L’Imagination Prend Le Pouvoir!

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Editor’s note: I am so glad to publish this essay by the prolific ekg. This piece of writing explores some of ekg’s ideas about street art and graffiti while chronicling his time getting up in Paris earlier this year. ekg’s work may at first appear to be quite simple, but upon closer inspection it’s clear that there’s a lot going on behind his tag. Hopefully this essay provides a bit of insight the mind of ekg. – RJ Rushmore

L’Imagination Prend Le Pouvoir! (Imagination Usurps Power!), or what i was thinking while getting up in Paris for three weeks.

by ekg

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the above Situationist slogan was one of many revolutionary statements painted across the walls of Paris during the 1968 youth rebellion. the idea that imagination is revolutionary was a revelation to me. the inner personal vision becomes political; the political becomes fantastical. this internal reversal stokes passion and inspires external action, resulting in even more commitment to the illegal public mark, the residue and resonance of such revolutionary aesthetic actions. beautifully symmetrical in equivalency and explosive force, external actions that initiate change become a reflection of the internal universal. at this point in the grand evolution of our species, having created an electronic topological reality of coordinates, data, and patterns, Graffiti and Street Art are the uncontrolled voice, the instinctual blurt, the collective convulsive id of the cultural unconscious, a channel for aggressive alternative frequencies, the visually vociferous, ghost images of mutated mass-media, writhing wraiths of the imagination, irruptions into the matrix. in terms of these ideals, Paris is still a city vibrating with aesthetic rebellion and living up to its past as a hot bed of experimentation, philosophy and art, especially, graffiti and street art.

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while in Paris, i was on an all-city broadcast mission: solo guerrilla visual communication and direct neurological connection with the local populace, utilizing the physicality of the materials, tools, methods, and operations of Graffiti and Street Art to transmit illegal aesthetic manifestations. i had also visited a bunch of other cities over this past year, where i would simply walk and tag for eight-to-twelve hours a day until i would leave the city one-to-three weeks later. walking so much, just looking for the next spot, is mesmerizing, as distinguished from meditative, relaxed or unconscious, other descriptions i have read describing the experience of tagging. personally, i become energized and elevated, turned on and tuned in, an activated semiotic transmission tower, relay station, radar, satellite: during the day, one develops a heightened awareness of the empty spaces, the bubbles of silence, between the flow of people and traffic, finding that subtle spot of invisibility within the rhythm designated by the metronome of the traffic and pedestrian light system; whereas at night it is the opposite, turning up the antennae to eleven, hyper-aware of a single particular movement or noise, the glare of headlights, the rhythmic approach of pedestrian shoes, just one noise or movement. Lab Note: a look-out check list for any time of day: 1. pedestrians 2. cars (parked and moving) 3. police 4. surveillance cameras 5. windows (including second floors). as Rusk once said to me: Stay paranoid, stay safe.

Continue reading “L’Imagination Prend Le Pouvoir!”

Weekend link-o-rama

Unknown artist in Berlin
Unknown artist in Berlin

Caroline and I are headed to Chicago today. We’ll have a few days to explore, so any suggestions are appreciated. Here’s your links:

  • El Toro, Dave The Chimp, Invader, Flying Fortress, Mr. Penfold and others sent in stickers and other small artworks to This must be for you, who put all the work together into little folders and lift them as free gifts around London. Giving out free gifts unexpectedly to random people with no expectation of anything in return, sounds like fun to me (although of course very similar to Papergirl). Check out the video here.
  • I love this intervention by Plastic Jesus. He went into Best Buy stores in LA and left them with some special new products.
  • TrustoCorp put up a sign in Bushwick last week.
  • Luzinterruptus put up this fantastic sculptural intervention in Madrid in response to accusations of corruption and money laundering in the Spanish government.
  • Anyone know who did this? It’s so cute.

Photo by pareto8020

Weekend link-o-rama

Gold Peg
Gold Peg

What am I missing? Because I don’t have much to add this week for the link-o-rama. It’s the middle of summer? Aren’t people getting up? Am I just not seeing it?

