tag:blogger.com,1999:blog-4903038537245066022024-03-05T00:13:25.703-08:00Street ArtWhitneyhttp://www.blogger.com/profile/06193424943274252668noreply@blogger.comBlogger46125tag:blogger.com,1999:blog-490303853724506602.post-31518159244992576882012-11-07T11:52:00.000-08:002012-11-07T11:55:53.304-08:00Meet SWAMPY!<div class="separator" style="clear: both; text-align: center;">
<img border="0" height="345" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNaGXFPrZN3BTbT_EhvZNNROfQn1PxVWtlZTEemSGPiEQeVA3Iys3BzEW5L9V8GGQVrZz3H6AS47lkDNJNoylw_mZyTGgvBlk59yaWjNysw88TABXzS3xqMcWwyTIDNZPgizHeMKKJNKQ/s640/SWAMPY.jpg" width="640" /> </div>
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<a href="http://www.fatcap.com/graffiti/123682-swampy-atlanta.html">http://www.fatcap.com/graffiti/123682-swampy-atlanta.html</a></div>
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My final post for the blog will be leaving you with some art work from local street artist from Atlanta, Swampy. I really like this crazy skull head character with ram horns. You can find more of his work on the link I listed above. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPxrRADszYPSV4nBeoAfVi5mCTywTwspUu2EIrBKuJdKxrphzcHfmHFKRSRuU4suJhiTE793JY7-E1uBe2mkp4e7BbyL53V95fm3a-lvOKfdzOx0XP5jYjhPEtpA5T-2QOerC6Hu-wdDY/s1600/SWAMPY2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPxrRADszYPSV4nBeoAfVi5mCTywTwspUu2EIrBKuJdKxrphzcHfmHFKRSRuU4suJhiTE793JY7-E1uBe2mkp4e7BbyL53V95fm3a-lvOKfdzOx0XP5jYjhPEtpA5T-2QOerC6Hu-wdDY/s400/SWAMPY2.jpg" width="400" /></a></div>
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<a href="http://www.fifty24sf.com/news/swampy-in-my-room-open-for-1-extra-day-today/">http://www.fifty24sf.com/news/swampy-in-my-room-open-for-1-extra-day-today/ </a></div>
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Also here is a link to a gallery show he had called "In My Room."</div>
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Jenna Zonahttp://www.blogger.com/profile/10862502332326173371noreply@blogger.com0tag:blogger.com,1999:blog-490303853724506602.post-90724791130577167372012-11-06T15:22:00.000-08:002012-11-06T15:22:36.112-08:00Banksy - "Fuck Art"<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc_h76NfN7vL_m7vjWQFvBkoqDd2y8C7NXEPZwb3Bkod17la0F5WDYNfP_zgU7igh8mi27JeBu2QxvAxFnHa4uSL6PbNwcQzh4ixIEuaqSfDr_OpVM0nXlhZuEOJs9IeaW7DWDBDrcSvE/s1600/tumblr_m8xl59DJ8G1qlq5kpo1_500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc_h76NfN7vL_m7vjWQFvBkoqDd2y8C7NXEPZwb3Bkod17la0F5WDYNfP_zgU7igh8mi27JeBu2QxvAxFnHa4uSL6PbNwcQzh4ixIEuaqSfDr_OpVM0nXlhZuEOJs9IeaW7DWDBDrcSvE/s1600/tumblr_m8xl59DJ8G1qlq5kpo1_500.jpg" /></a></div>
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I found this Banksy online and I liked how it depicts the contrast between art in a gallery and art that is on the street. It directly communicates how street art is not confined by the edges of a canvas or the walls of a gallery space in a museum. Step outside the frame!Brian Bobbhttp://www.blogger.com/profile/08737174584869956860noreply@blogger.com0tag:blogger.com,1999:blog-490303853724506602.post-47925700557656729352012-11-06T13:10:00.000-08:002012-11-06T13:10:46.173-08:00Graffiti WarsA great video detailing the war between King Robbo and Banksy. It seems like the documentary is pretty one sided. They paint King Robbo in a much for positive light than Banksy. They seems to say Banksy is a sell out, while King Robbo is justified in all of his actions. You decide what the real truth is.<br />
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<a href="http://www.streetartnews.net/2011/08/robbo-vs-banksy-graffiti-wars-full.html">http://www.streetartnews.net/2011/08/robbo-vs-banksy-graffiti-wars-full.html</a>Anonymoushttp://www.blogger.com/profile/04544970328968835856noreply@blogger.com0tag:blogger.com,1999:blog-490303853724506602.post-90067640517898977652012-11-03T12:36:00.002-07:002012-11-03T12:36:54.721-07:00Working together to create Street ArtNice article about two street artists who work together to create art works. If you found their works without knowing anything about them, I feel you might find yourself enchanted by their works. Creating a back-story or an ancient history within the strokes that create this mythical girl figure. <br />
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<a href="http://www.brooklynstreetart.com/theblog/2012/04/30/herakut-says-find-your-own-voice/">http://www.brooklynstreetart.com/theblog/2012/04/30/herakut-says-find-your-own-voice/</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB_SGUGRzIGh4-rkgxGzNLm4w0g7KXhEiK6GBUz1BO7b36N4WkRgJBz-j0rWpA5KQLssQ7-w0G-u5a4el5ctYuORY4NxvWy7V4sfGVdIU2eayO4Wv31IiE2OU-F4SsupjZF1uQ7KiqB0Q/s1600/brooklyn-street-art-herakut-jennifer-goff-san-francisco-04-12-web-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
<br />Jenna Zonahttp://www.blogger.com/profile/10862502332326173371noreply@blogger.com0tag:blogger.com,1999:blog-490303853724506602.post-45949883788161484762012-10-30T14:14:00.004-07:002012-10-30T14:14:47.419-07:00banksy at home<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeh07aKfjDabiOUgDddg3M-_K2oWw3X31cIf-HuIUl5SgDAUkPdaiBkJdfOgWB4sKkofz3GQGZGBtbPKVtaAx8A4V9eTROTuzM-1YXxNURv0TTzFFqT64zLNnTVSdfrZ0uihNNRfPpf54/s1600/Screen+shot+2012-10-30+at+5.10.13+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="371" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeh07aKfjDabiOUgDddg3M-_K2oWw3X31cIf-HuIUl5SgDAUkPdaiBkJdfOgWB4sKkofz3GQGZGBtbPKVtaAx8A4V9eTROTuzM-1YXxNURv0TTzFFqT64zLNnTVSdfrZ0uihNNRfPpf54/s640/Screen+shot+2012-10-30+at+5.10.13+PM.png" width="640" /></a></div>
If you guys ever wanted to have a Banksy in your home...well, you are in luck! I think I might get a rat for my kitchen. Artsy and gross. yeaaaa.Brian Bobbhttp://www.blogger.com/profile/08737174584869956860noreply@blogger.com0tag:blogger.com,1999:blog-490303853724506602.post-87510991666161089122012-10-29T23:05:00.001-07:002012-10-29T23:05:45.463-07:00The Battle in PicturesFor anyone that is interested, this blog has more photos detailing the war between Robbo, Team Robbo and Banksy. Enjoy<br />
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http://twistedsifter.com/2012/01/banksy-vs-robbo-war-in-pictures/Anonymoushttp://www.blogger.com/profile/04544970328968835856noreply@blogger.com0tag:blogger.com,1999:blog-490303853724506602.post-48632008759832904162012-10-29T20:43:00.001-07:002012-10-29T23:03:13.014-07:00Graffiti Art vs Street Art: The Battle Closes<style>
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When we left off, the battle lines had been drawn between
Street and Graffiti Art. Its representatives, Banksy and King Robbo, battle
with spray paint and vastly differing ideologies. King Robbo is making
statements about the male ego of Grafitti art, trying to prove his superiority.
While Banksy focused more on the thought provoking messages of his stenciled
work, less on the individual ego of the artist. However, this is just the
beginning of the war between Street and Graffiti Art. Through the ongoing artistic
battle, we can further understand the ideological differences expressed, but we
can also comprehend some of their inherent similarities. </div>
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After the move by Robbo to incorporate Banksy into his tag,
Banksy adds a childish Fuc in front of Robbo’s name, which is subsequently
removed. The bickering continues between these two artists, when all of a
sudden, the battle goes dark. Someone covers the battleground in black paint.
