For me, this week was spent thinking way too much about the digital humanities at Re:Humanities. You may be asking what that is. I’m still not entirely sure, but I think it means using YouTube and Twitter to learn important stuff rather than to watch laughing-baby-related videos and talk about the last hamburger you ate. Still, interesting stuff. Kinda helps justify running a blog. Here’s what I was reading when I was trying not to waste my time on the web:
So I’ve been working a lot lately on Re:Humanities, a symposium of undergraduate work in the digital humanities. It’s taking place next week at Swarthmore College, just outside of Philadelphia. I hope you’ll come check it out if you’re nearby. I’ll be speaking about how the internet has changed street art, and there are a bunch of other great topics up for discussion for anyone interested in the digital humanities. Okay, that’s my personal announcement for the week, now onto the news:
Okay so this video of a piece by Verbo isn’t the best quality, but the piece is pretty awesome and very different from a lot of what is out there. I wish I could have seen the animation in the flesh and I hope he continues to work with this combination of mural and digital projection.
2 Many Printers is a cool little clothing brand with t-shirts by Husk Mit Navn, Ian Stevenson and others.
This mural is probably my absolute favorite piece of public art that I’ve seen related to the Egyptian Revolution.
Glad to see I’m not the only one who thinks Anthony Lister’s “Planet of the Apes” mural was problematic and a disservice to the art community.
A scan from Banksy's book "Cut It Out," click image to view large
You know what’s awesome? When things work out nicely and people don’t freak out. Last week, Hurt You Bad ran a post called “Banksy Plagiarism” claiming, as usual, something along the lines that most Banksy fans are idiots and that Banksy himself is a scumbag. And perhaps they are right, but at least this time they took their evidence entirely out of context and neglected to tell the full story.
Hurt You Bad pointed out that Banksy’s well-circulated “Brandalism” quote is largely based on a piece that Sean Tejaratchi wrote in 1999 for Crap Hound, a zine. Version of the “Brandalism” piece appeared in two books by Banksy: Cut It Out and Wall and Piece (which is essentially bits of Banksy’s previous three books mashed together). Both times, it is fair to say that most people reading “Brandalism” would assume that Banksy is the author of the text. There is no attribution in Cut It Out or Wall and Piece directly linking “Brandalism” to the original essay, Crap Hound or Tejaratchi. The only things pointing to Tejaratchi at all are the thank-yous toward the end of Cut It Out and Wall and Piece. In both books, Banksy vaguely credits a number of people for either assisting him the book or for inspiring some of the content and Crap Hound is mentioned in that list. Certainly, Banksy could have done a better job citing Tejaratchi and this has led to people quoting Banksy when they probably should have been quoting Tejaratchi, but I’m not sure that this incident makes Banksy an outright plagiarist (something I’m sure my professors would hate to hear me say).
A scan from Banksy's book "Wall and Piece"
Recently, Tejaratchi noticed that “Brandalism” was attributed to Banksy but based on his own work, so he blogged about it. In the post, he lays out exactly what Banksy borrowed from his text and explains his feelings on the incident. Basically, Tejaratchi’s issue was not that his words had been used, but that his words were essentially attributed to Banksy without any heads up from Banksy. Here’s some of what Tejaratchi wrote:
It’s hard to know how to feel about this. My first thought was, “Hey, Banksy reads Crap Hound!” Then, “What the fuck is going on?” Then, “Am I a real person? Am I actually happening?” And finally, “Am I a beautiful flower angel sent from heaven to inspire Banksy?”
As problems go, it’s a pretty nice one to have. I like Banksy’s art and ideas. I’m flattered he liked my writing and my sentiments, and I’m happy others liked the quote enough to post and forward. I’ve seen forums where people are debating the passage, including rebuttals from ad-agency twats. It’s on wikiquotes and a hundred blogs. My essay never would have had that impact on its own.
The downside is that Banksy’s name is always on it. Seeing my writing credited to someone else makes it a little less magical. Same with knowing that one day (maybe soon, since the issue in question is being reprinted), I’ll get to hear how I ripped off Banksy.
Tejaratchi used the post and a few connections to reach out to Banksy without anger or ill-will, just a desire to get to the bottom of things and set the record straight. Within a few days, Tejaratchi heard from man himself and things have been resolved. The details of the resolution can be found here. Basically, it came down to two guys (Banksy and Tejaratchi) who both made some careless choices and now the truth is out and future reprints of Wall and Piece will have the words attributed correctly. Here’s Tejaratchi’s conclusion of his dealings with Banksy:
I realize “Banksy stole the quote!” is much more dramatic and satisfying than “Banksy made a poor stylistic choice in his book layout, causing confusion years later! He attempted to inform me but had the wrong address!” The man’s not an imbecile. This would have been an absurdly clumsy and doomed attempt at plagiarism. I will also say that in my recent, limited contact with Banksy, he’s gone out of his way to be clear, kind, and genuine, in every way the exact opposite of a twat.
