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Tag Archives: street art
We’re currently in SF where we spotted this in front of the Bay Bridge.
Book launch. Party. Great DJs. Street Art. Street Food. BigShinyThing. Be There!
[BST-exclusive image by Adz]
Tate Modern cleans up its image…
For the past few months, the river-facing façade of Tate Modern on Bankside has featured ‘street art’ works by Blu from Bologna, Italy; the artist collective Faile from New York, USA; JR from Paris, France; Nunca and Os Gêmeos, both from São Paulo, Brazil and Sixeart from Barcelona, Spain.
But what goes up, must come down, and today was the day for cleaning specialists Grafitti Busters to bring in their cherry pickers and hoses to strip it all away. Strangely, Tate hadn’t worked up the same frenzy of PR around this event as they did for the launch, but we were there to record the moment anyways. First to go was JR’s signature blow-up of a black guy wielding a
weapon video camera. We arrived a bit later, to catch them tentatively starting to strip down Faile’s comic-book Native American superhero (above): give it a couple of days and all will be pre-post-modern business as usual at the Tate.
Get down there early tomorrow if you want to catch that familiar London street-scene — high-pressure art removal — on the grandest scale.
More pix on Flickr.
[Photo ©2008 Darrell Berry]
New issue of our favourite street art zine hits the web
Buy a Banksy on your storecard!
Friend-Of-BST King Adz invited us along to the opening of Selfridge’s exhibition/auction of work by UK-based street artists. Some nice stuff, and not all from the usual suspects (although a few of our faves were notable by their absence, as was work from the more politically-pointed end of the creative spectrum). Banksy of course gets his own room, which we guess makes it a tad easier for those who are just there to pick one up on their way to the Rolex counter.
Nice to see these artists getting some serious recognition from the dealers — and nice to see that Adz was commissioned to write the catalog of the exhibition, rather than some outsider with an eye on nothing but the guide prices for the auction.
Interesting also to note the laundering of the ‘street’ in ‘street art’ to urban — presumably to remove any unsavoury whiff of, maybe, work actually created on the street. And doesn’t urban sound just a little more cozy and comfortable, and hint at just a frisson, darling of conspicuous-consumption-worthy bling? We asked Adz. His take?
Street Art stops being street art the moment it leaves the street. Then it becomes art. The term ‘Urban Art’ is the art world trying to get round the fact that they have ignored and dismissed street art for the last 15 years, and now they have no choice but to jump on the bandwagon.
Go for the art, and get a copy of Adz’s catalogue. But please, kids, don’t forget where this art form has its roots.
“Power in the Darkness” is out now
FEATURING: Street Art from Dr.D. Brad Downey, D*FACE, and Jerome G. Demouth, graphic agitation from OKAT, an interview with the legendary Danny Rampling, writing from Alexis Manning, and Harlan Levey, and Male Prostitute Phone Box Cards from Paul Hartnett, and a two photo essays from King Adz.
Go get it ….
What happens when a street artist gets ripped off by the Britart establishment?
East London artists D*Face and the Chapman Brothers are having a scrap over whose idea it was to graffiti over banknotes. In brief: Jake and Dinos Chapman made a big show of defacing £10 and £20 notes at the Frieze Art Fair this year and D*Face — who has been doing this for years — cried foul, telling The Independent:
I did a project in 2003 where I got £20 notes and defaced them before putting them back in the system. There were 20 variations of hand drawings and printing techniques in which the monarchy is satirised, with images of the Queen being hung, having her head chopped off. Last April, I marked her 80th birthday by showing her dead, with a skull and crossbones… It seems that inspiration for the Chapman Brothers’ latest work pays more than a striking resemblance to mine. But it’s just not as good and two years later. These are mainstream artists stealing from sub-cultural artists.
The Chapman Brothers have fought back, with Jake saying “Drawing on money is as original as graffiti and that is as old as the Caves of Lascaux. It’s not a great revelation to draw on money. It’s not original. What’s interesting is that because it’s unoriginal, it’s authorless. No one can claim ownership of it. It’s strange for someone to claim authorship of graffiti which is by its very nature an avoidance of the notion of authorship,” he said. He added the Frieze work could not have been inspired by D*Face’s work, because neither had ever seen any of it.