In the film <i style="mso-bidi-font-style: normal;">Grafitti Wars</i>, Robbo
takes this opportunity to create a stenciled work of his own. Top Cat leans
against the gravestone of Banksy’s career. This is a little different from his
usual work and it shows how Robbo is starting to evolve outside of his normal
comfort zone. Robbo also does this to illustrate how easy stenciling is and
that it doesn’t require any particular talent or artistry.<span style="font-size: xx-small;"><a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn1" name="_ednref" title=""><span class="MsoEndnoteReference">[i]</span></a>
</span>This shift is documented in <i>Graffiti Wars</i>,
where Robbo actually begins to make the transition from Graffiti Artist to Street
Artist. He brings his work inside gallery shows and starts becoming a famous
name again. Maybe the Top Cat piece is also making a statement that he will
take out Banksy in the gallery as well as the street. Macnaughton makes the
point that ethics also separate Graffiti and Street art.<span style="font-size: xx-small;"><a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn2" name="_ednref" title=""><span class="MsoEndnoteReference">[ii]</span></a>
</span>When someone moves inside of a gallery and gets the chance to profit from their
work, it is now street art. </div>
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<img alt="" class="alignnone size-full wp-image-32713" data-lazy-loaded="true" height="425" src="http://twistedsifter.sifter.netdna-cdn.com/wp-content/uploads/2012/01/banksy-robbo-war-london-camden-history-5.jpg" style="display: inline;" title="banksy robbo war london camden history (5)" width="640" /></div>
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<img alt="" class="alignnone size-full wp-image-32715" data-lazy-loaded="true" height="427" src="http://twistedsifter.sifter.netdna-cdn.com/wp-content/uploads/2012/01/banksy-robbo-war-london-camden-history-7.jpg" style="display: inline;" title="banksy robbo war london camden history (7)" width="640" /> <img alt="" class="alignnone size-full wp-image-32716" data-lazy-loaded="true" height="427" src="http://twistedsifter.sifter.netdna-cdn.com/wp-content/uploads/2012/01/banksy-robbo-war-london-camden-history-8.jpg" style="display: inline;" title="banksy robbo war london camden history (8)" width="640" /> </div>
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Whatever the statement about his own rise in the artistic
community, Robbo is silenced as, once again, the wall goes black. This time Banksy comes back with a
rather strange work that no one can seem to make heads or tails of. It’s a
chalk living room with a three dimensional chair and stenciled elements. It is noted that Banksy often pays back
to his influences in his own way.<span style="font-size: xx-small;"><a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn3" name="_ednref" title=""><span class="MsoEndnoteReference">[iii]</span></a> </span>Many find
Banksy has taken ideas from Blek le Rat and other stencil and Street Artists.
However, this particular piece recalls an experimental time for another street
artist, Keith Haring. On his website it states, “…he noticed the unused
advertising panels covered with matte black paper in a subway station. He began
to create drawings in white chalk upon these blank paper panels throughout the
subway system.”<span style="font-size: xx-small;"><a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn4" name="_ednref" title=""><span class="MsoEndnoteReference">[iv]</span></a> </span>That sounds
very similar to what Banksy has done here.</div>
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<img alt="" class="alignnone size-full wp-image-32717" data-lazy-loaded="true" height="427" src="http://twistedsifter.sifter.netdna-cdn.com/wp-content/uploads/2012/01/banksy-robbo-war-london-camden-history-9.jpg" style="display: inline;" title="banksy robbo war london camden history (9)" width="640" /> </div>
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Why would Banksy create a throwback to another artist? We
may never know the answer, but Banksy sees himself as a liberator and he likes
to remind his audience that art is a democratic exercise. He believes that the
individual’s opinion regarding a work is as important as anybody else’s.<span style="font-size: xx-small;"><a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn5" name="_ednref" title=""><span class="MsoEndnoteReference">[v]</span></a></span>
This may have been his way of taking the battle away from a petty feud and
going back to inspiring the usual thought concerning his work. A scene as
perplexing as this living room will definitely inspire plenty of though
regarding its meaning.</div>
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This would be the last move in the war between Robbo and
Banksy. Shortly after, King Robbo tragically suffered a head injury and remains
in a coma. Banksy added one last note to Robbo by recreating his original tag
with a torch lit spray can to act as a memorial flame. However, despite the seeming
end of the war of Street and Graffiti Art, Team Robbo, who were followers of
King Robbo, kept the battle alive. They would go out and vandalize or adorn
Banksy’s work in other areas. They would change the content or add anti-Banksy
messages.<br />
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This continued battle extended beyond the tunnel in Camden
to other urban areas. In doing so they both perpetuate a basic ideology that
Street and Graffiti Art share. Banksy and Team Robbo achieve the goal of using
free public art to reclaim pieces of the urban environment that would otherwise
be used for advertisements.<span style="font-size: xx-small;"><a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn6" name="_ednref" title=""><span class="MsoEndnoteReference">[vi]</span></a></span> Potter makes
the argument that, “The Thing about street art is, it all comes down to
property…Street art, like graffiti before it, regardless of what the content of
the image may be, is a criticism of the idea of property itself. If it was not
illegal, it would not be street art. Therefore its illegality is what defines
it. Take it out of that context and you are left with ‘art’.”<span style="font-size: xx-small;"><a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn7" name="_ednref" title=""><span class="MsoEndnoteReference">[vii</span></a></span><br />
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<span style="font-size: xx-small;"><span class="MsoEndnoteReference"><img alt="" class="alignnone size-full wp-image-32722" data-lazy-loaded="true" height="360" src="http://twistedsifter.sifter.netdna-cdn.com/wp-content/uploads/2012/01/banksy-i-dont-believe-in-global-warming.jpg" style="display: inline;" title="banksy i dont believe in global warming" width="640" /> <img alt="" class="alignnone size-full wp-image-32723" data-lazy-loaded="true" height="480" src="http://twistedsifter.sifter.netdna-cdn.com/wp-content/uploads/2012/01/i-dont-believe-in-war-banksy-robbo.jpg" style="display: inline;" title="i dont believe in war banksy robbo" width="640" /> </span></span></div>
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Street and Graffiti art are born from the same mother. They
both struggle with the definition of legality and property. Who owns what and
what gives them the right to own it. They want to take back the streets to make
statements. They may be personal statements about themselves. Graffiti Art is
all about the male ego and proving yourself with your tag. While Street Art is
intended to make a nice image that provokes thought in the viewer. However,
both street and graffiti art can agree that they are an anti establishment
movement that would not mean anything if they weren’t’ illegal. They may have
extreme ideological differences, but at the end of the day, they are more
closely linked than most realize. </div>
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<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn1" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;">[i]</span></span></a> Channel 4, “Graffiti
Wars,” <i style="mso-bidi-font-style: normal;">Street Art News</i> video, 46:47,
August 15, 2011, http://www.streetartnews.net/2011/08/robbo-vs-banksy-graffiti-wars-full.html.<span style="mso-spacerun: yes;"> </span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn2" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;">[ii]</span></span></a> Alex
Macnaughton, <i style="mso-bidi-font-style: normal;">London Street Art Anthology </i>(New
York: Prestel USA, 2009), 2.</div>
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<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn3" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;">[iii]</span></span></a> Gary Shove
and Patrick Potter, <i style="mso-bidi-font-style: normal;">Bansy: You Are and
Acceptable Level of Threat </i>(Darlington: Carpet Bombing Culture, 2012), Belly
of the Beast.</div>
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<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn4" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;">[iv]</span></span></a> Keith Haring,
“Keith Haring Foundation,” Online [home page on-line]; available from http://www.haring.com/!/;
Internet; accessed 24 October 2012. </div>
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<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn5" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;">[v]</span></span></a> Gary Shove
and Patrick Potter, <i style="mso-bidi-font-style: normal;">Bansy: You Are and
Acceptable Level of Threat</i>, 9.</div>
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<span style="color: white;"><a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn6" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;">[vi]</span></span></a> Ethel Seno, ed.<i style="mso-bidi-font-style: normal;">, </i>Carlo
