Melbourne Monthly Madness – December 2013

February 11th, 2014 | By | No Comments »

Damn, it’s February already. How did that happen?? (Actually – I have been extremely busy working on a new project which I hope to share with you soon). Sorry to keep you waiting for this post.

December 2013 was another MASSIVE month in Melbourne, a great way to end the year.

Darbotz, an Indonesian street artist, visited Melbourne in December and put together this great little video.

Adnate painted Strike Bowling in Macquarie in association with Red Bull. A great video by Michael Danischewski. Adnate’s photo realism is just amazing.

Wonderwalls, a 3 day street art and graffiti festival up north in Wollongong looked awesome, featuring a great line up of Australian and International artists. From Melbourne Shida, Wonderlust, Adnate, Two One, Idiot and Sirum.

Wonderwalls Festival 2013 from The Hours on Vimeo.

Backwoods Gallery had their last show “A Study of Hands” for 2013 and it was a cracker, continuing on in the anatomy series – which will apparently continue over ten years – epic. I particularly liked works by Dave Kinsey and Lister.

Alex Mitchell, Curator of Backwoods Gallery and writer for The Opening Hours was back in Melbourne for the month. Alex did some great studio visits with Two One, Miso and Ghostpatrol. Some great, intimate photos.

Two One - Photo by Alex Mitchell

Two One. Photo by Alex Mitchell.

Miso. Photo by Alex Mitchell.

Miso. Photo by Alex Mitchell.

Ghost Patrol. Photo by Alex Mitchell.

Ghost Patrol. Photo by Alex Mitchell.

Everyone’s been talking about this abando and I can see why. David Russell managed to find his way in and capture some amazing work. I really love Slicer’s geometrical shapes filled with his signature slices, as well as Deams, and Rashe’s pieces. All of this work feels so at home in this place. I do love abandos! More here.

Slicer - Photo by David Russell

Slicer. Photo by David Russell.

Slicer - Photo by David Russell

Slicer. Photo by David Russell.

Slicer - Photo by David Russell

Slicer. Photo by David Russell.

Slicer - Photo by David Russell

Slicer. Photo by David Russell.

Deams - Photo by David Russell

Deams. Photo by David Russell.

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Street art as an experience and an anonymous gift

February 3rd, 2014 | By | 1 Comment »

Key 01

Why do people collect art? Perhaps part of the reason is a memory or an experience associated with the object. The possessions I have most affection for were bought on holiday or given to me by a friend. There’s a cool story that goes with them. If we accept that artistic experience is in part about feeling a meaningful connection with an object, can the process of collection also elicit emotions and memories, beyond the aesthetic of the work?

I painted aerosol portraits onto wooden board and pad-locked them onto walls in Melbourne. I then hid the key somewhere in the city and left a puzzle to the key’s location, with the instruction “find the key, unlock and keep the painting”. The clues required participants to hunt and climb within the forgotten spaces of the city, sometimes scaling the outside of a building to the 2nd floor. I designed adventures, transgressing into the dead-ends within a network of thoroughfares; the unfamiliar within the familiar.

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Category: Guest Posts, Photos, Random

The objectification of street art

January 10th, 2014 | By | 10 Comments »

Alec Monopoly in collaboration with Justin Bieber. Photo from Alec Monopoly’s Instagram.

With the advent of street art as a post graffiti movement, the infiltration of a visual style highly influenced by the fashion industry’s mode of exploitation has taken a hold of an otherwise fertile art movement.

In the early days of graffiti, the visual aesthetic was dominated by a font-based style. This style developed over the course of the first two decades into a scripted freehand-based art form that was recognizable for its lack of outside influence.

By the 2000s, with the rise of the popularity of stencil art, the influence of a visual aesthetic informed by the post-pop movement came to dominate the graffiti and street art scenes. The ease with which an iconic image could be duplicated into a stencil using printers accelerated the spread of street art as a popular art movement.

Yet the narrative of this movement has become increasingly dominated by certain visual techniques, relying on fashion industry imagery to create popularly accessible art that is seen by a wider and more demographically homogenous mainstream audience.

