Icy and Sot hit the nail on the head with this one.
Photo by Luna Park
Category: Photos | Tags: Icy and Sot
Icy and Sot hit the nail on the head with this one.
Photo by Luna Park
Donald Trump is president, and things have gone south even more quickly than most people imagined. Now what? Since the election, I’ve heard from so many artists who are reevaluating their work in this new context. I’ve also heard from or come across artists are already taking action. I thought I’d bring together a few of my favorite public projects so far, in the hopes that they might spark a bit of hope, inspiration, and action in others.
First off, this piece didn’t last long, but I came across the above urinal while I was out in Haverford, PA for the opening of ALL BIG LETTERS. Just glad that I was able to snap a photo (and make use of the work) while it lasted.
On a similar note, whoever is putting up these PLEASE PEE ON ME stickers around NYC deserves a medal.
For more anti-Trump street art (some old, some new), The Huffington Post has a nice listicle.
Protest signs are another way artists can help. Everyone needs a good protest sign. One of the highlights of my week was seeing this post on the British graffiti blog Hurt You Bad. Shepard Fairey has once again been designing some iconic protest posters. And the Amplifier Foundation made sure that plenty of beautiful and powerful posters were on hand for the Women’s March in DC. Hopefully we see more great projects coming from them in the coming months and years. Really though, Hyperallergic nailed it with this post of the best signs from the Women’s March locations across the country.
And signs aren’t just for protests and anger. Organizers in Philadelphia and Atlanta sprang into action for Signs of Solidarity, a project where artists made dozens of handmade signs to hang all over various private buildings throughout Philly and Atlanta during inauguration weekend. It’s amazing to see how quickly and smoothly that project came together. Of Signs of Solidarity is any indication, the art world is poised to mount a serious resistance, but that only happens if we keep taking action.
Of course, being anti-Trump is important, but we also need some acknowledgement of the specific harms that he is inflicting (and the Women’s March touched on that). Just one example from this week (and yes, I know this feels like 25 news cycles ago, but that’s just how bad shit is right now): Trump made moves to restart the construction of the Dakota Access Pipeline. So now, once again, we need artists who can take on that issue and arm the opposition with strong visuals. This week’s installation for Art in Ad Places, a poster designed by Monica Canilao and Eric Loundy, is one example. Spencer Keeton Cunningham’s new mural in Brooklyn, the latest in a series of murals he’s painted in support of Standing Rock, is another. And okay, maybe Standing Rock isn’t what pulls at your heartstrings. What about immigration? Healthcare? Voter suppression? Take your pick, but do make a choice to be active.
Photos by RJ Rushmore
NTEL is one of my favorite Philly graffiti writers. From stickers to throw-ups and extinguisher tags to beautiful pieces, plus sculpture and other methods of getting up, is one of the most versatile and unique writers in the city. That’s why I’m so excited to include his work in ALL BIG LETTERS, which opens today at Haverford College’s Cantor Fitzgerald Gallery in Haverford, PA. NTEL also has a solo show coming up next week at the Deep Space gallery in Jersey City, NJ. With these two shows approaching, NTEL and I thought that it would be the perfect time to chat about art, politics, philosophy, and his unique approach to graffiti. Enjoy!
RJ: Does the title WORLD WAR FREE, or the upside-down flag on the flyer, have anything to do with the fact that the show opens just one week after Trump’s inauguration?
NTEL: Unfortunately, it was not a conscious pre-conceived link to Trump’s inauguration, specifically. It was just a perfect little accident, which sadly would have been just as relevant regardless of who ‘won’ the election. The title, upside-down flag, the color palette of the works, and the Philosophies behind them reflect a variety of issues, locally and globally, that add up to the senseless actions like, electing a racist, ignorant, short-tempered, bully/pussy, sexist, greedy, scared, Narcissist into one of the most powerful positions in the World. The absolute worst part of it is that we as a People, are the ones who hold the most blame. Americans should feel even more responsible, because Amerikkka is often the original engineer of the lifestyle trends, violence, and legislatures that become so popular, World-wide. We let them get away with their Black Coffee Briefings, and never hold them accountable when they breach the laws of Man, Morals, or ‘God’. We allow them to frighten, confuse, exhaust, and overwhelm us into accepting The Christie’s and The Trump’s of our Society. We literally and figuratively buy into what they’re selling from the Capital to Corporations, which only encourages their behavior. It’s all of our faults.