Mccormick, Marc Schiller, and Sara Schiller, <i style="mso-bidi-font-style: normal;">Tresspass: A History of Uncommissioned Urban Art</i>. (China: Taschen
GmbH, 2010), 10.</span></div>
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</div>
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<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn7" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;">[vii]</span></span></a> Gary Shove
and Patrick Potter, <i style="mso-bidi-font-style: normal;">Bansy: You Are and
Acceptable Level of Threat</i>, Any Last Words.</div>
</div>
</div>
Anonymoushttp://www.blogger.com/profile/04544970328968835856noreply@blogger.com3tag:blogger.com,1999:blog-490303853724506602.post-60673191322510667802012-10-29T09:18:00.000-07:002012-11-07T12:25:33.737-08:00Street Art: The Power of Location (second post)<!--[if gte mso 9]><xml>
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When street art began to rise in popularity, it became a new
vehicle to communicate to the public.<span style="mso-spacerun: yes;">
</span>Advertising agencies and corporations viewed it as an opportunity to
push their brand and increase sales and/or awareness. <span style="mso-spacerun: yes;"> </span>Corporate strategy and the tactful
placement of street art hold similar purposes across multiple channels. <span style="mso-spacerun: yes;"> </span>In this post, I will discuss how street
art is used in advertising and how the location of the street art speaks for
the brand. </div>
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Zevs is an anonymous French street artist that is known for
painting the outlines of shadows that objects make on the street during the
night. In an interview with South China Morning Post (SCMP), Zevs said, “By
outlining the shadows I make it more visible in the night and it keeps a trace
of these shadows during the day.” [1] By painting the shadows of the night,
Zevs is freezing a moment in time and placing that moment into different
context during the day. The use of location for Zevs has to do with the
location of the shadow at the particular time that it was painted. The shadow
is continuously moving, but by freezing that moment the artist is telling the
viewer to look at that moment at a different perspective. </div>
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Houtlust, now known as Osocia, is
a non-profit advertising and marketing agency that focuses on social issues. In
2005, Houtlust and the Auckland Regional Council New Zealand painted shadows of
trees, as part of the Big Clean Up Campaign, to freeze a moment in time where a
tree once existed. The shadow of the tree connected the viewer to a pole that
read, “Nothing Can Replace a Tree. Plant More Native.” [2] This is a good
example of how the change in perspective that Zevs created in his street art of
painting shadows of objects on the street has transcended into communicating a
specific message for a non-profit organization. In both works, the location of
the shadow is most important because it holds a position of something that
existed and has now passed.</div>
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The tagging of street artists and
corporate branding are a lot in common. The tag, the alias name of the street
artist, and the logos of the brands that make up our consumer economy share the
same purpose of creating recognition. In the book, <u>Trespass: A History of
Uncommissioned Urban Art</u><i style="mso-bidi-font-style: normal;">, </i>the
author states, “One of the most salient features of graffiti is approximation
of branding. At its most basic level, the tag mimics the ideographic
compression, repetition, and saturation that we would expect of corporate logos
and marketing campaigns. As a matter of practicality and artist’s tag must be
fluent, fluid, flexible enough to be put up anywhere, quickly, under any
conditions, and maintain the most primary of marketing directives: instant
recognition.” [3] Just like a tag, a logo of a company must share similar
qualities. </div>
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Shepard Fairey is a well-known
street artist from the west coast that used a tag to create recognition of an
iconic wrestler from the 1970s called, Andre the Giant. In the documentary, <i style="mso-bidi-font-style: normal;">Exit Through the Gift Shop</i>, the narrator
states, “Shepards experiment with the power of repetition went back to 1989 and
an image based on cult ‘70s wrestler Andre the Giant. Combining Andres face
with a command to obey, Shepard had already clocked up over a million hits
around the world.” [4] Using a familiar image, like Andre the Giant, and using
the power of repetition is a tactic commonly seen in advertising. Andre the
Giant as a tag<span style="mso-spacerun: yes;"> </span>has the same
purpose as a logo for a company brand. Fairey would place his tag all over the
country in areas of high traffic that would be seen by a large quantity of
people.<span style="mso-spacerun: yes;"> </span>It became worldwide
propaganda. </div>
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In corporate branding and in
street art the location of what is being viewed to the public has a direct
relationship with recognition and popularity. The location of the work, whether
it is placed in a location with a high traffic of people to view or if it is
placed in a location that creates a new context or perspective of the work, embodies
the purpose. In the article, <i style="mso-bidi-font-style: normal;">Tagging as a
Social Literacy Practice</i>, the author states, “Tagging is not simply an act
of vandalism or violence; it is a social practice with its own rules and codes
– a literacy practice imbued with intent and meaning.” [5] The location of the
tag plays a large role in the context and message that the street artist is
communication with the public. </div>
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Joshua Allen Harris is a New York
Street artist that uses trash bags as a medium to create installation street
art. In 2009, he created a work called <i style="mso-bidi-font-style: normal;">Airbear
and Cub </i>that was placed on a city subway vent. When the subway passes
through the location underground, the air pushes the trash bags up displaying
an air filled installation of a bear and cub. When the subway is not passing
by, the installation simply looks like a trash bag on the street. The artist
uses the location of the subway air vent to put his work into new context and to
change the perspective of what someone would normally see as trash.<span style="mso-spacerun: yes;"> </span>He is taking something that already
exists on the street and using it as part of his work. Advertising installation
on the street go by the same practice. Ogilvy & Mather is a large advertising
agency with offices worldwide. In 2005 out of the Malaysia office, they placed
an image of Duracell batteries at the bottom of an escalator in a local
shopping mall. Escalators keep going and going and so do Duracell batteries.<span style="mso-spacerun: yes;"> </span>The advertisement is similar to Harris’
<i style="mso-bidi-font-style: normal;">Airbear and Cub</i> installation work in
New York because they are using the locations environment to create a new
perspective to the viewers. <span style="mso-spacerun: yes;"> </span>Each
one of the works has a tag that creates an identity. The tag Harris has is the
use of trash bags on the street, which creates instant recognition of the
artist. The tag used in the installation piece for Duracell is the company
logo, the shape and functionality of the product. [6]</div>
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A street artist, that goes by the
name, Slinkachu, is famous for his miniature installations placed in an urban
environment. In 2007, Tower Hill, London, England, Slinkachu installed one of
his works called, After the Storm. After a rainstorm, he placed a miniature
rescue boat and a drowned victim in a puddle on the sidewalk of a common
street. The context of the puddle changes once the rescue boat and victim are
placed in it. There is a change in perspective to scale as the puddle mimics
the idea of a lake. Slinkachu is taking something that was already present on
the street and sending a new message by changing the context of the puddle.
Similar to advertising street installations, agencies will take ordinary
objects and transform them in something new that creates a new way of thinking
towards that object. Grey Worldwide, a large creative advertising agency,
produced a sidewalk installation in Italy for Mr. Clean cleaning supplies. They
made all the lines of a crosswalk dirty except for one that was bright white.
This displayed the functionality of the product, while integrating a streets
common crosswalk. Just like Slinkachu, Grey Worldwide and Mr. Clean used a
specific location to display their work because it was the elements present in
the location that brought new context to the miniatures and the product. [7] [8]</div>
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Whether it is for a corporate
brand or for a famous street artist, the location and the elements of the
surrounding environment play an important role in communicating a message. It
becomes familiar, yet surprising because new context is placed into a space
that might otherwise seem ordinary. Street artist and advertising agencies
share a common ground, which is to create instant recognition. In integrating a
familiar space, object or image with the work grasps the attention of the
viewer with the willingness to absorb the message intended by the artist. </div>
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[1] SCMP – South China Morning Post, “A Profile of Artist
