This past Friday in Paris, over 600 posters by more than 80 artists and designers were installed in bus shelters managed by JCDecaux. The posters were installed on the occasion of the COP21 conference on climate change, which starts today. Participants in the campaign include Barnbrook, Bill Posters, Fra.Biancoshock, Jon Burgerman, Listen04, Paul Insect, Revolt Design, Stanley Donwood, Unga, and many more.
Seeing as JCDecaux is an official sponsor of the COP21 conference, it makes sense that they would open up their bus shelters to messages about climate change. Of course, that’s not what happened. This was an unauthorized action, a mass ad-takeover organized by Brandalism, who say that the posters “highlight the links between advertising, consumerism, fossil fuel dependency and climate change.”
In December, an eclectic set of seven prints and editioned works from some of the world’s most interesting street artists will go for sale on… Amazon.com. Starting December 7th and available for one week only, Amazon.com will be offering new works by Ron English, stikman, Faith47, Gaia, AIKO, Logan Hicks, and Ganzeer. There are three screenprints, one etching, one letterpress, one done entirely with spraypaint and stencils, and one hand-finished giclée. Each artist’s piece is an edition of 50, and the prices range from $200-550. If a lot of the artists in the line up look familiar to regular readers of Vandalog, that’s because I curated the collection.
“After the Starstuff” (detail) by Ganzeer
This is the first time that Amazon has worked with a curator to arrange a series of new works specifically for them. When I was brought into the mix, the idea was pretty open-ended: A series of prints by seven street artists to be released in December. With that in mind, I wanted to capture a small slice of the variety that exists within street art, to show how street art resists being defined by a single style or medium. That’s how we wound up with a collection that ranges from Ganzeer’s subtly dark letterpress print to AIKO’s bold pop art utilizing screenprinting and spaypaint.
“Bunny” (detail) by AIKO
I think, and I hope you’ll agree, that we’ve put together a suite of seven extraordinary pieces by a broad sampling of some of street art’s finest. You can preview the entire Amazon Street Art Project on Amazon.com. The works will be available online starting December 7th.
This week, we at Vandalog lost a friend and colleague, as well as one of the most promising (and already accomplished) public art advocates in the United States. Laura Patricia Calle passed away this week at the age of 26. In addition to being a Contributing Writer on Vandalog, Laura was a long-time volunteer staff member for Living Walls in Atlanta (most recently as Programming Director). For Vandalog, Laura brought a fresh voice as a champion of South American street art and muralism. In Atlanta, well, she was an integral part of the Living Walls family for as long as I’ve been visiting the conference.
Atlanta’s alt-weekly Creative Loafing has their own article about Laura, which includes an inspiring Facebook post from Laura about the way she lived her life.
Atlanta won’t be the same without her, but Laura’s legacy lives on on the walls of the city and in the hearts of the artists, arts advocates, and friends spread out from Columbia to Paris, and everywhere in between.
Andreco completed a beautiful mural in Paris in the run up to the COP21 conference on climate change, which starts next week. Painted on a wall outside of the Richomme Primary School, the mural depicts the water cycle and the carbon cycle. Andreco has definitely given a major upgrade to the whiteboard doodles that high school Environmental Science teacher used to draw. He calls the piece CLIMATE01.
It’s hard to not come back to Labrona‘s art. Not only because he is one of my favorite street artists ever, but also because he is one of those who continues to create the same way he has created since the beginning, year after year, for him, on the streets, on trains, with his friends. He continues to work and keeps up his generosity, without paying mind to changes that have disrupted the street art movement lately. For this, he should have the respect of all. Most importantly, he cherishes time spent creating with friends, because to create in the streets is also for him a real opportunity to share a good time with good friends. All the following pieces were done during last summer and fall, in Montreal and Toronto by Labrona with Troy Lovegates, Gawd, Monosourcil, Kim, Kat, Produkt and Mathieu Connery.
28 Millimeters, Women Are Heroes. Action in Kibera Slum, General View, Kenya, 2009. Photo by JR.
Helping people is difficult. Recently, I heard a completely logical and sincere argument that “empowering” people is a colonialist concept. So what’s a caring person to do? Donate to the Red Cross? If you’re a street artist looking to use your art and resources to skip over that middlemen and effect change directly, it can get even more complicated. That’s what Banksy and JR have discovered this fall.