Even a short trip down to any popular “street art gallery” will make the viewer immediately aware of the fashion industry’s overwhelming influence on this nascent art movement. Endless reproduction of women’s bodies and faces, superficially disassociated from their fashion industry roots, has permeated the creation of street art. Images of women in particular have come to be shorthand for catchy, iconic statements. Movie stars, music icons, and models all find themselves endlessly repeated, stenciled and pasted onto shops and walls; instagrammed out into the world, becoming a viral reinforcement of the level of popularity found in recreating a photographer’s work (often without credit). Subsequently pushed onto canvases in order to monetize the popularity of the work, this imagery continually recycles itself into an endless objectification of the female.

Graffiti and street art have long been male dominated practices. Despite the recent “Women on the Walls” program in Miami and other female-centered group shows and mural festivals around the world, there are still much fewer female artists working in the medium when compared to other visual art movements. This male dominance has created an intractable acceptance of exploitative female imagery, the selling of which only reinforces the desire in younger artists to utilize similar imagery within their work.

The image of the human face is something that feeds a very deeply rooted desire for pattern recognition in the mammalian mind. We see faces in even the most abstracted blots of colour, stains of water on walls, bits of burnt toast, dust on the windows of abandoned factories. The mind is wired to react to the recognition of the human face with a sense of pleasure. Once we see the face within some random abstraction, it is likely that we can never “unsee” this imagery as it was before.

As street art has gone mainstream, its popularity has birthed an industry that capitalizes on its pop culture status. Demographically targeted goods from custom graffiti paints to clothes have seen an enormous upswing in the past decade. Far from its modest origins as an illegal art form, street art more often finds itself sponsored by corporations looking to broaden their niche appeal and to cash in on the massively swollen “subculture” that it has given birth to. The culmination of this is the interaction between the fashion industry and the “hot” street artists willing to basically license their brand in order to cash in.

The fashion industry is without a doubt the most exploitative commercial industry on the earth. From the forced gender stereotypes and impossible to achieve body presentation of its models (invariably fictions created in photoshop) to the garment workers’ horrifying work conditions and third world wages, the fashion industry reeks of the blatant disregard for both the welfare of its disposable minions and the crass exploitation of its customers.

Stencil (possibly depicting Kate Moss) by unknown artist. Photo by a_kep.

Stencil (possibly depicting Kate Moss) by unknown artist. Photo by a_kep.

In order for street art to become a truly groundbreaking and self-aware art form, young artists of this generation need to recognize that the exploitation of women through sexualized and objectified imagery is merely a continuation of the corporate stranglehold over young people’s ideas of self worth, societal value and personal gender identity.

Streets artists working in this medium need to take a deeper look at the content of their creations. Given some introspection and forethought, one comes to see that the use of fashion imagery is like a cancer spreading inside of a once independent subculture. Rotting away the core of its value by co-opting its aesthetic techniques in order to market products via the continual appropriation of youth culture that has so long fed the fashion industry. The truth is that these corporations have stolen and co-opted street art and are selling it back to young artists at a retail markup.

Just because that movie star’s face or that fashion model’s body gets an artist shares and likes on social media doesn’t make the work profound or valuable to the dialog of creative practice. We must free ourselves of this insidious institutionalization of objectification that has grown within the street art and graffiti communities and learn to support women in the arts, not just those that paint murals, but all women young and old.

Photos from Alec Monopoly’s Instagram and by a_kep

Category: Featured Posts, Guest Posts, Random | Tags: ,

Alleged slumlord Stanley Rochkind fights back against Wall Hunters

December 24th, 2013 | By | No Comments »
LNY install at 539 N. Longwood Street. Photo courtesy of Wall Hunters.

LNY install at 539 N. Longwood Street.

Earlier this year, a group of artists (led by Nether) working under the Wall Hunters banner teamed up Carol Ott of Baltimore Slumlord Watch for the Slumlord Project, an effort to draw attention to “dilapidated vacant houses” in Baltimore that the project organizers determined were owned by peopled they considered “negligent property owners.” One of those property owners, Stanley Rochkind, is now suing Ott through two of the shell companies through which Rochkind owns property. The lawsuits demand that Ott remove two murals from buildings that were painted by the Wall Hunters artists. The lawsuits are particularly ironic because Rochkind initially claimed not to own these buildings and the Wall Hunters artists painted these buildings specifically because Rochkind has not bothered to maintain them.

So… Rochkind is suing for “repairs,” on dilapidated buildings that he has not bothered to actually repair in any way and which, in an effort to discredit the Wall Hunters, he initially claimed not to own. Sounds like a stand-up guy.

Check out the full story over at Balitmore’s City Paper.

