Sometimes street art end up in odd places. The cover of Diplomat, a magazine targeting the community of diplomats in London, probably qualifies as one of those most unlikely places. And yet, their creative director Jeannine Saba has been working to bring street artists to the diplomatic community. In October 2009, before hardly anyone knew about him, Roa was the first street artist to make a cover for Diplomat. And this October, Invader was on the cover.
I asked Jeannine about Roa’s cover and she said that Roa was asked “to depict the pharmaceutical industry in the East and the West.” Here’s what he came up with:
I don’t quite see it, but I’ll trust Roa on this one. I just love the idea of having that magazine sitting on some MP’s desk.
Diplomat has more street art and graffiti planned for covers in 2011 too, including possibly Isaac Cordal, which would be awesome.
Hyperallergic and Don’t Panic have interview with Voina, the group of activists artists in Russia that Banksy supported with his most recent print release.
Toasters have a film coming out next year. I’m not sure I need to see 90 minutes of Toasters, but the trailer looks cool.
This essay on the origins of street art is an interest read.
Like cities around the world, Atlanta is increasing efforts to buff graffiti. At first, their proposal sounds like the city is at least trying to avoid removing “good” street art and “good” graffiti, but a. that’s hypocritical and b. Atlanta residents only have until January 17th to come up with a list of pieces that they don’t want the city to remove. That’s not nearly enough time, and any “good” graffiti painted after January 17th, is also at risk of being buffed. The city seems to be trying to please both sides here, and that’s just not going to work. If you live in Atlanta, help figure out which walls you want saved before it is too late.
There are a few updates on the MOCA/Blu debacle: iGreen responded to the events by putting up some posters, Hyperallergic has a number of updates (including Henry Chalfant’s thoughts on the situation, which I agree with), Marc and Sara Schiller have written an insightful post on Wooster Collective about the difficulties of museums working with street art and some of their thoughts on these events at MOCA and Robert Greenwald of Brave New Films writes on The Huffington Post that MOCA’s removal of the mural disrespects actually veterans.
Recently, Sean Martindale tried something interesting in Toronto. For TENT, Martindale has stolen outdoor advertisements for condos and reused them to make tents throughout Toronto. Here are a few photos:
These photos have been sitting in my email inbox for nearly a month now because I’ve been thinking about them. TENT breaks one of the most important guidelines to making good street art (IMHO). Generally speaking, street art should have the potential to be seen by the public and (on some level) understood or acknowledged by any passersby. Dan Witz used to place random bits of metal on the street, but he realized that nobody would notice what he was doing or recognize it as art outside of the context of a gallery or museum. Of course, there are lots of examples where that isn’t true, but it’s a general guideline that applies to street art, particularly street art with a political message like TENT. Some successful examples that don’t follow this guideline would be Blu’s animations where the end result for passersby is a white wall, Jordan Seiler’s ad takeovers where the point is often to get the public to not notice his work at all and The Underbelly Project which was intentionally difficult for the public to see in person. Like those projects, TENT is best viewed online with some explanation. A random person seeing those tents in the flesh would probably not understand what they were made of, why they were made or that they were meant as art. It’s art that’s done outdoors, but maybe not street art in a most traditional sense.
But I still like TENT. It has a message, it gets rid of advertising and it provides a functional end-product. And it’s artwork that has kept me thinking even when I’m not looking at it.
10 years ago, I don’t think TENT would have been a successful project as street art. It would still get rid of some advertising and possibly providing temporary housing for people, but that’s valuable political activism which would not be recognized as art by anyone besides Martindale. Now though, the internet has changed things. Thanks to the internet, Martindale can provide the needed explanation of TENT without the constraints of a gallery (although there was a temporary exhibit in a pop-up space last month). Street art is meant to be viewed in the flesh, but the fact is that many fans of street art, for a variety of reasons, see more street art online or in books than they see in person. Projects like TENT take advantage of that. It was covered on majorblogs and that’s how people found out about it. TENT is as much about sculpture as it is about photography and distribution. Even if TENT doesn’t follow the usual strategies of street art projects, the goals still align with the goals of other street artists. The results were just achieved differently.
The question remains though: Is this way of doing street art a positive evolution of the genre, a usurping of the public space by “gallery art” or something else entirely?
The most recent Rosler essay for E-Flux Journal #21 is a holistic portrait of the development of the modern city from its genesis with the Industrial Revolution to the complicity of the creative class in the process of urban succession. A must read for anyone interested in urban issues and the history of city space.
After procrastinating and procrastinating about writing this post, I missed Hanukkah and Eid, so I guess this is a gift guide for Christmas. Sorry for the delay.
Here are a few street art related products that have come out in the last year or so that I think are pretty cool. If you’re looking for a last-minute holiday gift for the street art obsessive in your life, hopefully this will help…
DB Burkeman’s book Stickers: Stuck Up Piece of Crap is one of the best art books I have ever read. I cannot recommend it highly enough if you have even a passing interest in stickers. If you buy one thing off this list, it should probably be this book. The photo at the top of this post is for the deluxe edition which comes with signed stickers, but that version doesn’t come cheap.