ZEVS Before His Arrest in Hong Kong”, SCMP Youtube; available from <a href="http://www.youtube.com/watch?v=Z8BG8v4sZnk">http://www.youtube.com/watch?v=Z8BG8v4sZnk</a>
> (accessed 21 October 2012) </div>
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[2] Wooster Collective, “Plant More Native”, Wooster
Collective online; available from <a href="http://www.woostercollective.com/post/plant-more-native">http://www.woostercollective.com/post/plant-more-native</a>
> (accessed 26 October 2012)</div>
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<span style="color: black; mso-bidi-font-family: Georgia; mso-bidi-font-size: 11.0pt;">[3] Carlo McCormick, <i style="mso-bidi-font-style: normal;">Trespass:
A History of Uncommissioned Art </i>(Los Angeles, CA: Taschen Publishing,
2010), 51.<o:p></o:p></span></div>
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<span style="mso-bidi-font-family: Arial; mso-bidi-font-size: 10.0pt;">[4] Banksy. <i>Exit Through the Gift Shop</i>. DVD. Directed by Banksy.
USA : Producers Distribution Agency (PDA), 2010.<o:p></o:p></span></div>
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[5] Laurie MacGillivray and Margaret Sauceda Curwen,<i style="mso-bidi-font-style: normal;"> </i>“Tagging as a Social Literacy Practice”<i style="mso-bidi-font-style: normal;">, Journal of Adolescent & Adult </i>Literacy
(2007): [Journal on-line]; available from JSTOR digital library, < <a href="http://www.jstor.org/discover/10.2307/40015478?searchUrl=%2Faction%2FdoBasicSearch%3FQuery%3DTagging%2Bas%2Ba%2BSocial%2BLiteracy%2BPractice%26acc%3Doff%26wc%3Don&Search=yes&uid=3739616&uid=2134&uid=2&uid=70&uid=4&uid=3739256&sid=21101214763483">http://www.jstor.org/discover/10.2307/40015478?searchUrl=%2Faction%2FdoBasicSearch%3FQuery%3DTagging%2Bas%2Ba%2BSocial%2BLiteracy%2BPractice%26acc%3Doff%26wc%3Don&Search=yes&uid=3739616&uid=2134&uid=2&uid=70&uid=4&uid=3739256&sid=21101214763483</a>>
(accessed October 2012). 354.</div>
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<span style="color: black; mso-bidi-font-family: Georgia; mso-bidi-font-size: 9.5pt;">[6] Joshua Allen Harris, “Airbear and Cub”, Joshua Allen
Harris online: Behance Network (2012); available from < <a href="http://joshuaallenharris.com/19211/537354/joshuaallenharrismecom/air-bear">http://joshuaallenharris.com/19211/537354/joshuaallenharrismecom/air-bear</a>
> (accessed October 2012)<o:p></o:p></span></div>
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<span style="color: black; mso-bidi-font-family: Georgia; mso-bidi-font-size: 9.5pt;">[7] Slinkachu, “Little People”, Slinkachu online (2012);
available from < <a href="http://slinkachu.com/little-people">http://slinkachu.com/little-people</a>
> (accessed October 2012)<o:p></o:p></span><br />
<span style="color: black; mso-bidi-font-family: Georgia; mso-bidi-font-size: 9.5pt;">[8] </span><span class="Apple-style-span" style="font-family: Cambria; font-size: 16px;">Carlo McCormick, </span><span class="Apple-style-span" style="font-family: Cambria; font-size: 16px;"><i style="mso-bidi-font-style: normal;">Trespass: A
History of Uncommissioned Art </i></span><span class="Apple-style-span" style="font-family: Cambria; font-size: 16px;">(Los Angeles, CA: Taschen Publishing, 2010),
225.</span><br />
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<!--EndFragment-->Brian Bobbhttp://www.blogger.com/profile/08737174584869956860noreply@blogger.com2tag:blogger.com,1999:blog-490303853724506602.post-40372043940049325212012-10-26T09:10:00.002-07:002012-10-26T09:10:28.983-07:00Street/Chalk Art - David ZinnDavid Zinn is a street artist who uses chalk to create his lovable imaginative street art. Chalk is certainly the least permanent of all street art media, but certainly if you can catch the art before it's walked on or washed away, it can leave an impression on you. I'm sure everyone is familiar with street chalk art, as many of the images circulate through forwarded emails. But David Zinn's characters I think create their own stories by being imbedded in our world in a unique way. Check out the link for more of his works. They are worth taking a look at! Below is a Halloween themed image of David Zinn's. Enjoy! <br />
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<a href="http://www.streetartutopia.com/?p=10258">http://www.streetartutopia.com/?p=10258</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyNGULEM3Z9JK0TVMOjpsgjjJ2RregURXRMgq_H-JeoB5fZ1LIGDgAO7YKCyDGNnuEPLWU-wwYmEPuZWo7NyO9hj7pQFcCKXuYdC-YUeg96HQtNssuqT6fGu9YdbKZvZcHhUo6MBcdwc4/s1600/Calk-Art-by-David-Zinn-22.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyNGULEM3Z9JK0TVMOjpsgjjJ2RregURXRMgq_H-JeoB5fZ1LIGDgAO7YKCyDGNnuEPLWU-wwYmEPuZWo7NyO9hj7pQFcCKXuYdC-YUeg96HQtNssuqT6fGu9YdbKZvZcHhUo6MBcdwc4/s400/Calk-Art-by-David-Zinn-22.jpg" width="400" /></a></div>
<br />Jenna Zonahttp://www.blogger.com/profile/10862502332326173371noreply@blogger.com0tag:blogger.com,1999:blog-490303853724506602.post-24331075057484343742012-10-23T11:13:00.000-07:002012-10-23T11:13:10.311-07:00Fantastic source for photo research<br />
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<a href="http://streetfiles.org/">http://streetfiles.org/</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9fdQJKnBBfTx2uJlyz1mX4xs7vHi6stft-wH3PIMObl4h6yOg8G72M6s-1EMIIlq_vUl6qIKl_shwFwbP4pBVuwC2S1Y4tHXY1dAzHcJBmzN7kMNisAN_E0aU1INRawHOOqWVNoGHCVE/s1600/Screen+shot+2012-10-23+at+2.10.58+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="535" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9fdQJKnBBfTx2uJlyz1mX4xs7vHi6stft-wH3PIMObl4h6yOg8G72M6s-1EMIIlq_vUl6qIKl_shwFwbP4pBVuwC2S1Y4tHXY1dAzHcJBmzN7kMNisAN_E0aU1INRawHOOqWVNoGHCVE/s640/Screen+shot+2012-10-23+at+2.10.58+PM.png" width="640" /></a></div>
<br />Brian Bobbhttp://www.blogger.com/profile/08737174584869956860noreply@blogger.com0tag:blogger.com,1999:blog-490303853724506602.post-49281238953409135792012-10-23T10:46:00.001-07:002012-10-23T10:46:32.941-07:00Graffiti animation to promote French AIDS awareness<div class="separator" style="clear: both; text-align: left;">
Great concept of using the graffiti you would see in a bathroom stall to create awareness of AIDS for the French AIDS awareness organization. It was created by TBWA\Paris. The message: Protect yourself with a condom.</div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/6qwveZX7HOk?feature=player_embedded' frameborder='0'></iframe></div>
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<br />Brian Bobbhttp://www.blogger.com/profile/08737174584869956860noreply@blogger.com0tag:blogger.com,1999:blog-490303853724506602.post-64698495431628118672012-10-23T10:23:00.002-07:002012-10-23T10:23:41.057-07:00More street Art in Advertising <div class="separator" style="clear: both; text-align: left;">
<b>Here are some more examples of how street art can be used in advertising to promote a product: Feel free to comment on any of them or tell everyone which one is your favorite. In the second half of my thesis I will mention a coupe of these and its relativity to location.</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcrunYpSD-E4oPPcxq75duzZEq86eCix9JPkrN-7stUw-yHbZCR0gUJ13XuVbJmMQp_cpCdo8qRZI-X6uw6J44EKdNZhOUF0WZFYCbEahlKff0SrL4wabBGY0DA08M9YPmZzemP1dmuD8/s1600/street-ads-folgers-coffee-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcrunYpSD-E4oPPcxq75duzZEq86eCix9JPkrN-7stUw-yHbZCR0gUJ13XuVbJmMQp_cpCdo8qRZI-X6uw6J44EKdNZhOUF0WZFYCbEahlKff0SrL4wabBGY0DA08M9YPmZzemP1dmuD8/s1600/street-ads-folgers-coffee-2.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRJFkDCQoGSzXtW2t7jAOpK_tP6ORwDfVMRVVTgqLnfx-IfasZ8fOgXVcXC85aOhfwegroa_DjmMzjul8KVYgcCB60P_-_MVRlT-g3j84AxWXcudCEGjzn-gJPQXTEYzpIINKvliNiV6c/s1600/street-ads-folgers-coffee.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRJFkDCQoGSzXtW2t7jAOpK_tP6ORwDfVMRVVTgqLnfx-IfasZ8fOgXVcXC85aOhfwegroa_DjmMzjul8KVYgcCB60P_-_MVRlT-g3j84AxWXcudCEGjzn-gJPQXTEYzpIINKvliNiV6c/s1600/street-ads-folgers-coffee.jpg" /></a></div>
Folders coffee used the steam created by a drain cap to mimic the steam that comes out of a warm cup of joe.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrmrA5tIszJCx53p2Z4nm9mk4u2kEZ-7EyOj7R1JPDeRkkjhidwTv03-VuTCSstm4eQfbrOfbiERJCOtAnYQvpgDwciHJIIGj4jhUYGxnZQ2XTKK9LNOZbzYuHLo-yJymKgge6ml1cOyQ/s1600/street-ads-accident-victims.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrmrA5tIszJCx53p2Z4nm9mk4u2kEZ-7EyOj7R1JPDeRkkjhidwTv03-VuTCSstm4eQfbrOfbiERJCOtAnYQvpgDwciHJIIGj4jhUYGxnZQ2XTKK9LNOZbzYuHLo-yJymKgge6ml1cOyQ/s1600/street-ads-accident-victims.jpg" /></a></div>
Street art is used in this advertisement to develop awareness of the fact that 1/4 car accidents are pedestrians. It was created by Draft FCB in portugal and placed at high traffic intersection.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJESYsUdLZ_rThyphenhyphen_JQW8dRZIqkvRHz4JFL3bAzTCw36eAiy7Q2sihuB3nqkNkxf9rq9r8kTIPTM4vGnQxxSkCpYSG4zTMed0jYfMIM6heqG4r1WyE4IV92jvxlkIxYmccf8lcrbjplD00/s1600/street-ads-butt-litter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJESYsUdLZ_rThyphenhyphen_JQW8dRZIqkvRHz4JFL3bAzTCw36eAiy7Q2sihuB3nqkNkxf9rq9r8kTIPTM4vGnQxxSkCpYSG4zTMed0jYfMIM6heqG4r1WyE4IV92jvxlkIxYmccf8lcrbjplD00/s1600/street-ads-butt-litter.jpg" /></a></div>
This advertisement was created by GREY Group advertising. the tagline was "don't be a tosser, bin your butts." The butts of cigarettes were placed on the end of a crosswalk line to make feel like you are walking on a giant cigarette.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitlxrTschkHyGy3uB8jwsQxRGaDi-setg6e02LC6RJ170kQGoe98EUaEP2Xbg_9GeXb_sfM0y863CVZE4uc3jgurB8EXIlxY2O7ny1wqzXivmxywDLXePLgo4TzfTL_SliniImcmUyguM/s1600/street-ads-bubbles.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitlxrTschkHyGy3uB8jwsQxRGaDi-setg6e02LC6RJ170kQGoe98EUaEP2Xbg_9GeXb_sfM0y863CVZE4uc3jgurB8EXIlxY2O7ny1wqzXivmxywDLXePLgo4TzfTL_SliniImcmUyguM/s1600/street-ads-bubbles.jpg" /></a></div>
