As I tweeted the other day, my mind is kinda stuck on how much I wish the Parra show at Jonathan Levine Gallery opened today and not on Saturday so that I could go see it. So while I’ve been distracted by that point, here’s some of what I almost missed this week:
Nice video of Eine updating one of his walls in London from saying PRO PRO PRO to PROTAGONIST. Interesting comment about street art being a thing that “looked like it would offer what graffiti promised but didn’t deliver.”
Jonathan Jones is up to his old tricks of dissing Banksy to get more hits for his column, and I’m biting. He writes, “Banksy, as an artist, stops existing when there is no news about him.” Even if that is the case, is that the end of the world? Does that relegate Banksy to “art-lite”? No. Banksy is one of the most talked-about artists in the world. I would bet that the same criticism was leveled against Warhol, who I believe Jones likes. Banksy’s manipulation of the media, playing it like a damn violin sometimes, is some of his greatest artwork of all. He manipulates the media to spread a message. The best example of this was probably him going to Bethlehem to paint on the separation wall because he knew that the media would cover it. He was able to play the media to draw attention to an issue that he felt strongly about. Banksy’s paintings are sometimes great and sometimes not. But his ability to make people fascinated with him and his paintings is just as much of an art, and that shouldn’t discredit him.
Being an elusive figure in the graffiti/street art world is slowly becoming obsolete. Artists find themselves making the transition from anonymity to the limelight, for what many think is solely for profit. The proliferation of social media has amplified the audience of street art, and led to increased exposure and opportunities for artists. But what motivates street artists to step away from their elusive lifestyles?
Recently, it seems many graffiti writers have cast away their incognito identities and made the transition towards becoming legitimate artists. What was once considered an act of vandalism is now commissioned by brands and displayed in art galleries around the world. But in order to market themselves as legitimate, recognizable artists they need to step away from their personas and present themselves not as vandals, but as artists.
At one point, street artists in question would mask their voices and hide their faces behind a blurred out lens in order to keep their identities hidden to the general public during interviews. Now, all that smoke and mirrors are gone. Personally, I used to love D*Face. He was strictly recognized by his moniker and nothing else, with his face always blurred during interviews. Then, seemingly overnight, it all changed. He began to create work and appear in interviews under his real name. Suddenly, D*Face became Dean Stockton. His work became mild and denotative. His mythical qualities as an artist were diminished. He just didn’t seem as interesting.
So why make that transition? Why not stay hidden and attempt to make a living while staying private? Artists such as Kaws and Shepard Fairey could easily have stayed elusive, but now they’re the biggest names in the street art world. When Kaws started hijacking billboards and bus shelter ads, no one knew who he was. They only knew him by his name. Now he’s making vinyl toys, taking part in the Macy’s Thanksgiving parade, and getting interviewed by Pharrell Williams. Similar tale with Fairey: he started out pasting up stickers around his local skate park, nobody knew what Obey meant, but it was everywhere, so it must have been important. Fairey stepped out of the shadows and now, a decade later has his own clothing line and his face is one of the most recognizable in the street art world. Why? Artists realize that in order to market their art, they need to market their persona first. Is this the process of selling out?
But then there are the ones that stay elusive, the purists of the street art world, artists like Dain and Bäst. Born and raised in Brooklyn, the elusive Dain creates sublime works of art the merges old Hollywood glam with new age colors in their composition. This, along with his roots in graffiti, creates a gritty yet delicate street art style that is all his own. There was a weird video that came out a while back about Dain, starring someone other than Dain portraying him. It followed around an old guy as he talked about his life and art and all of his inspirations while answering questions from the camera man. At this point, we know that Dain isn’t really the old man (notice his pasting skills), but one can only assume that the video was meant as a marketing tool, for people to get on the Dain bandwagon and spread his name out to the public without ever being seen. But apart from that video, Dain has never really been a public artist but his works will always be deemed as some of the best of our generation.
Dain. Photo by Sabeth718.