The title, WORLD WAR FREE, is an evolution of WORLD WAR THREE. It is the next stage. WWIII has been going on for years, ‘informally’ through globalization and exploitation of the World’s peoples and resources from biased, mis-used politics, greed, ‘smaller’ wars, injustices, and disregard for Culture. Even though there have been no declarations, or structured movements, or open references to a WWIII – proper, the actions of our policy and product makers over the past few decades have had the same effect. Global Alliances. Social and Economic Abnormalities. Destruction. Hatred.
At its worst, public art can be imagery that heightens already existing social hierarchies and inequalities, and at its best–can be a portal into a future of healing and transformation.
I am a queer Asian American immigrant woman and non-citizen to this country. I grew up with a speech impediment so severe it caused me to fear my own voice. When my speaking voice failed, I fashioned myself a new one on the blank page.
I became a muralist because public art became the closest thing to a voice after a lifetime of feeling silenced. When I started painting murals, I was both exhilarated to make work on such a large level and immobilized by a fear of taking up public space. Where did this fear come from? For my childhood, every time I stuttered, my classmates finished my sentences for me. As I grew up, I experienced gender and racially-exoticizing harassment just walking down the street. As a woman of color working in film and public art, the icons I have to look up to are few and far between. As a migrant, I grew up watching my mother get denied at the U.S. border, homeland security giving her trouble every time she renewed her visa, up until we finally obtained our green cards after nine years. In all this, the ability to survive as an artist, and live here legally, comes at so high of a cost that the idea of doing illegal art, or physically taking up public space, can feel life-endangering.
ALL BIG LETTERS includes art, photos, tools, and ephemera from Adam VOID, Aric Kurzman, BLADE, Biancoshock, CURVE, DB Burkeman, Egg Shell Stickers, EKG, Evan Roth, FAUST, Fumakaka Crew, Jordan Seiler, Katherine “Luna Park” Lorimer, Lee George Quinones, Loiq, Martha Cooper, MOMO, NTEL, Smart Crew, Steve Weinik, stikman, and more.
Generally speaking, when galleries try to bring graffiti indoors, the focus is on style. Those shows portray graffiti writers as designers, illustrators, the new pop-artists and calligraphers… Headlines along the lines of “Can you believe what he does with a spray can? Now you can buy it on canvas!” still seem all too common. But style is just one component of graffiti. Or maybe the shows focus on writers who have gotten up a lot, trying to capitalize on their fame. Or, as in the case of someone like Barry McGee or Boris Tellegen, the art is (largely) removed from graffiti, a separate practice.
For ALL BIG LETTERS, I took a different approach. To write graffiti is, at its most pure, the performance of an illegal act; the performance is as important as the product. The best graffiti is also strategic. It relies on a combination of repetition, longevity, visibility, degree of difficulty, novelty, and style. ALL BIG LETTERS explores all of those strategies, and the tools writers use to realize them.
Because of the show’s angle and some deep digging over the last year, it’s full of surprises. New work from FAUST, Curve, NTEL, and EKG, never-before-seen photos of two Philadelphia graffiti legends at work (you’ll have to come to the show to find out who), homemade graffiti tools dating back as early as the 1960’s, and more.
ALL BIG LETTERS opens January 20th (4:30-7:30pm) at Haverford College’s Cantor Fitzgerald Gallery in Haverford, PA. The exhibition runs through March 3rd.
On a personal note, I worked at the Cantor Fitzgerald Gallery for just about my entire time as a student at Haverford College. It’s humbling to be invited back to exhibit at the space where I learned so much, and where we exhibited the work of so many amazing artists and curators (Hank Willis Thomas, Natasha Logan, the Dufala Brothers, Sam Durant, Pete Brook, Raymond Pettibon, Christine Sun Kim…). I can’t say thank you enough to everyone at Haverford for this opportunity.
Photo by Steve Weinik
Admittedly, things have been a bit quiet on the blog lately. Not very many posts on Vandalog, and you may be wondering what’s up, but we’ve been staying busy on a few major projects behind the scenes. This week, we’re excited to share to share one of those projects with you: Art in Ad Places (AiAP), an entire year of ad takeovers in NYC.
Co-curated by Vandalog contributor Caroline Caldwell and I, AiAP is a 52-week public art campaign replacing NYC advertisements with artwork. AiAP launched on Thursday with artwork by Adam Wallacavage and an article on Hyperallergic. Every week, starting this week and continuing for a full year, the AiAP team will install a new artwork by a different artist at a payphone in New York City. AiAP is an active and artistic response to the unending proliferation of outdoor advertising in New York City and elsewhere.