Earlier this month, we mentioned that supplies from Dismaland were sent to Calais, where they were used to cloth and house refugees. Then, some aid workers stole Banksy’s “Dismal aid” sign. Okay, admittedly, the sign wasn’t essential to as a shelter, but it spoke to the situation and helped raise awareness for the plight of migrants in Calais. So it did serve a purpose. What’s next? Will aid workers start stealing the spare Dismaland shirts and hoodies that were distributed to the refugees? I guess those could go on eBay. Undoubtedly, Banksy and his team were doing good in Calais, and with minimal fanfare. But aid workers are claiming that Banksy was just there for the publicity, which is a pretty ridiculous claim. I mean, Dismaland had already gotten its fair share of press. If this was about attention, shouldn’t Banksy have just put up a stencil in central London or something? That seems like it would have been a lot easier than building shelters in a foreign country.
JR seems to be facing a similar problem with a project of his from back in 2009: His Women Are Heroes installation in Kibera, Kenya, shown above. For that action, JR photographed women in Kibera and printed their portraits onto vinyl sheets, which were then installed as roofing material on a few of the homes in the slum. You might think that it was a clever method of creating art for an international audience while simultaneously providing a much-needed service to the local community. Or you could see Kibera as a gold mine to be exploited.
The charity Water Is Life sent a team (accompanied by a film crew) to Kibera to “steal” (actually it was done with permission) a piece of JR’s work and put a new roof in its place. The idea was that they could take these JR pieces, bring them to the United States, and sell them for a lot of money, which would then go into funding Water Is Life’s work.
They made this snazzy video about the whole thing (Water Is Life actually removed the video from their own account for unknown reasons, but other copies are available online):
Okay, so, aside from referring to the residents of Kibera the “mark” in this “heist” and the generally murky ethics of selling work from the street, I think I can acknowledge there is the seed of a good idea here: Build better roofs for people who need them, and make money for water projects while you do it. Great.
“After his initial installation six years ago, JR formed a foundation, which continues to add new tarpaulins to uncovered houses in Kibera. These later works feature photographs shot by local kids. JR says the piece Deutsch auctioned was not by him, but is instead one of these later prints, by a young, unknown Kenyan.”
Also in the Guardian, JR points out that the ethics and practical implications of selling the work aren’t quite so rosy as Water Is Life would like to have you believe. For one thing, Water Is Life is trying to create a market for JR street pieces out of Kibera, and they are saying it’s a million dollar market. If residents suddenly believe, rightly or wrongly, that their roofs are worth a million dollars, that could create absolute chaos. And then there’s the question of whether Water Is Life is exploiting these residents by giving them pennies on the dollar for products that the charity will then go out and sell to fund Water Is Life’s own projects. Finally, the whole idea of going and taking these JR pieces seems to imply that the work JR did in Kibera was basically frivolous, but that Water Is Life’s work is valuable.
It’s all very strange. JR tries to do something good, and then a charity swoops in to disrupt his work and exploit the people he was trying to help. Now, JR says he might have to stop working in Kibera. What if this same problem spreads to other places where he has worked, as it has with the removal of Banksy’s work from the street?
So if you see Water Is Life trying to sell a tarp out of Kibera, buyer beware. It might not be what you think it is, and it’s only because art collectors create demand for street pieces that they have any possible value. Plus, the artist that you’re such a fan of? He doesn’t support your purchase. Is there a million dollars worth of art sitting in a Kenyan slum? Only if we all decide that there is.
Update – November 20th, 2015: One more story should have been included in this post. So here it is… London-based street artist Stik is facing similar troubles to JR, except this case seems even more clear-cut. No surprise: The villain is a posh art gallery. A public mural that Stik painted years ago with children in Poland has been sliced up and shipped to the UK to be sold. If the pieces do sell, it could disrupt Stik’s market for legitimate studio works, which isn’t so great when you’re trying to make a living. So now, an artist like Stik has to wonder: Should I be painting murals if they could later be resold? And what of the children who helped paint the piece, and the local town that enjoyed it? So yeah, doing good for people is complicated once shady art dealers get involved.
The entrance to Wynwood Walls in Miami, Florida. Photo by Osseous.