Now, the flip side of that anti-fashion comment, I want to remind everyone that Vandalog still has shirts available from Gaia, Troy Lovegates and Faro. These very limited edition shirts are $30 each and you can buy them online.
Martha Cooper’s latest book is Name Tagging, a book about the Hello My Name Is stickers and graffiti. Personally, I prefer Going Postal, her book about postal stickers, but Name Tagging is a good quick read too. It has brief interviews with Twist, Sure, Cost and others plus plenty of photos.
If you want a unique iPhone case, either Incase or Uncommon seem like good options. Incase has that Jose Parla iPhone case and Uncommon let’s you customize your own case with designs from a number of artists including David Ellis, Dennis McNett and MQ.
I’ve only just started to read Trespass, but I’ve heard from others that it is a great book.
Or, if you’re a street artist, you could go out on Christmas, brave the cold, and do some art. Give a gift to the rest of us. Not enough street art happens in the winter months.
I’ve been out of the loop and stuck in libraries lately (and then in Miami for the weekend), and that’s led to me miss posting about a lot of things. I’ve got some catching up to do, so here’s the start of that:
EPOS 257built a fence in a public square in Prague. A. It reminds me of Richard Sera’s amazing Tilted Arc and B. Seems like a great way to screw with the local bureaucratic government. I guess there’s the important question left though of if the public actually thought about anything when looking at the work. I’m hoping that some did, but perhaps it was too nondescript to provoke much thought.
Ending on a very sad note, Brooklyn Street Art has received word from Faust that his friend and fellow graffiti writer Sure has died while serving the USA in Afghanistan.
Wow. It’s actually Friday night already? This week went by really fast. I think I’ve been sleeping too much. Well, while I was sleeping, these things nearly slipped me by:
A film is being made about The Underbelly Project, and they are looking for reactions from the public. This Sunday, New Yorkers get have their reactions (positive or negative) on film. More info on the film’s website. I’ve been interviewed for this a couple of times, and I can’t wait to see the finished film.
Shepard Fairey is guest-editing the latest issue of PAPER Magazine. Great price for an art/culture magazine by the way: I just realized that a two-year subscription to PAPER Magazine is $15! Juxtapoz costs more than that per year just for a digital subscription (more issues per year though)!
Graffoto are raving about Mantis‘ solo show in Hackney Wick. Honestly, I saw a few photos in the preview and thought something along the lines of “What? These are paintings and they aren’t funny or clever and they aren’t amazing. This isn’t what I love about Mantis at all!” Well I stand corrected. While I still think a lot of the paintings are pretty unappealing, there are some great drawings and even a nice painting or two. The man can draw!
People have been tagging up Barry McGee’s wall of tags in New York. Not writers, but just regular people. As beautiful as that wall was when it was first painted, I love that more people are writing on it. I guess the existence of the tags and a while background is sort of inviting average people to interact.
The week’s not up yet though, and I’ve committed to doing at least one useful thing before it is: Tomorrow I’m going to try using my kitchen for the first time since going to university. Wish me luck…
(yes that is lady pink modeling the t shirt in 1983)Colab, Group Material, the Real Estate Show, If You Lived Here, Martha Rosler, Dia Beacon Soho, ABC No Rio, Loft Living, Lee, Lady Pink, Jenny Holzer. To get a sense of these correlations between sometimes seemingly disparate conceptual, graffiti and activist works, download this informative essay by Alan Moore with Jim Cornwell Local History: The Art of Battle for Bohemia in New York. In an effort to explore street art in a frame of relational aesthetics, let’s start with these connections, exhibitions and artists
The awesome José Parlá has just made a series of cases with Incase through their Curated by Arkitip program. They look pretty good, but I’m curious to see how well-printed they are in person. With Parlá, I’ve always felt that the work needs to be seen in person to have the proper impact (and I know this is anti-art-blogs, but check this article for more on the topic of seeing things IRL). Still, the iPhone case is now on my Christmas list.
Admittedly, the pricing for the laptop and iPad products is pretty damn high, but I think that’s because they’re leather.
And for Parlá fans on a budget, there’s always the free iPad, laptop and iPhone desktop backgrounds from his artwork. Those are at the bottom of this page.
Dave the Chimp takes a little look at “the buff”, it’s uses and misuses, and where it can head in the future.
I used to live by a small park. Kids walked through the park to take a short cut to school. Drug dealers worked the same route. There was a garage there covered in tags. I had the idea to paint the garage with some friends, covering the tags with a brightly coloured mural. The idea was to make the space a little brighter, a little less like a spot where drug dealers would hang out. I made a fake letter from my local government authority giving me permission to paint the garage, just in case anyone asked, and set to work. This is the result:
One of my neighbours saw me painting and later told me she thought I was doing “community service”, which in England is an alternative to a prison sentence!