Bäst plays his part really well. Brooklyn-based artist Bäst has been wheat-pasting throughout New York’s urban landscape for over a decade now. Bäst has remained an elusive character that has rarely been seen in public and whose very existence has been debated. There are very few video interviews where you can hear Bäst talk. The only interview that comes to mind was for the Deluxx Fluxx collaboration with Faile (which is, in my opinion, one of the best street art based collaboration to have ever happened). Bäst manages to frequently collaborate with Faile, who are not anonymous artists, but apart from that, he’s a pretty elusive guy that keeps producing on a consistent basis. Sure, he had this weird, super small scale collaboration with an olive oil company, and the Marc Jacobs collaboration which confused pretty much everybody, since his art being displayed on a sweater for a highly lucrative brand could be seen as an uncharacteristic “sell out” move, but apart from that, he’s always stayed true to form and just stuck to street art.
I bring up Bäst and Dain not only because of the elusive nature, but because they are in fact brothers. One can only assume that some sort of pact was made between them to stay pretty much anonymous to most social groupings. Sure they might have ulterior motives, but as long as they stay elusive, we’ll really never know.
Bäst. Photo by Sabeth718.
And of course, one has to mention Banksy or as we know him now, most likely Robin Gunningham. Regardless of his moniker, he helped cement street art’s place in the established art world. Street art fans will forever have a love/hate relationship with Banksy. At this point, his work can come off as banal and obvious, but the fact that his identity was questioned for so long, in our surveillance culture, is pretty significant. He got his art up in the Met, or someone posing as him did. He got in and out of Disneyland without getting caught. Banksy’s evasiveness lends him a mystique and fascination, but he still manages to profit from his art.
These are the kind of question that people ask themselves when artists stay anonymous. We question everything about them, not knowing what they’ll do next. Suspense and curiosity will always play a part in their persona. Their anonymity is what keeps us interested; it plays a part in how we perceive them. Take these qualities away, and we realize that these artists are just like the rest. Would Banksy of reached this kind of popularity if he was just Robin Gunningham all along? Of course not. But he’s also a unique case; it’s hard to imagine a street artist will ever achieve what he has in our life time. So why stay elusive? Well, I guess it’s a question at the core of street art. Artists are supposed to be a hooded, hidden characters putting art up illegally, leading people to ask questions. How did it get there? Who did it? Why did they do it? When it comes to people like Kaws and Shepard Fairey, they answer these questions in the interviews that they partake in. But for others, maybe we’ll never know.
Banksy‘s website was updated recently with an animated tribute to Nekst, a very talented internationally recognized graffiti writer who died last year. The screenshot above gives you the basic idea of Banksy’s tribute, but you can see the piece in action on his website. This is the first update we’ve gotten from Banksy in a little while. I think the last street pieces he put on his site were the Olympic-theme pieces from last July.
Banksy in London. Photo courtesy of Banksy.
In other Banksy-related news, the above Banksy piece was recently removed from the streets of London and put up for auction in Miami at Fine Art Auctions. The piece, of course not authenticated by Pest Control but is pretty clearly by Banksy seeing as it’s on his website. The BBC has more about the removal of the piece. At this point, the legality of the removal is unclear, but the community is certainly disappointed. That same auction also includes another street piece, Wet Dog, which was painted in Bethlehem and was removed a while ago (it was also featured at the Context art fair in Miami last year, supposedly not for sale at the time).
The Street Museum of Art has launched its second venture in “guerilla curating” in London’s artsy district of Shoreditch. Like their first exhibition, it’s basically a self-guided street art tour with museum-like wall labels. The exhibition’s title, “Beyond Banksy: Not another gift shop“, is likely a tongue and cheek reference to the commercial attention that street art has received in London these past few years, with Banksy at the forefront of the movement. In all fairness, Banksy has become enough of a household name that he and Exit Through the Gift Shop are frequently my reference points when speaking about street art to people outside this niche community. For that, I am thankful that I get to SMoA advises that the name is not meant to undermine the work of the beloved stencil artist, rather it is to encourage those who have Banksy as their token understanding of street art to the diversity of the other talented artists on the streets. This exhibition highlights works by artists such as C215, Christiaan Nagel, Eine, Mobstr, Pablo Delgado, Phlegm, Roa, Run, Skewville, Space Invader, Stik and Swoon.
The map of the exhibited works are available here and the hours are… well, unlimited.