AiAP was inspired by a specific instance of an especially body-shaming billboard that we walked by almost every day this past spring, a general dislike of outdoor advertising (consuming advertising is unhealthy, and with outdoor advertising, there’s no way to opt-out, except to remove it), and a desire to see a different kind of ad-takeover campaign. Rather than putting up a lot of ads in one day, AiAP will be sustained over a year, one artist at a time, with each artist giving their reason for participating.
We kicked off AiAP with an installation by Adam Wallacavage. The poster, part of Wallacavage’s Shipwrecks of Unicorn Beach series, can be found in Williamsburg, Brooklyn.
Further AiAP installations will come from artists from all over the country and who work in a variety of mediums. Artists will be announced each week on Instagram as their posters are installed, with the full line up only being revealed at the culmination of the exhibition.
Photos by Luna Park
Vanessa Rosa, the author of this post, is an artist based in São Paulo.
This is a story of an alleged attempt to create dialogues between opposite worlds: street art, and one of the world’s most oppressive police forces.
In November of 2016, the same terrifying week that Trump conquered the presidency of the USA, a project called Choque Festival brought street art to the headquarters of a São Paulo military police squad. The plan was to cover the walls of this police station with murals (some of the murals are on exterior walls, but the walls are all inside a gated space that is not open to the public). According to some media and the Festival’s official Facebook page (since deleted from Facebook and Instagram) the event was intended to open an artist-driven dialogue between police and citizens, an artist-driven initiative to make the police recognize the importance of street painting. Other times, it’s been described as part of the military police’s community outreach activities, a police initiative, a festival that would also present other police projects, like kids with disabilities participating in equine-assisted therapy with police horses. When it was first announced, the project received praise in both progressive and conservative media. And although one curator/artist/producer appears front and center in all the videos and articles, with little visibility of other participants, the project did manage to involve several people from street painting scene in Brazil. But things went sour, with artists dropping out and graffiti writers taking aim at those who did participate. What the hell happened?
As someone with family in the very red state of Oklahoma, I was especially happy to see Tatyana Fazlalizadeh install this message of strength and defiance in Oklahoma City over the Thanksgiving holiday. Painting a mural in Wynwood is easy, but unimportant. Pasting up a message “to challenge whiteness” (as Tatyana told the Huffington Post) is probably not so easy, but infinitely more important. So while the art world spends this week on vacation in Miami, I’m thankful that Tatyana is doing real work.
You can read more about this piece on Tatyana’s Instagram.
PS, shout out to the fantastic Jess X Chen who is featured in Tatyana’s piece, and will hopefully have a guest post on Vandalog soon! Keep an eye out for that.
Photo by Tatyana Fazlalizadeh
Melbourne’s controversial Banksy exhibition, curated by Steve Lazarides and unaffiliated with the artist, has been the target of much criticism since it opened last month. The exhibition has a ticket price of $30, was organized without the artist’s permission, includes a gift shop full of un-authorized Banksy merch, and just generally smells of slick businessmen trying to make a quick buck off of Banksy’s name. But don’t take my word for it… just ask the artist who was commissioned to paint a mural outside of the show, or Australian street art critic Alison Young who noted that, at best, the show takes great work and installs and displays it poorly.
Then again, who wants to read, when you can watch a video that explains it all? CDH‘s latest installation, FAKESY, sums up everything that’s wrong with The Art of Banksy (the exhibition I mean, not Banksy’s art) and the art market in general. For the performance, CDH set up a stall selling fake Banksy art outside of the Melbourne exhibition. Watch what happens next…
Did you catch that? The part where CDH is told that he can’t be selling his Banksy forgeries because it’s not good for business at the Banksy exhibition… At least the exhibition organizers seem to be admitting that their gift shop is also full of forgeries. That’s progress, sort of.
Bless you, CDH, for perfectly capturing this ridiculousness.
Photo by Duncan Hull
Nether‘s latest mural is a tribute to bearing witness. SATYAGRAHA was painted in Baltimore as part of the Baltimore Rising exhibition at the Maryland Institute College of Art. The mural highlights Kevin Moore and Ramsey Orta, who each witnessed police murdering a black man and decided to speak out. Moore filmed Freddie Gray’s arrest, and Orta filmed Eric Garner’s murder. Both have since faced intense police harassment.
Kevin Moore speaks a bit about that harassment, as well as how to interact with police, in this video:
Nether’s mural is also a plug for WeCopwatch, an organization dedicated to educating people on their right to observe police activities.
So remember: when it’s safe to do so, film the police.
Photo courtesy of the Maryland Institute College of Art