Photo courtesy of Wall Hunters

Category: Art News, Random | Tags: , , , ,

Parsing out the urban art grab bag

November 19th, 2013 | By | 6 Comments »
C215. Photo by Feral78.

C215. Photo by Feral78.

Note from RJ: A version of this essay by Christian Guémy aka C215 was recently published in French with Rue89, but we both felt it was important to publish a version in English as well. – RJ

For some time, and especially since the English artist Banksy has enjoyed worldwide success, hardly a week goes by without the media reporting an event involving the urban arts, whether it’s a gallery showing “street art,” or auctions of “graffiti,” or the setting up of an “open air museum,” or pure and simple repression of vandalism.

It’s clear that recognition by the public and the media of urban arts has arrived at its apogee, and achieved the summits of popularity. Even so, I am astonished by the absence of distinction among the various practices that make up urban art. Their reclassification into a gigantic ragbag conveniently called “street art” obscures more than it clarifies.

I’m 40 and I’ve been closely involved with urban art since 1984, which is when Sydney presented in France his cult television show “H.I.P. H.O.P.” I tried my hand at graffiti in 1989 and since then I have closely followed the progress of this kind of art. It seems that several “generations” have gone by since, each having very different ambitions and practices that deserve distinction.

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Category: Featured Posts, Guest Posts, Random | Tags: , ,

Melbourne Monthly Madness – August 2013

September 30th, 2013 | By | 1 Comment »

Sorry this post is so late. I’ve had an injured hand, so typing has been a pain, literally… Here’s my round up for August. I’m calling this month the Video Edition, cos I don’t think I can recall a month where so many awesome videos came out… Here we go…

To start off check out this great video from Jack Douglas. Jack is a talented Melbourne street artist and tattooist; this video shows some of his street and tattoo work. His characters are always awesome.

Another rad video featuring local writer BOLTS smashing some walls across Melbourne with his always super tight style.

Do you know what a “bogan” is? It’s an Australian colloquialism, this video from Melbourne writer AEON (created alongside VNA magazine) gives you a perfect explanation of the Aussie Bogan, lost in London.

LINZ from Queensland visited Melbourne and painted this great piece. LINZ also talks about his time as a writer and how things have changed so much over the years.

This video from Spacerunner is definitely my favourite video for the month. SIMR and Rides showing us how it’s done painting one of Melbourne’s trains in the dark of the night.

Check out this video featuring interviews with Rone, Sandra Powell and Andrew King discussing their views on street art in galleries and the streets and the general attitude towards the art recently in Melbourne.

Rone was in Portland Oregon recently for Forrest for the Trees festival.

A new video from LUSH.

And finally Reka painted this epic 8 story wall in Copenhagen.

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Weekend link-o-rama

September 21st, 2013 | By | No Comments »
Unit 12, maybe. Photo by Dani Mozeson.

Unit 12 or Unit 112, maybe?

This link-o-rama is super helpful for me, because all week I’ve been working on my upcoming ebook instead of blogging. Hopefully the ebook will be out in November… Anyways, links:

  • I love that this show at LeQuiVive Gallery reframes a certain kind of work that often gets lumped in with street art or urban art as Neu Folk Revival, which describes the work much better than calling it street art or urban art or low-brow art. Some real talent in this show: Doodles, Troy Lovegates, Cannon Dill, ghostpatrol, Zio Ziegler, Daryll Peirce, Justin Lovato… It opens next month.
  • This piece by Part2ism needs to be seen. And look closely. That’s not just paint on the wall. Very interesting. I am glad to see Part2ism on the streets again, and I can’t wait to see what he does next. Once again, he has shown that he is ahead of the rest of us. This piece doesn’t look like graffiti. It doesn’t look like street art. It looks like art on the street, and that’s much too rare.Swampy has relaunched his website and posted a video diary sort of thing. I’m very curious what people think about it. Have a look and let me know.Check out this concept from Jadikan-LP: Art that only exists within Google Maps. Click the link. Explore the room. I normally hate lightpainting or “light graffiti,” but I absolutely love this piece. As far as I’m concerned, the internet is a public space and Jadikan-LP has invaded it with artwork, so this project is street art.
  • CDH wrote a really fascinating article in Art Monthly Australia about the commodification of street art. While I don’t agree with him entirely, I think it’s a must-read because at least it sparks some thoughts. It’s one of the best-written critiques I’ve read of the capitalistic nature of contemporary street art. Over on Invurt, they have posted CDH’s article as well as a response by E.L.K. (who CDH calls out in his critique). In his article, CDH called out E.L.K. for using stencils with so many layers that the work isn’t really street anymore, since stencils were initially used for being quick and a piece with 20 layers isn’t going to be quick. It’s just going to look technically interesting. Well, E.L.K. shot back in his response and made himself look like an idiot and seemingly declaring that all conceptual street art and graffiti is crap. There were arguments he could have made to defend complex stenciling or critique other points of CDH’s article, but instead E.L.K. mostly just attacked CDH as an artist. Anyway, definitely read both the original article and the response over at Invurt. The comments on the response are interesting as well.

