is let the police go ahead and paint over the wall once they had started because she did not want any problems with them. More on this censorship at Hyperallergic.
Today Banksy‘s website was updated with two new Olympics-themed pieces. It’s not yet clear where these new stencils are located, but London is a good bet. If they are in London, that’s going to make for an interesting situation as someone is going to have to decide whether or not to paint over these walls which are suddenly valuable tourist attractions. The stated position of the authorities is that any illegal Olympics-themed street art or graffiti is going to be destroyed ASAP, but maybe public outcry and monetary incentives could make Banksy an exception. This is especially interested given the recent round-up by British police of former graffiti writers. The Atlantic has more on this potential controversial situation.
I like seeing more art on the street, and I like these pieces by Banksy. If this work is buffed, that’s two more grey walls in London. But allow them to remain unbuffed sets an unfair double standard (particularly punishing graffiti writers). The system would be preserving street art, but in an unjust way. So, should they stay or should they go? What do you think?
Let’s see what has been happening off of Vandalog this week.
I recently wrote a list of Complex.com giving my thoughts on the 50 greatest street artists right now. Let me know what you think. So far, the main criticism (besides the usual “screw you” flame war stuff) seems to be that I did not include enough women.
The London Vandal broke a story about British former graffiti writers being arrested and being released on bail until November under some absurdly restrictive conditions. For example, they can’t enter a train station or use trains in London until November unless they can prove that they are going to court, to visit a lawyer or to make a journey relating to business or education. The New Statesman corrected some of The London Vandal’s claims and so the story is perhaps not as wild as initially reported, but it’s still a pretty messed up situation where bail conditions are being used solely for the purpose of maybe making The Olympics run more smoothly. Hyperallergic has more.
King Brown Magazine’s latest issue is launching in NYC on July 26th with a show including Mike Giant, Reka, Greg LaMarche, Anthony Lister, Sheryo, The Yok and others.
EVOL, Denis Meyers & MUGA seen in the La Louviere exhibition.
The small town of La Louvière, in Belgium is host to a brilliant Urban Art exhibition being held at “Centre de la Gravure et de’limage imprimée” (The Center for Engraving and the Printed Image). Showing through September 2, 2012, “Vues sur Murs” (Wallscapes: Prints in Street Art) features an impressive list of international artists, many making new work specifically for this exhibit and also hitting the town with huge pieces.
Invader, C215, Jef Aérosol, EVOL, Ludo, Denis Meyers, Obêtre, Muga, Doctor-H, Sten & Lex, Swoon and OBEY (Shepard Fairey) are all featured in this show which spans three floors of the gallery. The show’s curator, Marie Van Bosterhaut, had the seed of the idea in 2009 after seeing an OBEY print at the home of a collector. She contacted Fairey’s people for what was initially planned to be an OBEY retrospective…
“But then it appeared it might be more interesting to invite more artists using printing techniques in street art,” said Bosterhaut of the project’s evolution. “It was really great to have all these artists working inside the museum, and also outside. There was like a great energy.”
While some of the artists knew each other, others met for the first time. “This created some small surprises,” said Bosterhaut. Evidence of this is seen in one of the exhibition’s highlights located on the top floor. There, Berlin-based EVOL has transformed several structural columns, which protrude at various levels into the exhibition space. They now appear as EVOL’s signature-style buildings and “artists like Denis (Meyers) & Ludo made some tiny stencils or billboards, creating a kind of interaction between the artists,” Bosterhaut said.
Ludo’s mini-billboard seen on an EVOL “building.” The billboard ad disruption on a Kinder Bueno candy box measures about 3 inches high. Full size pieces from both artists appear in the background.EVOL’s other works include some exquisite urban-themed paintings on cardboard.
Another highlight of the show is Brussels-based artist Denis Meyers. Mostly known for the large faces he paints, he also prints unique stickers and uses hand-made woodcuts and rubber stamps to produce a wide variety of work which all screams out with his signature style. Many of his sketchbooks are also on display as well as other elements which offer a peek into the artist’s process.
Just a bit of the Denis Meyers section from the show. (see more in the photo gallery)
Long-time French favorite Jef Aérosol‘s large iconic work greets you at the entrance of the exhibit but some of his smaller, printed images are framed on the sides and offer a more intimate experience with the artist. Jef also hit the town, painting a three-story-tall face of rocker Jimi Hendrix.
Jef Aérosol’s work greets you at the entrance.Aerosol’s Hendrix
In addition to his brilliant mini-billboard, the Paris-based paste-up master Ludo and his unmistakable green paint occupy a notable section of the top floor, including a full-scale bus shelter (crappy tags included.) For the real experience though, pick up the map supplied at the front desk and follow it to the various “treasures” left by artists around the city. Ludo has posted three large pieces out on the town.
LUDO work on Rue René Magritte in La Louvière.
A favorite of mine is “C215” (Christian Guémy.) The Parisian stencil artist painted a large mural for the show. There are also many photographs of his stencil works, and several other painted “objects,” including three mailboxes, a shoeshine box, and a metal sign among other things.
Mailbox by C215
The pioneering Italian artistic duo of Sten & Lex display some of their strong, black & white portrait posters, but the real treat from them requires a 10 minute walk to a parking lot down the road a bit. There, a dramatic and elaborate composition of black & white zig-zagging lines reveal a face that fills the wall and towers over the cars and shopping carts.
Sten & Lex WallSten & Lex Wall Detail
Of course the anchor of the exhibition is an extensive collection of OBEY works by American artist Shepard Fairey. In addition to a short documentary video, the display spans his career from his quirky beginnings making “Andre the Giant has a posse” stickers, to the slick, celebrity and political-themed posters pumped out by the Obey Giant Worldwide Propaganda factory today. There are dozens of his limited-edition prints with their graphically-pleasing imagery, and even a trio of OBEY skateboard decks. A definite treat for any Fairey fan.
OBEY poster restrospective.
The show concentrates on the printing aspects of urban art but there’s a ton of other multi-media work to see there as well. Too much art to mention in this article, including great stuff by Invader, Obêtre, Muga, Doctor-H & Swoon.
IF YOU GO: Smack-dab in-between Paris & Cologne, La Louviere is about a two and-a-half hour drive from each, and just 45 minutes south of Brussels. Definitely worth the trip. But remember, it’s only showing through September 2, 2012 – so get going!
Photos by Lance Aram Rothstein (many of these photographs were shot with Film Cameras. Long Live Film!)
BEAU adds finishing touches to his mural; the image on the right is by Jim Joe
Conceived by First Street residents Pebbles Russell and Jonathan Neville in memory of their friend, Mike Hamm, The Centre-Fuge Art Project has transformed an abandoned trailer into a vibrant canvas. This weekend marked its fourth cycle engaging an eclectic range of artists to share their visions with passersby on First Street off First Avenue in Manhattan’s East Village. Here are some photos captured over the weekend:
Deps1 with a messageNever with the Muffin Man at work on the rightThe Yok & Sheryo together again