  • Horfe and Coney/Ken Sortais went wild in an abandoned swimming pool.
  • Sweet Toof is understandably upset that a recent mural project in Hackney, where he and the rest of the Burning Candy crew painted some of their best illegal street art and graffiti, intentionally avoided including local artists. You’ve gotta love this quote from Sarah Weir, who heads the charity that commissioned the new murals: “We unashamedly wanted to showcase the best international artists and transform this part of the canal into a destination for street art.” That might be the dumbest thing I’ve read all summer, except for course for arguments defending the NSA or calling for Edward Snowden to return to the USA. First of all, murals (while interesting) emulate street art and graffiti, but there is a distinct difference between legal murals by street artists and illegal street art by the same artists. I’m sure that on Vandalog I have referred to murals as street art for the sake of simplicity, but not in a context like this where the difference between murals and street art is actually quite important. Hackney Wick’s canal already is a destination for street art, in large part due to the work of Gold Peg, Sweet Toof and the other members of Burning Candy. Weir is trying to turn it into a destination for murals, most likely at the expense of street art and graffiti if the intense pre-Olympics graffiti removal efforts in the area are anything to go by. Mural projects and festival are awesome, but they are not the same thing as illegal street art or graffiti.
  • Israel Hernandez, an 18-year-old Miami graffiti writer, was killed this week when he was tazered by police. They were chasing him after catching him writing in an abandoned building. CNN’s coverage of Hernandez’ death was surprisingly fair. Their piece was framed as the tragedy that is clearly is, rather than a piece demonizing Hernandez for his artwork like you might expect from some mainstream media.

Photo by Alex Ellison

Weekend link-o-rama

Swoon
Swoon

Enjoy your Saturday. Also, if you enjoy the above photo, make sure you didn’t miss this post from earlier in the week.

  • Dr. D and Leah Leah Borromeo floated some sculptures in a London canal (near where the whole Banksy / Robbo feud went down) to comment on England’s welfare and tax policies.
  • Clet Abraham’s road signs are kinda awesome.
  • Hyperallergic has been doing an amazing job covering street art related stories recently:
    • Urban Maeztro has been putting up some very Mr. Brainwash-y posters in Honduras, but they aren’t so bad when you consider the context.
    • This artist reacted brilliantly to all the recent new about Detroit.
    • Peter Drew, who recently wrote this post for Vandalog, may be expelled from the Masters program he is taking at the Glasgow School of Art. The administration is not happy that he is continuing to do street art while enrolled at the university, which is weird because it sounds like he was admitted at least in part on the basis of his street art… Shouldn’t it be the administration’s job to support Drew now that he is enrolled there, rather than try to stifle his creativity?

Photo by Luna Park

Melbourne Monthly Madness – June 2013

June was another busy month in Melbourne. My round up for the month includes trains, walls, shows, a rad new publication and some other bits and pieces of goodness.. I’ll start with my favourite train for June. This one ran on June 6th – thanks to The best of Melbourne Graffiti for the pic. This guy has been killing it lately!

01 RUNZ - Photo via The Best of Melbourne Graffiti
RUNZ. Photo courtesy of The Best of Melbourne Graffiti.

Some shots from Burg’s show at the Vic below, more here. Burg’s street characters are some of my faves with twisted and expressive faces appearing all around Melbourne.

BURG - Photo by AllThoseShapes
BURG. Photo by AllThoseShapes.
BURG - Photo by AllThoseShapes
BURG. Photo by AllThoseShapes.
BURG - Photo by AllThoseShapes
BURG. Photo by AllThoseShapes.