Photo by Dani Mozeson

Category: Art News, Books / Magazines, Gallery/Museum Shows, Photos, Random, Videos | Tags: , , , , , , , , , , , , ,

Weekend link-o-rama

September 7th, 2013 | By | 4 Comments »
Paul Insect and Sweet Toof

Paul Insect and Sweet Toof (and Sope)

For me, school is back in session. Hopefully everyone else out there is still enjoying the tail end of the summer. Here’s some art to keep your weekend interesting:

  • Martha Cooper and I have announced our picks for the MOCAtv Upload More Art challenge. You uploaded your street art videos, and we selected our favorites. I used the opportunity to highlight videos of Enzo & Nio and A.CE. As you can probably guess when you watch me explain my picks, I made those picks during Illegal August, so those sorts of thoughts were on my mind. Martha Cooper also selected two videos to highlight.
  • Just because Colossal Media paints murals based on designs by people like KAWS and Faile doesn’t mean there should be any love for them. They paint advertisements. That is their business. If they paint some murals on the side, that doesn’t excuse billboards invading public space. Unless you think BP sponsoring art exhibits excuses oil spills and pollution…
  • Also what’s up with KAWS’ work being used for a mural (I hesitate to say he did a mural, since it appears all he did was license his imagery)? He’s spent the better part of this site’s existence distancing himself from street art and graffiti and his public art has consisted of sculptures and flyposted advertisements (if you consider that public art).
  • Maybe I’ll be able to ask KAWS about all this myself soon, since presumably he’ll be in Philadelphia for his show at the Pennsylvania Academy of the Fine Arts. Arrested Motion has a bit of a preview, but I think the link really worth checking is PAFA’s website (and this archived version of the same page from mid-August) because of this section of the show description which has since been removed: “Placing KAWS’ sculptural works throughout PAFA’s historic galleries will further the ‘graffiti effect,'” and the edit of (emphasis added) “KAWS grew up in Jersey City, where he emerged as a graffiti artist in the early 1990s.” to “KAWS grew up in Jersey City, where he emerged as an artist in the early 1990s.” So that’s interesting.
  • I’ve never been a big fan of Elle’s work, but I do love this ad takeover.
  • And here are more ad takeovers, these from Jordan Seiler.
  • So many nice graffiti pieces on Ekosystem today.
  • I really like this new print from Shepard Fairey.
  • Pablo Delgado tiny pieces alway makes me smile.
  • Speak of small street art, here’s BSA’s take on the subject.
  • FAME Festival is no more, although ad hoc projects will continue to be organized in the town of Grottaglie, Italy by festival organizer Angelo Milano. It’s definitely sad news, but Angelo is always ahead of the times. Maybe this glut of street art festivals is just too much. Maybe it’s time for something different. Let’s hope Angelo figures it out. I can’t wait to see what he tries next.

Photo by Alex Ellison

Category: Art News, Festivals, Gallery/Museum Shows, Photos, Print Release, Random, Vandalog Projects, Videos | Tags: , , , , , , , , , , , , , , ,

Melbourne Monthly Madness – July 2013 (belated)

September 2nd, 2013 | By | No Comments »

Apologies for the delay posting this. I have had to hold off posting it due to Illegal August.

HAHA - Photo by David Russell

HAHA – Photo by David Russell

Metro Gallery started off the month with the opening of their group show “Writing on the Wall” with works from local and international artists such as Swoon, Rone, Matt Adnate, HAHA, Word to Mother, E.L.K, Dabs Myla and D*Face and more. Some shots from the opening below and more here.