I’m very grateful to everyone who wrote, posted, and tweeted about this. The quote will remain out there with Banksy’s name on it, but the source is now established online (and in future reprints) for anyone who looks deeper. Likewise, no matter what your opinion of Banksy, it’s important and fair to establish that this was not a case of plagiarism. Lack of foresight, yes. Fraud, no.
Basically, Banksy might have screwed up but Hurt You Bad jumped the gun in attacking him. Can Banksy be attacked for using Tejaratchi’s essay? Maybe. But Tejaratchi doesn’t mind. Should you? For once, it seems that a potentially explosive case of copyright violations has ended rationally and reasonably. If only all copyright holders had a more liberal view of things, maybe artists wouldn’t have to resort to doctoring evidence in court when they have done nothing wrong.
Images taken from scans Banksy’s books “Cut It Out” and “Wall and Piece” that I found online somewhere
Last night The Simpsons aired the highly anticipated episode “Exit Through The Kwik-E Mart”, which guest starred a few of street art’s all-stars: Shepard Fairey, Ron English, Kenny Scharf, and Robbie Conal. The episode has Bart covering Springfield in wheat-pastes of Obey-esque posters of Homer, which eventually leads him to the likes of the street artist guest stars. If you want a full recap of the episode go here.
What struck me was actually something we all already knew- street art is on the market and has seen some fast and steep increases in its value. It’s just weird to see it satirized on The Simpsons: Bart’s street work leads him to show work in a gallery. Bart jumps on Homer’s car and tags the hood, and as Homer starts to yell at him for doing this, Bart points out that he just increased the car’s value by 50x.
Being on the Simpsons is definitely noteworthy for street art history. But this isn’t the first time art vandals have rocked the cartoon world: Obey Giant was on Family Guy. Invader was referenced on Futurama. Shepard Fairey’s Obama poster was featured on South Park. Banksy directed this cool Simpsons’ intro.
If you’ve seen the episode what did you think? If you haven’t, but still feel the need to insert your opinion, what’s your take on street art getting Simpsonized?
It’s officially spring break, which meant the last week for me has primarily consisted of sitting at my desk where I read and type furiously until my eyes are tearing up and my fingers are sore. It also means I could only blog when procrastinating and that the next few days should be a chance to write some longer posts that I’ve been sitting on. In the mean time, here’s what I’ve been finding around the web this week:
The man who came up with the Broken Windows Theory died this week.
The Living Walls Conference has two great announcements this week: 1. They are now a 501(c)(3), aka an official non-profit organization. 2. In addition to the annual conference, there will be 6 “Living Walls Concepts” mini-events throughout the year, starting in March.
Craig Ward wrote a letter critiquing Banksy’s critique of advertisers. Given: Banksy is one of the world’s best marketers himself. Beyond that, the letter is a bit of a mess and Ward points out that he has worked in advertising himself. Clearly, it’s written from the perspective of someone who has lost his perspective and seems to boil down to “There’s worse stuff in the world, so umm, please leave advertisers alone.” No doubt that there are greater evils in the world than the public advertising that seems to be the primary target of Banksy’s critique of advertising, but that sure as hell doesn’t mean it’s a good thing. Additionally, one of Ward’s points as to why traditional advertising isn’t as bad as Banksy’s advertising is that traditional advertisers pays for the locations they use. With that argument, Ward completely disregards both the negative externalities of massive ad campaigns that occur regardless of how much the advertiser pays (compared to the documented positive externalities of Banksy’s street art) and the illegal nature of many advertising campaigns which do not pay the government for the space that they use. By his standard, hiring an assassin to kill someone might be better than doing it yourself, because at least there’s money involved and somebody is getting paid for their time.
Today we are relaunching The Vandalog Shop and kicking off a new series of product releases with two t-shirts designed by Labrona which are now available online. Starting with these shirts, The Vandalog Shop will be releasing a new product / artist collaboration every month. We will focus on releasing affordable products ranging from apparel to posters to whatever else we think would be fun. We can’t say yet just what else we’ve got up our sleeve, but these shirts by Labrona are only the beginning…
Labrona’s shirts are based on a new image called Lying in Wait. The shirts are unisex, come in two colorways of either purple and teal or blue and yellow, and each colorway has a print run of just 20 tees.