ESPO made his own “community service” projects as a way to get his name up, starting with his “Exterior Surface Painting Outreach” program in New York (those infamous shutters), and later with his “Community Service” project in LA, where he buffed graffiti in the way we are all familiar with today (blocks of colour) so that the buff-marks spelt his name.
What I like about this latter project is that it uses the anti-graffiti weapon as the weapon, like a martial artist using their enemies’ strength against them. It also sits nicely with the way graffiti is abstracted so that it becomes a code that can only be read by certain members of society. And it’s incredibly amusing.
Here are some photos of some abstract compositions I made earlier this year by adding my own buff marks to a wall that had been buffed, and other buff marks that I added to spell my name, much like ESPO did, though I created huge letters by only painting the negative spaces in the letters. I didn’t think much about this piece. I had a bucket of paint that was left over from another project I was working on at the time, and I just walked outside to see how I could use it, and this was the result. I’m sure with more thought better pieces could be created with this method. Feel free to take this idea further.
Another body of work utilising the buff was the Toasters‘ Bluff Buff, which inserted the shape of their toaster into areas of buff, as a comment on the inaccurate colours used to cover graffiti: here and here.
I painted characters so they looked as though they were behind areas of buff in Berlin and Hamburg, and turned the actions of the buffer into comedy:
And in this case, the original piece was buffed for real, so I pulled out a marker and turned the buff into fog:
Earlier this week we saw a piece by Mobstr which became a game, with his opponent being the buff man. Comments posted suggested further ways to play the game.
Banksy took a shot at New Orleans famous buffer Fred Radtke AKA The Grey Ghost when he visited the city:
He is featured in an upcoming documentary, along with other buffers such as the “Silver Buff” from Berkeley, California, who believes there is too much “visual noise” on the streets. Watch the trailer here. Something I found interesting is that one buffer in the movie talks about how buffing makes him feel “in control” of life. This suggest that the actions of graffiti and street artists can make people feel like they have no control, making them victims. This is something to consider next time you hit the streets.
Photographer Chris Brennan documents the layers of colour haphazardly applied to the city walls to cover up layers of colour that were made with more thought. His photos often look like the work of abstract artists. One of the photos we see at that link puts me in mind of the work of Mark Rothko, though I doubt the buff in the street can ever be as effecting as being in a room with one of his huge, deep paintings.
Another weapon in the buffers armoury is the pressure washer, that cleans off graffiti. It can also be used to clean dirt off of walls, a fact ZEVS put to great use. Other versions of “clean graffiti” can be seen here. I’m sure we’ve all seen advertisers use this technique too, usually to place logos on city sidewalks.
It’s not unusual to see advertisers use street art techniques, just as it’s not unusual to see street artists fight back against advertising.
I like these pieces by the Thought Police member Eric Pentle, who will happily cut out your carefully constructed copy, or simply paint your whole billboard black. Unlike other artists, such as OX, that use advertising space as their canvas, there appears to be no clever message in Pentle’s billboards. He simply removes their ability to be effective. He is reacting to the lack of control he has in a world full of messages constantly being shouted at him, and thus makes his environment quieter. This is much the same as the Silver Buff does with graffiti. I find this very interesting, as I live in a country where I understand little of the language, and so advertising has no effect on me. It creates a more peaceful daily experience to not be told what to do all the time. See Pentle defuse more advertising here.
As we can see, the buff is nothing to fear. In fact, let us embrace the buff, and see where we can take it. Let us use this negative energy and turn it into a positive force.
One of the advantages of the buff is that, with a little effort, you can get the materials for the job for free. Try ESPO’s technique and tell the city you want to cover the graffiti in your neighbourhood, and are willing to work for free if they give you paint. Failing that, many cities have “paint recycling depots” where unused paint is taken to be disposed of. My friend Ekta in Sweden gets most of his paint for free by going to his local recycling depot and simply asking for the paint. Also keep your eyes open to see where legitimate painting work is happening. Brushes and rollers are often thrown away as people don’t want to make the effort of cleaning them. Soak them in water and the paint soon comes off. Or if they use an oil-based paint and you don’t want to mess around with turps trying to clean them, just wrap them in a plastic bag, they’ll be good for a few more days. Free brushes and rollers! Sorted!
As buffing requires little skill, this fun activity is open to everyone. No need to spend hours cutting stencils, screen printing posters, or learning how to draw – just grab your roller and a bucket of paint and make your mark in the world. The streets are a playground for everyone! I would suggest though that you have an idea before leaving the house, otherwise your efforts will be as destructive and unattractive as The Grey Ghost and his friends.
So come on kids, lets get buffing! Maybe by employing the buff as one of our weapons, applying it liberally around town, we can confuse city authorities so much that they start employing artists to paint art over all of the ugly buff marks in our cities. They can pay us to do what they paid themselves to undo.