Earlier this week, the online street art community was abuzz about an article by Rafael Schacter for The Conversation, From dissident to decorative: why street art sold out and gentrified our cities. Between the time I left my apartment on Monday morning and when I arrived at work half an hour later, it seemed like a dozen of my friends had shared the article or reacted to it in some way.
Schacter has captured a feeling about street art and contemporary muralism, a nagging fear really, that seems to have been bubbling just beneath the surface for a while now. Basically, Schacter argues that street art isn’t rebellious anymore. Rather, that it’s most notable form is as a tool used by corporations to spur gentrification. Agree or disagree, the article is a must-read.
I don’t have much to add to that video other than to say this: Both times I’ve worked on with Swoon, it’s been life-changing. You’ve only got a few hours left. Swoon has proven that she walks the walk, and she has some serious plans for Braddock, PA. If all goes well, this will take her art practice to new heights. If you can contribute to her Kickstarter campaign, please do so.
And yes, Swoon has met her initial goals, but there’s still a real need for more funds to get this project to be the best it can be.
A still from DE-FENCE. Image courtesy of DE-FENCE.
Earlier this week, two very different pieces of street art landed in my inbox within half an hour of each other. That’s not so strange. Plenty of people send me photos and videos every day. What was strange is that both pieces aim to shed light on the crisis facing the thousands upon thousands of people in the midst of international migration, and that both pieces were installed without authorization.
The first piece is by two of my favorite artists: John Fekner and Fra.Biancoshock. “Family Portrait ” (Displaced And On The Run…) is the first time these two artists have collaborated. Fekner comes from the first generation of contemporary street artists, putting up his first stencil in 1968. Biancoshock is a young Italian street artist making some of the most exciting interventions in public space today.
“Family Portrait ” (Displaced And On The Run…). Photo courtesy of Fra.Biancoshock.
Fekner and Biancoshock have intentionally avoided saying where Family Portrait is located, but they do have a bit to say about why they did it:
Drawing on the spirit seen in Dorothea Lange’s photographic portrait documentation of rural poor families and migratory farm workers during the Great Depression, the artists’ intent is to create an empathetic reflection of the plight of the migrant; an intimate portrait of a family “left hung out to dry” and on the run.
While Fekner and Biancoshock’s intervention is quiet and meditative, a group of artists and activists in the Czech Republic have responded to the plight of the migrant with a very different energy.
A still from DE-FENCE. Image courtesy of DE-FENCE.
The DE-FENCE collective has made their presence felt at detention center (a former prison) in the Czech village of Drahonice. The detention center currently houses refugees that were caught by the Czech authorities. The refugees are incarcerated indefinitely and watched over by up to 100 guards, and each refugee is charged $275 a month for the privilege. On September 28th, Czech Statehood Day, DE-FENCE visited the detention center, which they compare to a concentration camp. DE-FENCE brought with them a can of paint and some bolt cutters. Here’s what happened:
Now, the heart-shaped section of fencing that they cut out of the detention center is going to be auctioned off, with all profits going towards “grassroots refugee aid activities.” The starting price is 10,000 euros. If you’re interested in buying the object, contact de-fence@riseup.net.
Michelle Angela Ortiz installing a piece for the Cit of Philadelphia Mural Arts Program.
Vandalog has been silent for about a month. My apologies. I knew it would be a busy month, but I didn’t realize just how much would have to fall to they wayside.
My October was absorbed by Open Source, an exhibition curated by Pedro Alonzo for the City of Philadelphia Mural Arts Program. In one way or another, I’ve been working on Open Source in my own very small way for about two and a half years. In October, the exhibition finally culminated in a month-long series of art installations and events. I found the entire experience extremely rewarding, maybe even life-changing. It’s always an honor to work for Mural Arts’ Jane Golden, and adding Monica Campana and Pedro to the mix made took things to new heights.
So I think that Mural Arts, Jane and Pedro and Monica in particular, did something special with Open Source, but of course it’s literally my job to say that. Instead of going into self-promotional detail, here are a few people who generally seem to agree:
Still, that’s highlighting three out of about a dozen projects, which leaves me curious: What did people think about Open Source? Was it a success? Was it relevant? Philly seems to love it, but does the internet care (does that even matter though)? I’d love to get some feedback on the project. Leave a comment or, if you prefer, shoot an email.
Thanks, and again, my apologies for the unexpected hiatus on the blog. Hopefully things will get back on track this week.