Why is Labrona the artist we chose to help us relaunch The Vandalog Shop? There are a lot of talented artists in the world, but Labrona stands out to me because he is one of the nicest and humblest guys around. The first time I met Labrona, he convinced me to buy a painting by one of his friends. It wasn’t until after he had left the room that someone showed me Labrona’s own artwork. We met again years later. That time, we slept on a floor with about a dozen other men and women at the Living Walls Conference in Atlanta. Some people might have complained about the accommodations, but Labrona was just ecstatic because he had the opportunity to paint a mural and put up posters in Atlanta. At Vandalog, I want to bring great art to as many people as possible, but that great art has to be made by artists who are great people too.
Marketing people tell me that mild rebellion sells and Banksy seems to agree. But are they right? Let's find out...
Both versions of Lying in Wait are available online now at The Vandalog Shop for $30 each plus shipping and handling.
The shirts were printed at Station16 in Montreal, and Labrona has also worked with Station16 to release a fine art screenprint of Lying in Wait. Eachcolorway of the prints is an edition of 16. The print is also for sale beginning today and can be at their online shop.
It’s still technically the weekend for a few hours, so writing this is the perfect procrastination tool before I get down to doing homework. Hopefully you can take advantage of these links in a similar fashion:
A Love Letter For You, a film related to Steve Powers‘ project of the same name but also not the standard documentary you might expect, will be released soon. Here’s the trailer.
I’m guessing Vandalog will cover this in more detail with a full post and not just this tiny mention, but here are a boatload of shots from Os Gemeos’ show in LA.
Unurth happened to post cool optical illusion pieces this week by e1000ink and Rub Kandy.
High Rise Murals is sort of a new project from Monorex. It organizes all of their murals (read: massive painted outdoor advertisements) under one banner. They launched High Rise Murals in two ways: By having INSA paint a mural and painting a massive Coca-Cola advertisement over some great graffiti. After someone very publicly shamed them, High Rise Murals selectively buffed the advertisement to make it look intentional and not about the massive tag (HW stands for the location of the advertisement, Hackney Wick). Over Twitter, Monorex said that they “are now in phase 2, re commissioning wall with artists.” This phase is also known as phase oh crap, we really screwed the pooch on this one and it’s time to backpedal. Monorex claim that phase two was always the plan, but I don’t see any reason to believe that. Artists need to get paid and painting advertisements can be a lucrative way to do that, but I think we can all agree that painting over graffiti and street art to replace it with advertising is not cool. Let’s hope High Rise Murals have learned from this experience and stop going over murals and art with advertisements.
Looks like Shepard Fairey‘s problems stemming from his Obama “Hope” poster just won’t stop. Hyperallergic reports that today Fairey “pled guilty to one count of criminal contempt for destroying documents, manufacturing evidence and other misconduct” relating to the AP’s lawsuits over the source photograph for Fairey’s image. The fact that Fairey did all this is nothing new. He admitted so himself back in 2009.He settled those civil lawsuits with the AP, but this charge is a criminal charge brought against Fairey by the state of New York. By pleading guilty, Fairey faces up to six months in prison and thousands of dollars in fines. The sentencing will happen on July 16th.
As RJ recently mentioned, L.A. is alive right now and ZES’s “Excavated Revelations” (a collaboration with RETNA which runs through February 25 at Known Gallery) is a big part of that.
But shows aren’t the only thing contributing to that feeling. Commissioned by the Holdup Gallery, ZES is currently collaborating with UGLAR’s Evan Skrederstu and Jose A. Lopez on the facade of the old Brunswig Drug Company Factory Building in Little Tokyo.
Originally built in 1931, this art deco tower now hosts a seamless integration of ZES and Lopez’s abstract work, one flowing into the other–and echoing, with one of ZES’s trademark curvatures in its lower left corner, a nautilus shell’s curl. These bursts of color frame an unsettling juxtaposition: an orangutan holding an AK-47 and what will be a walkie-talkie when Skrederstu completes it.
Location: On 2nd, west of Central, next to the Second Street Jazz Bar.
Fun side note from my week: William Parry, author of Against The Wall, spoke at my college today. He’s currently on a speaking tour around the USA, so if you happen to hear that he is in a town near you, I highly recommend going to see him. And here’s the link-o-rama:
Interesting interview with Shepard Fairey. Shepard and I definitely don’t agree on everything, but it’s cool to hear what he has to say and exactly how he defends his work.
Speaking of Shepard Fairey, he will be guest-starring on The Simpsons soon alongside Ron English, Kenny Scharf and Robbie Conal. If The Simpsons had not officially jumped the shark before, this is it. Still, I’ll be watching.