Knock Knock Magazine released their latest issue, Issue 4 -The Travel Issue. Knock Knock is an online magazine focusing on talented creative people, this issue features articles on Ben Quilty, Mark Drew, Geoffrey Lillemon, Dave Cragg, Sobekcis, Sheryo & The Yok, Onur Gulfidan, Rosek, Haribow, Maaden, Beatrix Curran, Kate Florence Knowlden, Val Kelmer, Jess Howell, Robyn Aubrey, Arman Nobari, Embassy, Spoonty and DoubleTrouble. A great read and a well put together production. Check out these screen shots from Issue 4:

Screenshot from KnockKnock Issue 4
Screenshot from KnockKnock Issue 4
Screenshot from KnockKnock Issue 4
Screenshot from KnockKnock Issue 4
Screenshot from KnockKnock Issue 4
Screenshot from KnockKnock Issue 4

Continue reading “Melbourne Monthly Madness – June 2013”

Teaching graffiti history and practice

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Ryan Seslow is an artist and professor in New York. I asked him to write this guest post about his experiences bringing street art and graffiti into the college classroom. Hopefully it will help to inspire others to do the same. – RJ

Street Art & Graffiti has entered the college and university level. It was long overdue. At both Long Island University (Post campus) and this coming year at CUNY York College students earn 3 credits towards their degree requirements in the areas of art history, studio art, or as an art elective. “The History & Emergence of Street Art & Graffiti” is the title of the course that I created and began teaching at LIU Post in 2010. One may think that the course would have trouble with enrollment at a University on the North Shore of Long Island, but this is quite the contrary. The course has booked solid every summer since it has been offered. I started teaching at the college level in 2003 simultaneously between 4 colleges and universities here in the NYC area.

Bringing this subject and content to the college level did take some time and convincing, but not with the students, it was more with my peers, administrators and colleagues. Even rallying support and over all approval for a course of such nature took even more time, but here we are 3.5 years strong and only building and expanding. As a graffiti writer, artist putting his works in public spaces, and an art professor, the state accreditation aspect of the course is important to me. There are a few schools and programs out there that offer workshops in both street art and graffiti, and they are fantastic. Being able to earn actual credit towards one’s chosen degree requirements validates the importance of the content itself as an emerging art movement of value contributing to the “art world” in the realm of academia. I’m passionate about graffiti and street art, it is the core of my inspiration as an artist. As an art educator, I feel it is my responsibility to bring that passion into my classroom to share and instill its energy into my students. We just completed one of the most productive, collaborative and energetic classes of my teaching career to date. The course at LIU is a 1-week intensive course. The class is offered in July and runs from 9AM-6PM Monday-Friday.

I carefully curated this course, and have been micro testing and interweaving the content into all of my classes for the last 10 years. Keeping students engaged and excited is a huge part of my teaching strategy, and I’m lucky to have a multidisciplinary studio based workload of courses that I teach. Street art and graffiti are always a topic of interest, whether it’s drawing, painting, sculpture, print-making, graphic design, or art history based courses, my passion for the content, its history, and techniques always comes through. In the classroom, the students will find themselves switching regularly between slide and video based lectures, technical demonstrations, museum and gallery visits, guest artist presentations, and hands on collaborative art making experiences. This results in an over stimulating experience filled with retained use value, plus the generation of several new pieces of both collaborative and individual works. Students create a network of new colleagues in a communal course like this. Having guest artists frequent the courses is of huge importance. All of guests are highly respected in the movements for their prolific styles and commitment to their work. Best part of all, these are warm and open people, their process and love for their craft is transparent. If that is not contagious enough, I don’t know what is. Hearing their unique personal stories inspires motivation beyond one’s expectations. This course has filled to capacity every summer since 2010. I don’t have to convince anyone to take the course, and 90% of the students that do are not street or graffiti artists. People are inspired by the movements of street art and graffiti, and I’m taking about adults older than 20 years of age. This particular class that just ended had an average age range of 28 – 40 plus. Continue reading “Teaching graffiti history and practice”

Sunday link-o-rama

Jaz, drawing entirely with charcoal.
Jaz, drawing entirely with charcoal in Buenos Aires.