Okay, so now you’re probably thinking “What the hell is RJ on about? That line came out of nowhere. I think it’s the punchline to some knock knock joke, but it makes absolutely no sense at the start of a post. I don’t think I’ve heard heard RJ say banana and I couldn’t care less if I had.” And you’d be right. That line makes no sense out of the context of the joke in which it belongs, and until we have that context, we can’t say for sure whether that line is good or bad. And yet, this is pretty much what a show that’s on right now in Miami asks visitors to do…
Marc and Sara Schiller from Wooster Collective wrote a must-read piece about unauthorized Banksy exhibition in Miami this week and why they find the exhibition so objectionable that they won’t be attending. The works in the show in question were removed off the streets to be sold into private hands, and the art fair hosting the show is fully aware that Banksy disapproves of the show. If this sounds familiar, it’s because these are the some artworks that were shown in The Hamptons a little over a year ago. This time though, the works are supposedly not for sale as they are now part of a private collection. Regardless of all that, as the Schillers note, Banksy’s best work really only works when experienced in context in which it was intended (whether that intended context be on the street or in a gallery), and bringing these pieces indoors probably makes most of them much much much weaker than they were on the street.
This is certainly not the first time we’ve seen someone trying to make a buck off Banksy and it’s reasons like this that Banksy created Pest Control, a controversial committee which determines the authenticity of Banksy works on the market and which refuses to authenticate any street works or works not originally intended for resale.
The show is accompanied by this ridiculous wall text:
Wall text at the show itself, wherein the organizers have a cheeky cop-out for their dickishness. Photo courtesy of Arrested Motion.
What this wall texts shows is a fundamental misunderstanding of Banksy’s practice. By removing the work from its original context, they are only showing a part of the work. To see the works “as artworks themselves” is to see them on the street without a plexiglass cover on them. Taking them out of that context to evaluate them is like removing 1/64th of a Warhol print from the rest of the piece, framing it, and hanging it on a wall to evaluate on its own without considering the other 63/64ths of the piece. A wisp of Marylin’s hair is unlikely to seem a great artwork all on its own. As the Schillers say in their piece, Banksy’s best work is about context and site specificity, and you usually need “The long shot” providing context for the work for it to make complete sense. Even his best gallery work has this same feature, where it makes sense in a gallery or museum context, but might not make sense on the street. Asking what value there is in a Banksy street piece hung on a gallery wall is a bit like asking what value there is in a Picasso that’s been put through an incinerator.
Plus, I can’t help but laugh at the way they refer the Banksy as a graffiti artist and his work as graffiti.
The Schillers write, “It’s intentional on our part that this article doesn’t mention the name of the show that will take place this week in Miami. Nor will we mention the name of the speculator who is crassly attempting to profit from the work. Attention is what he desires.” I however must acknowledge that a good chunk of Vandalog’s readers are also regular readers of Arrested Motion, who visited the show and did publish that information, so hiding it it a bit futile. The show is called Banksy: Out of Context and it is at the Context Art Miami, an offshoot of Art Miami.
Nonetheless, I do agree with the Schillers that the show should be actively avoided, particularly since it is not free to visit. Context will cost you between $10-$50 just for a one-day pass. Instead, why not stop by the always-exciting Fountain Art Fair where Living Walls has organized dozens of street artists to paint next to one another in an outdoor portion of the fair? There, the work may be a bit out of place as street art, but at least the artists are on board with the idea and making the work there with the knowledge of where and how it is going to be displayed.
Read more on Wooster Collective, where the Schillers have written a lot of similar things to what I’ve echoed here, but they probably use better grammar.
Back in May, a new book came out about Banksy that I anticipated would be a bit cheesy but perhaps good for someone who had only heard about Banksy through the occasional newspaper article. But I read the book anyway because A. I was a bit curious how to fill a 300-page book just about Banksy, and B. I had spoken a bit with the author while he was writing the book and wanted to see if Vandalog got any mentions in the final product. But I was surprised that the book was actually a lot more interesting than I had anticipated. Not to say that I am an expert on the topic, but it’s not common that I learn something new about Banksy, and I learned a lot reading this book. So what book and I writing about? It’s Banksy: The Man Behind the Wall by Will Ellsworth-Jones.
Ellsworth-Jones is not a street art fanatic, but he’s clearly a good researcher and journalist, because he’s pieced together the most in-depth biography of Banksy to-date. If anything, his initial lack of knowledge about street art and graffiti helped him. He doesn’t have allegiances to anything but getting the story straight. Nonetheless, he does not outright reveal Banksy’s identity, so he certainly tells Banksy’s story as respectfully as one can do when attempting to write a biography of an anonymous person. People with little knowledge of street art have been responsible for some pretty bad books on the subject for the last few years, but Ellsworth-Jones took his topic seriously rather than just attempting to churn out something as quick as he could based on reading a few blog posts and newspaper articles.