Street art was used in this advertisement for a local hair salon in India. The hair salon was called Bubbles and they turned a crosswalk into a comb used to brush your hair.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSD_Wj94bPSRoNTT18OmHy8kyo9fwlsRzOzWuZlYCrUFQ0vhlJp1LqCbXHgrXQRncq6ph6-9Gqjn0LNhSUw15LRx_0yTRV_zdAo_NtcJNKZp4HH876Kawgm84X2UenfP3mYXij25XYxlE/s1600/street-ads-canon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSD_Wj94bPSRoNTT18OmHy8kyo9fwlsRzOzWuZlYCrUFQ0vhlJp1LqCbXHgrXQRncq6ph6-9Gqjn0LNhSUw15LRx_0yTRV_zdAo_NtcJNKZp4HH876Kawgm84X2UenfP3mYXij25XYxlE/s1600/street-ads-canon.jpg" /></a></div>
The purpose of this advertisement was to show the products main benefit of a zoom lens. The street art advertisement simulates the movement of the powerful lens of the camera. Genius!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx7gW-Iw4kRaiUBAL8xzXMkjQs0hqe30_bJ9tUEoyoILazGCdtoskT_2tIh6aNzKCdzWqiHpvwJ0uRQwndakd8OVma-jpx7yytSpZRO5rPLzTmluz5Ead_OFTUm3CYtK1pDKJQd74qLwU/s1600/street-ads-macfries-crossing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx7gW-Iw4kRaiUBAL8xzXMkjQs0hqe30_bJ9tUEoyoILazGCdtoskT_2tIh6aNzKCdzWqiHpvwJ0uRQwndakd8OVma-jpx7yytSpZRO5rPLzTmluz5Ead_OFTUm3CYtK1pDKJQd74qLwU/s1600/street-ads-macfries-crossing.jpg" /></a></div>
McDonalds used Street art to promote their french fries by transforming a cross walk into a large size french fry container.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw5DaYCExgjVQVkuJv5y_0e2NPbhYVy80pTHJVAIPYNzWNvlF5hcn33A1VBL6AQKEToz2ZHDyOM6u_lOLk1XU4kdFm7UBXDaTMCBeo2SxpSs38CMv8p3JUjV-AIGZoYwZ3TLH_sqPxH68/s1600/street-ads-meister-proper.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw5DaYCExgjVQVkuJv5y_0e2NPbhYVy80pTHJVAIPYNzWNvlF5hcn33A1VBL6AQKEToz2ZHDyOM6u_lOLk1XU4kdFm7UBXDaTMCBeo2SxpSs38CMv8p3JUjV-AIGZoYwZ3TLH_sqPxH68/s1600/street-ads-meister-proper.jpg" /></a></div>
This one is my personal favorite because it is so simple, but makes a clear statement on the functionality of the product. It is for Mr.Cleans magic eraser.<br />
<br />Brian Bobbhttp://www.blogger.com/profile/08737174584869956860noreply@blogger.com1tag:blogger.com,1999:blog-490303853724506602.post-30704494302471994262012-10-23T09:25:00.000-07:002012-10-23T09:25:12.171-07:00Street Art in Advertising<div class="separator" style="clear: both; text-align: left;">
This is an example of street art being used to promote Durex condoms:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMTmVzDwaWEIISVJimzuY5NMWeNkGFlfQimsxNue5jzBkr57U90rZ_vXT8kStuRro83JD1g0ywYRMi9v5FFaTX9voWbz1T8LpxyOGYrPiDDUgtnqdBtApTRrPivSJ0bpqb6Hsupl4726Q/s1600/street-ads-durex-knobs.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMTmVzDwaWEIISVJimzuY5NMWeNkGFlfQimsxNue5jzBkr57U90rZ_vXT8kStuRro83JD1g0ywYRMi9v5FFaTX9voWbz1T8LpxyOGYrPiDDUgtnqdBtApTRrPivSJ0bpqb6Hsupl4726Q/s1600/street-ads-durex-knobs.jpg" /></a></div>
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Above: Promoting Durex condoms with knobs in Belguim. Americans refer to this product as<br />
"studded" condoms....A slight difference in condom culture.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik1w7j2hst2k0o13e9u9aW0k5Cw4TNOxKqLJafmaav2KUyUWQPNIJlgfrPmlvNc132HC9gIKAwhCPsfEGbz8kdbOKlF1bGHQKyot2s-72Q01fVJ9dvZDhmZW7a_297czFYyr8VQRGY37I/s1600/street-ads-durex-ribs.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik1w7j2hst2k0o13e9u9aW0k5Cw4TNOxKqLJafmaav2KUyUWQPNIJlgfrPmlvNc132HC9gIKAwhCPsfEGbz8kdbOKlF1bGHQKyot2s-72Q01fVJ9dvZDhmZW7a_297czFYyr8VQRGY37I/s1600/street-ads-durex-ribs.jpg" /></a></div>
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Above: To promote Durex condoms with ribs in Belgium. Americans refer to this product as Durex "Her Sensation" condoms. Another slight difference in condom culture.Brian Bobbhttp://www.blogger.com/profile/08737174584869956860noreply@blogger.com0tag:blogger.com,1999:blog-490303853724506602.post-1399320956863216282012-10-23T08:05:00.002-07:002012-10-23T08:05:44.811-07:00Some Unique and Cool Street ArtHere is a really cool street artist that found a way to use subway exhaust to create art. <br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/PH6xCT2aTSo?feature=player_embedded' frameborder='0'></iframe></div>
<br />Anonymoushttp://www.blogger.com/profile/04544970328968835856noreply@blogger.com0tag:blogger.com,1999:blog-490303853724506602.post-51766720175760246342012-10-22T18:02:00.002-07:002012-10-22T18:02:22.896-07:00Myth and Street ArtHere are some of the art works I specifically reference:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgquJjvyJ5zaS_x3eE7TMGzrYa9S33M1iVatkZ7m0jAugu54qv4Z_usDW06OB5PbjdokaVRRONU4beyTlDeXkrGfEzscx6aB48_h6fMuCpZjkV3Ng8eXG-oWaMLY1E2IBGn6JAOVMUo3dQ/s1600/220px-Space_Invader.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgquJjvyJ5zaS_x3eE7TMGzrYa9S33M1iVatkZ7m0jAugu54qv4Z_usDW06OB5PbjdokaVRRONU4beyTlDeXkrGfEzscx6aB48_h6fMuCpZjkV3Ng8eXG-oWaMLY1E2IBGn6JAOVMUo3dQ/s1600/220px-Space_Invader.JPG" /> </a></div>
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Space Invader, Unknown title, Unknown place. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiILCsuYozIflA81N7sJTKRfSkCI26XQKM92icSrA0F1fvRj7QLDqD-kegh3LW6Ba5lECHZSVxUQSt1SAZD1AxArHnDaOkzcugYsWgQdPoJFnXlXt9TUZMa7XIH6G5pBKCI7qHy9puZDKU/s1600/Space_Invader_-_2007_-_Shoreditch_-_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiILCsuYozIflA81N7sJTKRfSkCI26XQKM92icSrA0F1fvRj7QLDqD-kegh3LW6Ba5lECHZSVxUQSt1SAZD1AxArHnDaOkzcugYsWgQdPoJFnXlXt9TUZMa7XIH6G5pBKCI7qHy9puZDKU/s320/Space_Invader_-_2007_-_Shoreditch_-_1.jpg" width="320" /></a></div>
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Space Invader, Unknown title, Unknown place. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqedTXn3-TIh5hxSOn7Cs4d5uE8NBnVjfAEj7upQgyzHpdZ17hg4oeFnUs4QCtH5NuRo0Kc1M2OIZzQCs9lzoA1WUrLiz33t4Z26BCG612hw5SKp5HCEQZ4Wz8RXYDRkrgYCNGwl4WkWY/s1600/follow-your-dreams.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqedTXn3-TIh5hxSOn7Cs4d5uE8NBnVjfAEj7upQgyzHpdZ17hg4oeFnUs4QCtH5NuRo0Kc1M2OIZzQCs9lzoA1WUrLiz33t4Z26BCG612hw5SKp5HCEQZ4Wz8RXYDRkrgYCNGwl4WkWY/s320/follow-your-dreams.jpg" width="320" /></a></div>
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Banksy, <i>Follow Your Dreams: Cancelled</i>, London. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKNXFmy7dgpt14KIMVOlHLNHbhL3jl6XYi_NSjHN2-JPc-vQk1C6WSG8UhCXvuLwzGb1aEzM87qNDLIW-0BJBtaaumJLP-7Qpl2mexu3aB0QpgqnmiwOWVngh44tXkJmEaYfLDQtvXxx0/s1600/lifestyle4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKNXFmy7dgpt14KIMVOlHLNHbhL3jl6XYi_NSjHN2-JPc-vQk1C6WSG8UhCXvuLwzGb1aEzM87qNDLIW-0BJBtaaumJLP-7Qpl2mexu3aB0QpgqnmiwOWVngh44tXkJmEaYfLDQtvXxx0/s320/lifestyle4.jpg" width="320" /></a></div>
<div style="text-align: center;">
Banksy, <i>Sorry! The lifestyle you ordered is currently out of stock</i>, Unknown place. </div>
Jenna Zonahttp://www.blogger.com/profile/10862502332326173371noreply@blogger.com0tag:blogger.com,1999:blog-490303853724506602.post-90945928460531745042012-10-22T17:42:00.003-07:002012-11-12T14:10:43.455-08:00Myth and Street Art<div style="color: white;">
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<div align="center" style="color: white; margin: 0in -0.05pt; text-align: center; text-indent: -0.05pt;">
<b><span style="font-size: 14.0pt;">“Myth and Street Art”</span></b></div>
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<br /></div>
<div style="color: white; margin: 0in -0.05pt; text-indent: 36.05pt;">
Before
we get into how myth applies to street art let's take a look at myth and what
it means for people. Myth is something that captures us; something that we
believe in. [1] Myths come in many forms: written stories, art, and theater. We
continually tell these stories or phrases in many forms, because for people,
telling stories is a way for us to come to terms with our lives and the world
around us. [2] The story or myth is a way for us to codify our activities in
our lives. [3] These activities that make their way into myth are the things
that all of us, human beings, have in common. They are the stories that are
repeated over and over in our society and we recognize this through myth. We
all need the story of our lives told in order for us to understand the mystery
of life and to figure out who we are in this big wide world. [4] Street art
creates a particular presence for itself, and by subtracting the artist and
their identity, the artwork and artist can be viewed as a mythical presence
that helps people understand themselves within the world.</div>
<div class="MsoNormal" style="color: white;">
<br /></div>
<div style="color: white; margin: 0in -0.05pt; text-indent: 36.05pt;">
Street
art becomes mythical through its imagery and content. Using example artists
Invader and Banksy we will take a look at their work. Invader uses ceramic
tiles cemented together to create various alien creatures that look like the
8-bit video game, <i>Space Invaders</i>. The placement of the aliens on the walls
of the buildings varies from looking like they have touched ground to still
flying down ready to abduct you. Despite the video game coming out in the late
70s early 80s, alien's invading from space has been depicted in the movies
since the early 50s. The aliens in those movies were portrayed as creatures
from another planet coming to invade, in search of abducting people, taking
natural resources, or looking to replace human life with their own. This was
actually a direct response to World War II and the fear that what happened in
Europe could happen elsewhere. [5] The myth of the space invader coming to take
you still exists through the street artist Invader's artwork. </div>
<div class="MsoNormal" style="color: white;">
<br /></div>
<div style="color: white; margin: 0in -0.05pt; text-indent: 36.05pt;">
Reading
into the meaning more currently, as far as what alien's mean today, Invader is
also quoted for saying that he likes that his images invade our physical space.