Rone - Photo by David Russell

Rone – Photo by David Russell

Word to Mother - Photo by David Russell

Word to Mother – Photo by David Russell

The day after the opening Metro hosted more live painting, this month featuring work by Unwell Bunny, Two One and again E.L.K. More shots here.

Unwell Bunny - Photo by David Russell

Unwell Bunny – Photo by David Russell

Two One - Photo by David Russell

Two One – Photo by David Russell

E.L.K - Photo by David Russell

E.L.K – Photo by David Russell

Chaotic Gallery’s 1st show BRUISER by Creature Creature was a cracker. A massive turnout for the Southside’s newest gallery. The works were amazing; a combination of the two artists styles which mesh so well together, featuring influences from the samurai era throughout. Check out some of my favourite pieces below and more here.  Also check out some of their recent paste ups, which I also love, here.

Creature Creature - Photo by David Russell

Creature Creature – Photo by David Russell

Creature Creature - Photo by David Russell

Creature Creature – Photo by David Russell

Creature Creature - Photo by David Russell

Creature Creature – Photo by David Russell

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Illegal August: Vandalog’s month-long experiment revealed and explained

September 1st, 2013 | By | 17 Comments »


I have a confession to make: If you read Vandalog at all this August, you were taking part in an experiment, but today we are ready to publicly announce what we were doing. We nicknamed the experiment Illegal August. Look back through what we posted last month and you’ll see that we only posted about illegal work or news stories relating to illegal work from August 1st-31st. The experiment extended to our Tumblr and Facebook pages too. It was an entire month of ignoring murals, gallery shows, print releases and the VMAs on all of the general Vandalog sites (we didn’t include our personal social media accounts in the experiment, so that’s why you may have seen legal work on the Vandalog Twitter or Instagram accounts, which are really my personal accounts).

The idea for Illegal August came out of a dinner that Caroline and I had with Luna Park and Laser Burners. We were discussing mural festivals and legal murals, and how perhaps street art blogs have lost focus on street art in favor of covering a roving band of international murals touring city to city like mercenaries with spray cans, ready to paint something out of their sketchbook on any wall they can get access to, as long as they also get access to a lift. Somehow, I don’t think Luna Park actually ever said this to me, but I got the idea in my head that she had challenged Vandalog to only post about illegal work for one month. Whether she said that outright or even intended to make that challenge or not, I associate Illegal August with Luna Park. I thought it was a great idea to try only posting about illegal street art and graffiti for one month, and I chose August for the challenge/experiment because I thought that would be the most difficult month. There are so many mural festivals from July through September that I knew Vandalog would miss out posting about some great murals. It would hurt, but if it wasn’t going to hurt, what would be the point?

The rules for Illegal August were simple: Anyone posting on Vandalog from August 1st through 31st had to be reasonably confident that what they were posting about had been done without permission, or if they were posting news or an interview that the content was related to something that had been done without permission.

Illegal August morphed from a challenge into an experiment when I decided that we would attempt to complete the challenge without announcing it publicly. I wanted to see what readers would do. Would people complain that we weren’t covering Living Walls? Would they stop visiting? Would they get tired of posts featuring stickers and tags when they had come to expect murals? Would anyone notice what we were doing and ask us about it?

One way to analyze what happened is by looking at visitor numbers. In July, our most popular post by a mile was this one about a legal mural by Escif. In August, it was this post about a piece by Above that I believe to have been done illegally but I’m not positive. The Escif post got about 3x the visits as the Above post. Looking at pageviews in July versus August, we saw about a 10% drop in visitors.

But not all visits should be counted equally. Multiple posts in August inspired people to email me personally to say how much they enjoyed something that we had published. Most months, people will share what they like on Facebook or Twitter, but honestly it isn’t common for me to receive the kinds of emails I got last month. To me, that says that at least some of the people who did visit Vandalog in August were more engaged than visitors in July. I would rather know that a handful Vandalog readers are really loving the content than that a lot of people are visiting who are mostly indifferent about the content. It seems that focusing on illegal work forced myself, the rest of the Vandalog team and this month’s guest posters, to create more engaging and unique content.