Because Ellsworth-Jones has written this book for an audience with little or no knowledge of Banksy, there are of course a lot of bits that anyone reading Vandalog would do just fine to skip over and you’ll find some sections a bit cheesy, but he does a good job of introducing readers to the world Banksy and street art by explaining some of the ways in which he was introduced to it.
But what new information does Ellsworth-Jones have to offer those of us who already know the basic Banksy story and are already active participants in the fan culture surrounding street art? Ellsworth-Jones had compiled little-known stories of Banksy’s life and career from his childhood in Bristol all the way through Art in the Streets, as well as stories about some of the people who would have influenced him early on. And of course there are tantalizing facts and figures like information about the finances of Pictures on Walls and Lazarides that, although public information, are things that few of us besides Ellsworth-Jones might think to look into. Ellsworth-Jones also gives his thoughts on the street art fan community that has sprung up over the last decade, a community that few truly objective outsiders have taken as much time to understand. And of course there’s some of the most detailed investigations I’ve seen in a while into the market that has sprung up around Banksy. In between a lot of basic info about street art, there were some real gems of knowledge.
I highly recommend picking up this book if you’re curious about Banksy beyond what he’s ever going to say in an interview. Although it’s written for people who don’t know much about him, anyone who reads this book is probably going to know more about Banksy than someone obsessed with him who skips the book because it wasn’t mean for the obsessed fan. Banksy: The Man Behind the Wall is not the definitive biography of Banksy, but it’s the best thing we have to date or can hope to have for a while.
This is an essay I wrote a couple of years ago for a book that was to be a collection of essays by a number of different people in the street art world, but the final product has not yet materialized, so I’m posting the piece here instead.
I don’t want to see the plan succeed/There won’t be room for people like me/My life is their disease/It feels good/And I’m gonna go wild/Spray paint the walls – Black Flag
Good subcultures get co-opted by the mainstream. That’s what happens. Punks and preps, hippies and hipsters, gangsters and geeks have all had parts of their cultures brought into the mainstream, and that attention usually harms the actual subculture.
Sometimes it can feel like street art is getting taken over the mainstream more and more every day. Plenty of people have told me that Vandalog contributes to that co-opting of the culture. The most obvious examples naturally also tend to be the most popular names in street art: Banksy and Shepard Fairey. These guys used to be the torchbearers of street art, but their newfound fame as household names has come at a price: they certainly aren’t the revolutionary artists they once were, and I would go so far as to say that in their outdoor work they are as much guerrilla marketers as they are artists. There’s plenty to say on that topic alone, but I won’t get into too much detail about the negative aspects of street art. I still have faith in the general movement of street art: Even as some artists “sell out,” it’s inevitable that street art as a whole will remain authentic, powerful and revolutionary for a long time to come.
Anyone who has read Norman Mailer’s 1973 essay The Faith of Graffiti has probably had a good laugh at Mailer’s suggestion that graffiti was already dying out. Street Art, a book by Allan Schwartzman and published in 1985, makes a similar suggestion about street art. Looking through Street Art, you’ll see the work of early street artists like Jenny Holzer, John Fekner and Richard Hambleton as well as many other names that have mostly faded from the history of street art. Most of those artists no longer make street art. Of course, street art didn’t die out, and Schwartzman was far from the last person to write a book about it, but something special is definitely captured in Street Art: The first generation of modern street art.
While most of that first generation has now moved on from street art into other mediums, they inspired future artists to start working outdoors. In the early to mid-90’s, artists like Phil Frost and Reminisce were members of a new generation doing work on the street. Frost doesn’t work outdoors anymore, and Reminisce only very rarely does. They and many (but of course not all) of their contemporaries have more or less moved on from their roots.Then in the 2000’s, new artists like Swoon and Leon Reid IV became involved in the movement with as much passion as previous generations. While both Swoon and Leon Reid IV are both still actively making work outdoors, they have somewhat moved away from street art’s anti-establishment roots: a good portion of their outdoor work is being done with permission and in cooperation with galleries, museums or arts organizations. Over the last few years, the internet has allowed street art to grow even further, and talented new artists from around the world are coming to light all the time. Artists like Roa and Escif were already well known among street art fans before they first painted outside of their home countries because people had seen their artwork online.That’s an oversimplified history, but hopefully it shows in a very general way that street art is always evolving.