[6] And other street artists have felt that advertisers are invading our
physical space, bombarding us with ads, so why not invade people's space with
art. [7] This can lead to the conclusion that Invader is merely alluding to
current invading aliens, companies, and branding. His artwork is a physical
interpretation that helps us understand what is going on today and hopefully
keeps us warned about the invasion of our minds from advertisers or other
forces. </div>
<div class="MsoNormal" style="color: white;">
<br /></div>
<div style="color: white; margin: 0in -0.05pt; text-indent: 36.05pt;">
Banksy
is an artist whose imagery focuses on the social, political, and even just
imaginative imagery. Let's start by looking at his street art piece, <i style="mso-bidi-font-style: normal;">Sorry! The Lifestyle You Ordered is Currently
Out of Stoc</i>k, which is a stenciled phrase left on what looks like an
abandoned building. He is obviously making a reference to online shopping, the
job market, and the promise of a wonderful and glamorous life, but in reality
they end up with not what they were offered. This particular imagery also deals
with stages of life and passing from childhood to adulthood. There are
mythological rites and passages we go through in our lives especially from
changing from child to adult. [8] Banksy is enlightening us through the rites of
passage myth; the passage of coming to realize our reality from our childhood
dreams. Another example of this same myth within Banksy's artwork is the piece
where he shows a man who had just posted <i style="mso-bidi-font-style: normal;">CANCELLED</i>
over a sentence that says <i style="mso-bidi-font-style: normal;">FOLLOW YOUR
DREAMS</i>. This is a common theme is stories and mythology and Banksy proves
his artwork as current myth in our society. </div>
<div class="MsoNormal" style="color: white;">
<br /></div>
<div style="color: white; margin: 0in -0.05pt; text-indent: 36.05pt;">
Something
these artists have in common is their anonymity in society. By being anonymous
they create a myth around themselves and induces an even more sacred feeling
around their art work. Leaving us with feelings like, “When is the next time I
will see one of their art works? Will they make another in this area?” For
example, when watching a movie, the stars of the picture gain a mythical presence
because they demonstrate multiple presences and make themselves representatives
for our lives. [9] Banksy and Invader do the same thing. When looking at their
art work we know that when they made the artwork they were “Banksy” or
“Invader.” As soon as they leave their mark they turn and become whoever they
are on their identification card. They represent the everyday person,
particularly you and me, and tell the story of you and me through their art
work. </div>
<div class="MsoNormal" style="color: white;">
<br /></div>
<div style="color: white; margin: 0in -0.05pt; text-indent: 36.05pt;">
Too
many people see street art as vandalism. Looking at the placement of most
street art, it is either covering over an advertisement or on an abandoned
building. Do either of these instances not make you cheer inside? [10] Does the
message of the artwork resonant within you? By altering a space you can
transform your consciousness and presence of mind. [11] If we surrounded
ourselves with more artwork that made us think about everyone and their needs,
the myths of our lives, opposed to advertisements that make us think about
ourselves and our wants, what would the world be like? Myths are the clues.
They are symbols that we should internalize in order to find meaning within our
lives. [12] By taking the time to view street art, we recognize street art as a
new form of mythology and storytelling of the people, for the people, and by
the people. This hopefully enriches our lives and helps us to find the meaning
of ourselves within the world. </div>
<div class="MsoNormal" style="color: white;">
<br /></div>
<div style="color: white; margin: 0in -0.05pt; text-indent: -0.05pt;">
<span style="font-size: 10.0pt;">[1] Harwood, Frances. “Myth, Memory, and the Oral Tradition:
Cicero in the Trobriands,” <i>American </i>Anthropologist, New Series, vol. 78,
no. 4 (December 1976): 783-796. </span></div>
<div style="color: white; margin: 0in -0.05pt; text-indent: -0.05pt;">
<span style="font-size: 10.0pt;"><a href="http://www.jstor.org/stable/675144">http://www.jstor.org/stable/675144</a>. 785.</span></div>
<div class="MsoNormal" style="color: white;">
<br /></div>
<div style="color: white; margin: 0in -0.05pt; text-indent: -0.05pt;">
<span style="font-size: 10.0pt;">[2] Joseph Campbell and Bill Moyers, <i>The Power of Myth</i> (New
York: Anchor Books, 1981), 2. </span></div>
<div class="MsoNormal" style="color: white;">
<br /></div>
<div style="color: white; margin: 0in -0.05pt; text-indent: -0.05pt;">
<span style="font-size: 10.0pt;">[3] Harwood, Frances. “Myth, Memory, and the Oral Tradition:
Cicero in the Trobriands,” <i>American </i>Anthropologist, New Series, vol. 78,
no. 4 (December 1976): 783-796. </span></div>
<div style="color: white; margin: 0in -0.05pt; text-indent: -0.05pt;">
<span style="font-size: 10.0pt;"><a href="http://www.jstor.org/stable/675144">http://www.jstor.org/stable/675144</a>. 785.</span></div>
<div class="MsoNormal" style="color: white;">
<br /></div>
<div style="color: white; margin: 0in -0.05pt; text-indent: -0.05pt;">
<span style="font-size: 10.0pt;">[4] Joseph Campbell and Bill Moyers, <i>The Power of Myth</i> (New
York: Anchor Books, 1981), 4.</span></div>
<div class="MsoNormal" style="color: white;">
<br /></div>
<div style="color: white; margin: 0in -0.05pt; text-indent: -0.05pt;">
<span style="font-size: 10.0pt;">[5] Johns Gill, Jens Hoffmann, Gilane Tawadros, <i>Alien Nation </i>(London:
Institute of Contemporary Arts, 2006), 33.</span></div>
<div class="MsoNormal" style="color: white;">
<br /></div>
<div style="color: white; margin: 0in -0.05pt; text-indent: -0.05pt;">
<span style="font-size: 10.0pt;">[6] Francesca Gavin, <i>Street Renegades: New underground Art</i>
(London: Laurence King Publishing Ltd, 2007), 56.</span></div>
<div class="MsoNormal" style="color: white;">
<br /></div>
<div style="color: white; margin: 0in -0.05pt; text-indent: -0.05pt;">
<span style="font-size: 10.0pt;">[7] Ethel Seno, ed.<i>, </i>Carlo Mccormick, Marc Schiller, and
Sara Schiller, <i>Tresspass: A History of Uncommissioned Urban Art</i>. (China:
Taschen GmbH, 2010), 10-11. </span></div>
<div class="MsoNormal" style="color: white;">
<br /></div>
<div style="color: white; margin: 0in -0.05pt; text-indent: -0.05pt;">
<span style="font-size: 10.0pt;">[8] Joseph Campbell and Bill Moyers, <i>The Power of Myth</i> (New
York: Anchor Books, 1981), 14.</span></div>
<div class="MsoNormal" style="color: white;">
<br /></div>
<div style="color: white; margin: 0in -0.05pt; text-indent: -0.05pt;">
<span style="font-size: 10.0pt;">[9] Ibid., 20.</span></div>
<div class="MsoNormal" style="color: white;">
<br /></div>
<div style="color: white; margin: 0in -0.05pt; text-indent: -0.05pt;">
<span style="font-size: 10.0pt;">[10] Ethel Seno, ed.<i>, </i>Carlo Mccormick, Marc Schiller, and
Sara Schiller, <i>Tresspass: A History of Uncommissioned Urban Art</i>. (China:
Taschen GmbH, 2010),11. </span></div>
<div class="MsoNormal" style="color: white;">
<br /></div>
<div style="color: white; margin: 0in -0.05pt; text-indent: -0.05pt;">
<span style="font-size: 10.0pt;">[11] Joseph Campbell and Bill Moyers, <i>The Power of Myth</i>
(New York: Anchor Books, 1981), 19.</span></div>
<div class="MsoNormal" style="color: white;">
<br /></div>
<div style="color: white; margin: 0in -0.05pt; text-indent: -0.05pt;">
<span style="font-size: 10.0pt;">[12] Ibid., 5.</span></div>
<div class="MsoNormal" style="color: white;">
<br /></div>
<div class="MsoNormal" style="color: white;">
<span style="font-size: 10.0pt;">(This page was
edited on November 12, 2012).</span></div>
Jenna Zonahttp://www.blogger.com/profile/10862502332326173371noreply@blogger.com2tag:blogger.com,1999:blog-490303853724506602.post-21436111910313520102012-10-21T06:26:00.002-07:002012-10-21T06:26:28.901-07:00Political Street Art Images<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaalRBGTrf3RBijUFYHhqCHzvkrPUD20otMmCqLU_g9h8i_Pb3pI2kH8mv2ydV_wXWDETWbw2F86nuFbgc4gQsiTzT9Ns3EcR87yYtUd1RmbGDOP_G9V7o7GzLXrZ9C9aPUQaz0CJGuMM/s1600/jr+tate.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaalRBGTrf3RBijUFYHhqCHzvkrPUD20otMmCqLU_g9h8i_Pb3pI2kH8mv2ydV_wXWDETWbw2F86nuFbgc4gQsiTzT9Ns3EcR87yYtUd1RmbGDOP_G9V7o7GzLXrZ9C9aPUQaz0CJGuMM/s320/jr+tate.jpg" width="320" /></a></div>