What a lot of people may not realize is that a lot of what gets posted on Vandalog are things that I learn about because people email me press releases (sometimes very formal ones, sometimes entirely informal) about them. But most artists don’t send out messages to their mailing list when they put up a wheatpaste. Those emails are pretty much reserved for legal murals and gallery events. Illegal August forced me to not be so lazy. I had to go out and find content, whether that be interesting guest posts or searching through archives to highlight underrated artists. It was a lot harder than just publishing whatever was in my email inbox. But because I wasn’t worried about posting the latest murals, it freed me up to write about artists like You Go Girl! and Enzo&Nio whom I love but tend to neglect posting about. Basically, Illegal August allowed me to escape the rat race that street art blogging can be, the very existence of which is nuts since all of us bloggers are doing this out of love and a passion for the art.

But what art are we really so passionate about? I’ve always described Vandalog as a street art blog, and then there are blogs like StreetArtNews and Brooklyn Street Art with “street art” right in the name. I did a quick look at at what StreetArtNews, Wooster Collective, Brooklyn Street Art and Juxtapoz (in their “Street Art” section) posted during the week of August 19th…

    • 28 out of 38 posts on StreetArtNews that week were definitely about legal work, with one post mixing legal and illegal work and 9 where I wasn’t positive if the work was painted legally or illegally.
    • The only post on Wooster Collective that week was about a print release related to their 10 year anniversary show with Jonathan Levine Gallery.
    • Brooklyn Street Art had 2 posts about legal work, 2 posts about work that seemed likely to be illegal, and 3 posts that had a mix of legal and illegal work.
    • 13 out of 14 posts that Juxtapoz published under their “Street Art” category were entirely about legal work.
    • I would guess that if Vandalog had not been in the midst of Illegal August, at least 75% of our posts for that week would have been about legal work.

Given those numbers, if you think that “street art” means art placed in public space without permission, it’s pretty clear that street art blogs are not the place to go looking for street art online. But why is that? Talk to any street art blogger and they will tell you about the awesome wheatpaste or sticker that they saw recently before mentioning the mural they posted about the night before.

Huge murals captured in the perfect light by professional photographers look great on blogs, regardless of how they look in person. Stickers and wheatpastes captured with an iPhone that look like crap on blogs can stop you in your tracks on the street. And on the street, the work is confronting you, so you’re going to look at it whether it’s Swoon or Mr. Brainwash or someone you’ve never heard of. Online, if you’re like most viewers and see a headline for a blog post along the lines of “Some guy you’ve never heard of who does wheatpastes in a city you’ve never been to,” you’re maybe not so likely to read that post. This may be one reason why street art blogs and general art and culture blogs that cover street art have shifted from covering street art to covering contemporary muralism under the guise of covering street art.

And then there is the issue of laziness that I mentioned. Well, not really laziness, but it’s just easier to post about the legal piece is sitting right in your inbox than to go out searching through flickr or actual streets (if you’re lucky enough to live near a lot of street art) in search of something brilliant but still illegal.

Or maybe street art just doesn’t mean the same thing that it once did. Maybe mural festivals and the ease of finding legal walls has elevated the genre. Artists can spend days on a mural without worrying about police rather than sneaking around at night and working as quickly as possible. With plentiful legal walls, maybe some artists don’t see the need for working illegally anymore. Can the same goals be achieved at a legal wall as at an illegal spot? I don’t think so, but some may disagree with me.

For me, Illegal August was difficult. I had to spend a lot more time than usual coming up with content, even though I asked guest bloggers to come in and help lighten the load. And it hurt. It hurt to not post about Living Walls while Caroline and I were there watching the conference happen. It hurt to not post about Tristan Eaton painting a spot that I helped to organize in Little Italy. It hurt to tell artists whose work I really like, “Sorry, no. I can’t post about this.” But Illegal August was also freeing. It made me realize when it hurt to not post something, and when I hardly cared. It allowed me to get out of posting work that I would have otherwise been on the fence about, but would have felt obligated to post because of personal ties or because all the other blogs were posting about it and not posting would make it look like Vandalog wasn’t up on the latest thing. I hope that this experiment can spark a discussion in the street art and contemporary muralism communities about how we create, promote and consume art, but on a personal level it has helped to remind me that Vandalog is about what I feel strongly about, and I need to keep the focus on that. Today Vandalog goes back to “normal,” but it won’t be unchanged.

What do you think about Illegal August? Did you notice anything different on the site? Was the experiment valuable or a waste? Are street art blogs too focused on legal walls? Has “street art” become about legal work? If so, should that change and how could it?

Photo by RJ Rushmore

Category: Featured Posts, Random, Site News, Vandalog Projects