Since the 1970’s, the media has lost and gained interest in street art numerous times. Naysayers often suggest that the interest of media and the injection of money can only serve to destroy street art culture, but each time this cycle repeats, street art is reborn and brought back to its core values by a new generation of revolutionary artists. Even as the most world-famous street artists stop making street art, there’s always a talented and idealistic artist just starting out with a can of spray paint or a bucket of wheatpaste, working their way up from the bottom.
Artists and even people who don’t consider themselves artists are interested in the opportunities that only street art can provide. Once the idea that street art exists is in somebody’s head, it can’t be taken away. Now that the idea of street art has become part of the collective mainstream public consciousness, it can’t be taken away from there either. Even as its general popularity may fluctuate, the idea of street art is always going to be resonating with somebody around the world, and that’s all it takes. People want to express themselves and communicate with the public, and there are few better ways to reach the public than street art.
Street art doesn’t discriminate. A trained artist in a studio with dozens of brilliant assistants can make street art, but so can a teenager with nothing more than a permanent marker and an idea. Practically any wall is an equally valid place for a piece of work for drunken men to piss on or for kids to be inspired by.
Tags by The Jellyfish. Photo by bitchcakesny.
The combination of almost no barrier to entry and the fantastic power wielded by street artists, a combination unrivaled by any other art form, is why the underground nature of street art will always triumph over any push to make the genre truly mainstream. It just takes one person with a crazy idea to shift the culture in a new direction, and there are thousands of those people out there trying out crazy ideas every day. You can’t make a culture mainstream if the thing is constantly changing, you can only make out-of-date segments of the culture mainstream.
And does it really matter if one segment of street art becomes mainstream? The fact that you can buy an OBEY shirt in a department store doesn’t diminish the power that street art has in giving a voice to any person who has something to say, and it doesn’t make it any harder to pick up a can of spray paint for the first time. Street art is a great way to buck the system, especially if that system is the street art establishment itself.
For the last three decades in particular, working outdoors without permission has fascinated artists, and they keep finding ways to do it differently. During that time, stars have been born and many have faded away. Media and art-world interest has waxed and waned. In the end though, the mainstream popularity of street art doesn’t make much of a difference. Artists will always have the drive make street art and the public will always notice street art. That’s not going away. Even if it’s just one artist reaching one other person, street art can change the world. Of course, it’s never going to be just one artist. From here on out, it won’t be less than an ever-evolving army.
Well, the big story this week was of course Hyuro’s wall under threat in Atlanta, but a lot more has been happening elsewhere on the web, plus I missed a week of link-o-rama when I was in Atlanta myself, so here’s what I’ve got to share:
Living Walls mentioned in the New York Times last week, but not because of Hyuro’s mural or even in the arts section. For some reason, some narrative was created about Living Walls relating to the recession. Well, whatever. I guess it’s a hook, and strange press is better than no press.
Everyone’s been quoting this Steve Powers interview where he says “Most Street art isn’t art and it isn’t street.” He’s such a provocateur (read: guy well-respected enough that the world allows him to be an asshole). Actually though, as annoying as the guy can be, he’s right. Particularly that most street art isn’t art. A lot of it is great graphic design or illustration or signpainting. Nothing wrong with that, but it’s a misnomer that confuses a lot of people.
Hate President Bush? You’ll probably love this book.
Today Banksy‘s website was updated with two new Olympics-themed pieces. It’s not yet clear where these new stencils are located, but London is a good bet. If they are in London, that’s going to make for an interesting situation as someone is going to have to decide whether or not to paint over these walls which are suddenly valuable tourist attractions. The stated position of the authorities is that any illegal Olympics-themed street art or graffiti is going to be destroyed ASAP, but maybe public outcry and monetary incentives could make Banksy an exception. This is especially interested given the recent round-up by British police of former graffiti writers. The Atlantic has more on this potential controversial situation.
I like seeing more art on the street, and I like these pieces by Banksy. If this work is buffed, that’s two more grey walls in London. But allow them to remain unbuffed sets an unfair double standard (particularly punishing graffiti writers). The system would be preserving street art, but in an unjust way. So, should they stay or should they go? What do you think?