Had a quick holiday in New York City combined with a nasty cold to delay posting this link-o-rama, but I’m back so here we go…

  • Dave aka nolionsinengland has been a friend and also one of my favorite street art/graffiti photographers for many years now. I’m very excited to see that he’s now offering street art tours of London in addition to his street art photography workshops. There aren’t too many people who can take me on a graffiti or street art tour of London, but Dave has shown me around before and he still schools me every time we meet up. This guy knows his stuff, and regular reads of this site have seen his photos on here for years. I haven’t taken this tour of course, but from every experience I’ve had with Dave over the past 5 or so years, I cannot recommend him highly enough.
  • Another longtime friend whose work I’ve admired is Know Hope, so I’m overjoyed to see him getting some serious recognition in the UK with a solo show coming up at Lazarides Gallery’s Rathbone Place location. Like Os Gemeos, Know Hope make work that grabs me and sucks me in to his world, and that’s a rare and beautiful experience. The show opens August 2nd.
  • Banksy’s No Ball Games street piece in London has been removed from the wall and is due to be sold next year. The profits from the sale will be going to charity, but I’m curious if that means the profits for person who owns the wall, or if the group organizing the removal and sale are also forgoing any profits. The company that removed this wall is the same one that managed the sale of Banksy’s Slave Labour street piece earlier this year.
  • Very nice NSA-theme ad takeover.
  • Gold Peg and Malarky are showing together in Stoke on Trent in the UK on August 3rd. It’s not often that Gold Peg shows her work indoors, so this is a really special treat.
  • Faile are on the cover of the latest issue of Very Nearly Almost, so there will be launch events in both NYC and London. The NYC launch is July 31st at Reed Projects and the London launch will be 8th August at Lazarides.
  • This year’s Living Walls conference/festival line up has been announced. The festival (my personal favorite in the USA) will be August 14th-18th in Atlanta. Caroline and I will be there, as well Steve and Jaime of Brooklyn Street Art. I highly encourage you to make the trip out if at all possible. Artist painting this year include Jaz, Inti, Know Hope, Freddy Sam, Trek Matthews and many more. More info about the conference (including all the things planned besides the murals) here. Also, you can donate to the conference here.
  • Remi/Rough recently put together a book of sketches that you can read online. Most artists who have met me know that I’m always carrying around a blackbook, and that I love to collect sketches, so this project of Remi’s was a real joy for me. It’s really fascinating to see what’s going on behind the scenes with this work.
  • Caroline and I went to this show in Brooklyn on Saturday night. I was really impressed with EKG’s drawings. A few of them definitely reminded me of Rammellzee. Col’s screenprints on wood were also interesting as a change of pace for someone who I’ve always known as a master with spray can.
  • Have I missed something? These new Titifreak works for his upcoming show at Black Book Gallery look very different from the Titifreak I remember. Still great though. I hope I get a chance to see this show while I’m in Denver next month.
  • Surreal awesomeness from Dome.

Photo by Jaz

Parasites and magnets: a story about street art and photography

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I am bored. In fact, I am not that bored, I am more disillusioned. But why?

Firstly I am slightly fed up of seeing a lack of creativity in much of the street art I am currently viewing in London, hence these photos of interesting pieces by Monkey and the ATG Crew in Hvar, Croatia I snapped whilst on holiday a couple of months ago. It may just be that I am looking in the wrong places, and don’t get me wrong, there are a huge amount of artists living and working in London that I admire, but it seems I keep seeing the same dull work from many others.

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But that is not quite why I am writing. It is a second point that has caused me to become even more disillusioned. Money makes the world go around and money always seeps into everything eventually, street art included. This is not necessarily a bad thing, artists need money to keep doing what they are doing in addition to feeding and clothing themselves, but at the same time money brings parasites.

These parasites, as I like to call them, come in various forms and varieties. You have flippers, forgers, and reclaimers, who just steal street art off the street to sell. Then there are others, such as agents, who I will never understand really. An agent, really?