JR at the Tate Modern in London, 2008<br />
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JR at the Tate Modern in London, 2008 </div>
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JR, <i>Women Are Heros</i>, Kenya, 2008-2010<br />
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JR, <i>Women Are Heros</i>, Kenya, 2008-2010 </div>
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JR, <i>Face 2 Face, </i>Palestine and Israel, 2007 <br />
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JR, <i>Face 2 Face, </i>Palestine and Israel, 2007</div>
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JR, <i>Face 2 Face, </i>Palestine and Israel, 2007</div>
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Banksy, Los Angeles<br />
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Banksy, Las Vegas, 2011<br />
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Banksy, Bethlehem, 2007<br />
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Banksy, 2007Whitneyhttp://www.blogger.com/profile/06193424943274252668noreply@blogger.com0tag:blogger.com,1999:blog-490303853724506602.post-27224290555684499682012-10-21T05:46:00.000-07:002012-10-21T05:46:24.488-07:00Political Street Art Continued
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<br />
<div class="MsoNormal" style="text-indent: .5in;">
<span style="mso-spacerun: yes;"> </span>Street art has a wide array of subject matter. Some street
artists, such as Andre and Barry McGee, focus on putting goofy, animated
characters on the walls of buildings. Other street artists like the Toasters,
Shepard Fairey, Invader, etc. put multiples of the same images up all over
cities almost like marking their territory. Roadsworth is a street artist that
spray paints images on the road that might make a drive around town a little
more entertaining.<span style="mso-spacerun: yes;"> </span>With the
exception of Shepard Fairey, and perhaps Invader, none of these street artists
are widely known; they are known well enough to get in a book but are not as
prominent as JR or Banksy. Both street artists incorporate a little bit of
politics into their art. Perhaps the public simply likes JR’s and Banksy’s styles
or maybe these street artists are so well known because of the messages behind
their art. </div>
<div class="MsoNormal" style="text-indent: .5in;">
JR began when he found a camera in
the Paris Metro and started taking pictures. Since he found the camera in a
public place he felt that it was fitting to put his photographs in a public
place.<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn1" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[i]<!--[endif]--></span></span></a>
When JR started his photographed images were small, he had to use a six by four
inch format.<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn2" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[ii]<!--[endif]--></span></span></a>
However, JR figured out how to enlarge his photographed images to cover the
side of a building. <span style="mso-spacerun: yes;"> </span>JR’s work
would clearly be hard to ignore. Imagine walking down the street and seeing a
black and white image of someone pointing a gun covering the side of a
building, that would be pretty difficult to miss.</div>
<div class="MsoNormal" style="text-indent: .5in;">
JR’s work is meant to provoke; he
wants to touch people. He humbly admits that his work cannot change the world
but<span style="mso-spacerun: yes;"> </span>“…it can only make a
difference to how a few people look at the world.”<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn3" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[iii]<!--[endif]--></span></span></a>
JR has achieved this through his travels to slums, shanty towns, and troubled
places. In Kibera, Kenya, JR used waterproof materials to paint the roofs of
houses. He painted portraits of people, a subject matter he tends to stick
with, focusing on eyes and mouths. He chose to use waterproof materials to give
to the community. He said that Kenyans do not understand art for art’s sake; they
focus on essential needs. By using waterproof materials he made their roofs
waterproof and therefore his art developed a practical purpose.<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn4" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[iv]<!--[endif]--></span></span></a></div>
<div class="MsoNormal" style="text-indent: .5in;">
JR decided to tackle possibly one
of the largest political issues of today’s world in his <i style="mso-bidi-font-style: normal;">Face 2 Face</i> project. In an interview JR said he was discussing the
issue of the Middle East with some friends and he asked if anyone one knew any
Israelis or Palestinians. Clearly no one did and JR decided that he wanted to
go to the Middle East to find out for himself. He was under the impression that
Israelis see Palestinians as terrorists attacking marketplaces where women and
children are as well as men. And Palestinians see Israelis as humiliating,
occupational soldiers who shoot children and ambulances. When JR went to the
Middle East he realized that a Palestinian taxi driver is pretty much the same
as an Israeli taxi driver. That is when he pasted a humorous image of the
Rabbi, the Priest, and the Imam.<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn5" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[v]<!--[endif]--></span></span></a></div>
<div class="MsoNormal" style="text-indent: .5in;">
While JR was working on his <i style="mso-bidi-font-style: normal;">Face 2 Face </i>project people would come up
to him and ask what he was doing. JR would tell them that he was working on an
art project and the particular part he was painting was “two taxi driver…one is
Israeli and one is Palestinian.”<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn6" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[vi]<!--[endif]--></span></span></a> The person who
came up to him would be taken aback because “…the enemy was in one of those
portraits.” JR would then ask if they could tell which portrait was of the
Israeli and which was of the Palestinian and of course the person would be so
sure they knew their “own brother” but they would always guess wrong then laugh
about it. A special “moment” was unintentionally created between the people who
came up to JR and JR himself. JR admits that the idea of how similar
Palestinians and Israelis are might have only momentarily been impressed onto
some of the people who came up to him, but maybe it is a moment that will last
as long as the people who shared it are alive.</div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="mso-spacerun: yes;"> </span>Banksy has also traveled to troubled places to do art. In
order to draw attention to the slow recovery of New Orleans after Katrina, Banksy
paid a visit and give his support to NOLA Rising, an art activist group started
by Rex Dingler. NOLA Rising was started to lift the morale of New Orleans.<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn7" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[vii]<!--[endif]--></span></span></a>
Banksy’s focus is not to go to slums and troubled area like JR. Banksy has a
different agenda; he focuses on opposing war, Big Brother, corporate
capitalism, and hypocrisy.<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn8" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[viii]<!--[endif]--></span></span></a> </div>
<div class="MsoNormal" style="text-indent: .5in;">
Supposedly Banksy believes that the
United States is the “belly of the beast” as far as war, corporate capitalism,
and hypocrisy goes.<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn9" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[ix]<!--[endif]--></span></span></a> Images of
Charlie Brown smoking a cigarette and tipping over a gas can express his
distaste. A young innocent American boy, Charlie Brown, has been corrupted by
American culture. In another attempt to deface American culture, Banksy
“tagged” a billboard of a woman with a bra and jeans on. He added two Disney-like
mice; the male mouse was drunkenly grabbing the woman’s chest, and the girl
mouse was wigging out on cocaine.<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn10" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[x]<!--[endif]--></span></span></a> How this
politically attacks America has yet to be determined, but Banksy could be
making a statement on exploiting women in America. </div>
<div class="MsoNormal" style="text-indent: .5in;">
Banksy did travel to Bethlehem, Palestine.