Now, subverting money is nothing new — hell, we used to get invites to the Sensateria club that were defaced dollars — but D*Face does seem to have a point. And, more importantly, he’s not getting to invoice for his work and the Chapmans are. So we asked him for a follow up quote on this story:
The point I was making when I saw the Chapman brothers ‘defaced notes’ was nothing to do with Graffiti, for them to pull a comment like that was laughable, just look at their background and mine. Nobody owns or should own graffiti, it’s power to the people, the the every man and woman’s freedom of expression, void of any need for an artistic background or gallery curator, so for 2 artists that have NEVER dabbled or even tried to do graffiti and have been carefully curated into existence they should be the last people to make a graffiti led argument.
When I saw the dead Queen note that they’d used for their press release and fed to their PR agency it it was simply a case of letting the pictures do the talking. There’s not a person out there that cannot look at the two notes and say that their note was not ‘inspired’ by mine. The fact there was a huge paste up at the bottom of their street that I put there over 2 years ago (and still remains today), makes the point of where they got their inspiration from very very clear. This is just another case of the establishment or the established stealing from the subcultures. It just so happened I know the art editor of the Independent and when she saw their note, she called me up as annoyed as I was to see this.
To claim they never heard of me is funny, my assistant works weekends in a trainer shop the Chapmans regularly go in, which is also near my studio, a few months back he had to walk with Jake Chapman to drop some shit they’d brought off to their apartment, as they walked along he mentioned he worked for me and pointed out the Dead Queen poster as reference to my works… but somehow they forgot this and who I am… convenient?
At the end of the day the simplest way to end this debate of authorship is to let the pictures do the talking, after all a picture speaks a thousand words.
We’re on the side of the angels with dirty wings…
With thanks to King Adz.
The photography special features Paul Hartnett and our very own Darrell Berry.
100proof announce the release of Issue 3 of their urban culture PDF 100proofTRUTH.
The only publication that gives real props to those it’s due to, still repping all that’s good in the world with 145 pages of visual diversity;
Eclectic interviews, street art, graphics, and photography with a truly global urban youth perspective (uh, no not “urban youth” like pictures of 50 Cent posing with a cognac in Vibe magazine).
— Fallon NYC on 100proofTRUTH.
100proofTRUTH Issue 3 is all about the power of the photograph, with a few other talents thrown in for good measure, (like Sfaustina from San Francisco, Sun7 from Paris, Karan Rashad from Iran, Dzyla and Fani1 from Australia, and Laser 3.14 from Amsterdam.)
With big thanks to King Adz.
Olympic identity appears to fall at the first hurdle. But, is it all just a clever marketing stunt?
So that’s what £400k spent on Wolff Olins’s endless meetings and stale Pret sarnies bought us. Good to see that some of the money ‘freed-up’ by the arts funding cuts we mentioned earlier has been spent so wisely.
But, enough enough already with the sarcasm. More constructive critics might argue that the desire for “reaching out and engaging young people” (presumably that’s a reference to the ‘funky’ shapes and colours, a la Thompson Twins 7-inch sleeves circa 1982) could have been more usefully satisfied by — for example — actually reaching out and engaging with them. London has a unique street-art culture, and that 400k could surely have funded some ongoing recognition of and support for the nascent design talent on the streets of East London — which might have generated some real interest in the design aspects of the Olympics amongst young people. And just maybe, a better logo. A sadly missed opportunity.
(BST’s editor points out that it does look just a teeny bit new rave. Maybe. If you squint. Hard. After downing a litre of ‘vodka’ at a mid-week Dalston lock-in.)
Anyways. You know you’re experiencing a post-‘that kidney show hoax‘ sign-o-the-times moment when the BBC News blog speculates that the whole thing might be a set-up to get publicity, after which the plan is to replace the controversial identity with one ‘made by the people for the people’.
We believe they really do think that their design rocks. The suspicious absence of ‘approved’ comments on the official london2012 blog posting also suggests that they don’t want anyone cluttering up their special happy place with naysaying negativity. Maybe they need ‘blogging’ explained to them, as well as ‘design’.