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But there seems to be a final parasite that is increasing in numbers, and that’s the photographer. Actually photographer is a bad term to use, but they call themselves that so, so be it. A photographer to me is someone that is creative, an artist with a camera. Someone who sees a shot, frames it, and shoots it. Taking light, composition, angle and various other important aspects into account. A good photographer (at this point note Mark Rigney, Sandra Butterfly, NoLionsinEngland, RomanyWG, HowAboutNo, Martha Cooper, Ian Cox et al), makes an image come to life in a photo. They add something to a picture.

I see photographers as important for a couple of reasons, firstly as I have previously alluded to, they are artists in their own right and I am all for creative people who have something interesting to exhibit. But secondly, and more importantly to an extent, is their ability to document. Martha Cooper is the prime example and others have followed suit. My pictures in this post are a documentation of street art in Croatia and this blog is a documentation of street art from around the world. In essence it becomes a window to history and that’s why I have a penchant for photography.

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Yet over the last two weeks in particular, and over the last few weeks, months and years in general, I have become disillusioned. In no small part because of the increasing numbers of people printing Banksy images onto canvas and selling them at every market in London, but more recently by photographers tapping into the same practice.

Over the last two weekends I have attended two outdoor art events. One in Brixton, and one near Old Street. Both these events have included some fantastic, talented artists, and in particular, Brixton had a few great photographers who’s work I really admired. But both have also had those types of photographers who steal others’ creativity.

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Poor photos are one thing, but couple that with a market stall, price labels, and in one case fridge magnets and Oyster card holders and you have a recipe for disaster. Gone is the creativity and the innovation of a good photographer or even if the documentation that the mediocre photographer can provide. All you are left with is poor photos, bad cropping and product.

There has been a recent breakthrough on this subject with regard to Wooster Collective working their magic to ensure than Art.com offers commission to artists and show artists the photos they are hoping to use before they start selling them. This really is a massive step in ensuring that companies who deal in wall art act in a moral manner, but as RJ mentioned in his post on the subject, this is far from a complete problem solver.

In one of the cases I came across, I asked if the photographer had got permission from the artists. He said yes of course, the majority had agreed and that they are extremely grateful for their work getting promoted.

I would have loved to have been there when the guy asked Banksy, Eine, Phlegm, Mr. Brainwash, Os Gemeos and others if he could use their images to make money for himself. I hardly believe they are happy that others are making financial gains without paying any dues, in this case commission.

At a time when there are so many good artists releasing high quality affordable screen prints and even originals, it annoys me that some members of the general public are paying out sums of money for awful images. The stall at the street party near Old Street always had a large crowd around it with people paying good money for pictures they could have taken themselves and printed at home.

The moral of this story is that if you are reading this thinking about lining the pockets of one of these so called photographers, then I urge you to invest that money in your own camera, get outside and take some photos yourself. And if you need a bit of training then get yourself along to one of NoLions photography workshops if he organises a few more soon, fingers crossed he does, as they were very well received. Be creative, don’t let others steal what in essence is meant to be free art for all to enjoy.

This problem is not going to disappear completely, but you can all do your bit by not handing your money over to these parasitic photographers, and don’t let your mates do it either. In fact, I believe this is where street art tours come into their own as they get the general public into places where they can take their own documentary images. It is summer, so get yourself outside, walk around, see what turns your head, and just be creative.

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Photos all by Shower. Not purchased in any way. Taken himself whilst on holiday in Hvar, Croatia. And they will not be printed onto magnets any time soon!

Weekend link-o-rama

Nemo in London
Nemo in London

Happy weekend. Are you on the east coast of the USA? If so, are you melting?

Photo by Unusualimage

MOMO and Angelo visit Jamaica and Cuba

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Earlier this year, MOMO and Angelo Milano (the man behind FAME Festival and Studiocromie) went to Jamaica and Cuba on a sort of art-making journey / vacation. MOMO posted some photos from the trip last month. This week, Angelo posted a short documentary film about the trip. It’s definitely worth a watch if you’re a fan of FAME Festival or MOMO. Check it out:

Also, MOMO has a solo show that just opened with Studiocromie in Grottaglie, Italy. Juxtapoz has some great photos of that show, which looks absolutely stunning.

Photo courtesy of MOMO