<span style="mso-spacerun: yes;"> </span>Instead of trying to show how
similar Palestinians and Israelis are like JR, Banksy paints an image of a
soldier feeding a Donkey. The donkey could be a symbol of Mary and Joseph’s
trip to Bethlehem, as the bible tells it.<span style="mso-spacerun: yes;">
</span>Here the religious donkey is being hand fed by a soldier. Banksy did not
see anything wrong with putting up his street art on the wall. He asks a pretty
interesting question, “how illegal is it to vandalize a wall, if the wall
itself has been deemed unlawful by the International Court of Justice?”<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn11" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[xi]<!--[endif]--></span></span></a>
Banksy did manage to make this place that is thought of to be so incredibly
dangerous appear a little less terrorized and a little more “Bandalized,” if
you will. </div>
<div class="MsoNormal" style="text-indent: .5in;">
Street art that is frequently
looked down upon, and maybe the authorities have a right to think badly of
street art. However it street art might look, it has done good things. Banksy
has captivated millions with his witty attacks on government. JR has literally
helped suffering communities with his art. Shepard Fairey has helped prove how
influential street art can be. Street Art itself has given artists a voice that
is hard for the public to ignore especially when the art deals with political
issues and the public now has the opportunity to look at art for free at any
time. Street art can be a really positive influence, if it is looked at in the
right way. </div>
<div style="mso-element: endnote-list;">
<!--[if !supportEndnotes]--><br clear="all" />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<div id="edn" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn1" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[i]<!--[endif]--></span></span></a> Eleanor
Mathieson and Xavier A. Tapies, <i style="mso-bidi-font-style: normal;">Street
Artists: The Complete Guide</i> (London: Graffito, 2012), 108.</div>
</div>
<div id="edn" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn2" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[ii]<!--[endif]--></span></span></a> (JR,
interview<span style="mso-spacerun: yes;"> </span>by Kristie Lou Stout,
News, CNN International, October 5, 2012), <span style="font-family: Verdana; font-size: 11.0pt; mso-bidi-font-family: Verdana;"><a href="http://www.lexisnexis.com/hottopics/lnacademic">www.lexisnexis.com/hottopics/lnacademic</a>
(accessed October 20, 2012). </span></div>
</div>
<div id="edn" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn3" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[iii]<!--[endif]--></span></span></a> Eleanor
Mathieson and Xavier A. Tapies, (108).</div>
</div>
<div id="edn" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn4" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[iv]<!--[endif]--></span></span></a> Ibid.</div>
</div>
<div id="edn" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn5" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[v]<!--[endif]--></span></span></a> (JR,
interview by Kristie Lou Stout).</div>
</div>
<div id="edn" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn6" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[vi]<!--[endif]--></span></span></a> Ibid.</div>
</div>
<div id="edn" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn7" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[vii]<!--[endif]--></span></span></a> <i style="mso-bidi-font-style: normal;">Banksy: You Are an Acceptable Level of
Threat</i><span style="mso-spacerun: yes;"> </span>(Great Britain: Carpet
Bombing Culture, 2012), NOLA Rising.</div>
</div>
<div id="edn" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn8" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[viii]<!--[endif]--></span></span></a> Ibid,
Belly Of The Beast.</div>
</div>
<div id="edn" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn9" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[ix]<!--[endif]--></span></span></a> Ibid.</div>
</div>
<div id="edn" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn10" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[x]<!--[endif]--></span></span></a> Ibid,
Banecdotes #6.</div>
</div>
<div id="edn" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn11" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[xi]<!--[endif]--></span></span></a> Ibid, Oh
Little Town.</div>
</div>
</div>
<!--EndFragment-->Whitneyhttp://www.blogger.com/profile/06193424943274252668noreply@blogger.com0tag:blogger.com,1999:blog-490303853724506602.post-49381455228056707852012-10-20T15:28:00.002-07:002012-10-20T15:28:45.429-07:00Chivaun I found another street art battle!Bansky Vs. The Grey Ghost in new orleansWhitneyhttp://www.blogger.com/profile/06193424943274252668noreply@blogger.com1tag:blogger.com,1999:blog-490303853724506602.post-9303824578710997122012-10-20T15:13:00.002-07:002012-10-20T15:13:22.966-07:00HEY!I just found a whole bunch of information on Blek Le Rat and wanted to share it with the world because I am so excited I found something!<br />
<br />
<a href="http://www.blogger.com/"></a><span id="goog_1080393797"></span><span id="goog_1080393798"></span><a href="http://blekmyvibe.free.fr/blekpress.html">http://blekmyvibe.free.fr/blekpress.html</a>Whitneyhttp://www.blogger.com/profile/06193424943274252668noreply@blogger.com0tag:blogger.com,1999:blog-490303853724506602.post-50448227879306526222012-10-18T08:02:00.001-07:002012-10-18T08:02:33.424-07:00Red Bull Presents...A map of where you can find street art! You can look up art by artist name, which I recommend! They use google maps to zoom in on artwork. The only problem I can imagine is how up to date this is in terms of if the art is still there. Unfortunately with street art, it's either up for months or it's up for a day before it gets painted over or removed. The artist Space Invader has work that has lasted years. Below is one of the latest editions they added... A Shepard Fairey piece! <br />
<br />
<a href="http://streetartview.com/">http://streetartview.com/</a><br />
<br />
<br />
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<br />Jenna Zonahttp://www.blogger.com/profile/10862502332326173371noreply@blogger.com0tag:blogger.com,1999:blog-490303853724506602.post-2645706818076232492012-10-16T12:52:00.002-07:002012-10-18T08:04:03.004-07:00Citations for the Presentation on Marco Polo Syndrome<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal" style="color: white;">
<span style="font-family: Tahoma; mso-bidi-font-family: Tahoma;">These are our sources we used for Presenting "The Marco Polo Syndrome: Some Problems Around Art and Eurocentrism," by Gerardo Mosquera.</span></div>
<div class="MsoNormal" style="color: white;">
<span style="font-family: Tahoma; mso-bidi-font-family: Tahoma;"><br /></span></div>
<div class="MsoNormal" style="color: white;">
<span style="font-family: Tahoma; mso-bidi-font-family: Tahoma;">Anthes, Bill1, bill</span><span style="font-family: 新細明體; mso-bidi-font-family: 新細明體;"></span><span style="font-family: Tahoma; mso-bidi-font-family: Tahoma;">anthes@pitzer.edu.
"Transcultural Pilgrim: Three Decades of Work by José Bedia." CAA
Reviews (August 24, 2012): 1-3. Art Full Text (H.W. Wilson), EBSCOhost
(accessed September 17, 2012).<o:p></o:p></span></div>
<div class="MsoNormal" style="color: white;">
<br /></div>
<div class="MsoNormal" style="color: white;">
<span style="font-family: Tahoma; mso-bidi-font-family: Tahoma;">Ugalde, Alejandro. "Expectations and Stereotypes of
Mexicanness: Diego Rivera in 1930s New York." Art Nexus 6, no. 67
(December 2007): 106-109. Art Full Text (H.W. Wilson), EBSCOhost (accessed September
17, 2012).</span></div>
<!--EndFragment-->Whitneyhttp://www.blogger.com/profile/06193424943274252668noreply@blogger.com0tag:blogger.com,1999:blog-490303853724506602.post-43639174236882366992012-10-15T20:44:00.002-07:002012-10-15T20:53:31.655-07:00Graffiti Art vs Street Art: The Lines have been Drawn<style>
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<div class="MsoNormal">
<span style="font-family: Times,"Times New Roman",serif;">There’s a war going on all around us. It’s a war between two
forms of expression and their battlegrounds are the walls of our cities.
Graffiti is viewed as a scourge of society and a criminal act. Street art has
come to be loved by the community as it appears in galleries and is collected
by the upper echelons of the art community.<span style="mso-spacerun: yes;"> </span>However, when pitted against each other and though they
share common roots, Graffiti and Street Art have very different connotations.
Perhaps the best example of this is a graffiti war that took place in a hard to
reach tunnel in Camden. Through the artistic battle between King Robbo and
Banksy, we understand the inherent ideological differences expressed in the opposing
creative approaches of Street Art.</span><br />
</div>
<div class="MsoNormal">
<span style="font-family: Times,"Times New Roman",serif;">Before you can understand the full scope of conflict, you
need to learn about the struggles and motivations of the two opposing sides. When
this war began, it started with a simple graffiti tag by King Robbo. He is
considered to be a pioneer in the old school graffiti scene in the UK and
around the world.<span style="font-size: x-small;"><a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn1" name="_ednref" title=""><span class="MsoEndnoteReference">[i]</span></a></span> He made a
name for himself by tagging trains, which are considered to be the most
difficult and sought after tagging spots. This trademark of tagging earned him
two things that graffiti artists seek. It was both a way to defy authority and
to use the trains as moving galleries to be seen by as many people as possible.<span style="font-size: x-small;"><a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn2" name="_ednref" title=""><span class="MsoEndnoteReference">[ii]</span></a>
</span>Graffiti tags tend to reinforce the male ego and are used as a way to mark the
artist’s territory.<span style="font-size: x-small;"><a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn3" name="_ednref" title=""><span class="MsoEndnoteReference">[iii]</span></a> </span>The more
dangerous or difficult the tag is to make, the more respect the artist commands.
The danger and risk involved in creating the tag is merely a bonus. The main
payoff for the artist is the creative escape.</span><br />
</div>
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<img alt="" class="alignnone size-full wp-image-32708" data-lazy-loaded="true" height="424" src="http://twistedsifter.sifter.netdna-cdn.com/wp-content/uploads/2012/01/banksy-robbo-war-london-camden-history-1.jpg" style="display: inline;" title="banksy robbo war london camden history (1)" width="640" /></div>
<div class="MsoNormal">
<img alt="" class="alignnone size-full wp-image-32709" data-lazy-loaded="true" height="427" src="http://twistedsifter.sifter.netdna-cdn.com/wp-content/uploads/2012/01/banksy-robbo-war-london-camden-history-2.jpg" style="display: inline;" title="banksy robbo war london camden history (2)" width="640" /></div>
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<br /></div>
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<span style="font-family: Times,"Times New Roman",serif;">The Graffiti tag that was the epicenter of this war was over
twenty years old and considered to be one of the oldest Graffiti pieces in
London. It was also one of the last surviving King Robbo works. This Robbo
piece was partially painted over and the remains incorporated within Banksy’s
stenciled Street Art. Banksy stated later that, because the piece was in such a
bad state, he hadn’t realized he was painting over a part of London’s history.<span style="font-size: x-small;"><a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn4" name="_ednref" title=""><span class="MsoEndnoteReference">[iv]</span></a></span>
Despite what may have been an honest mistake or not, from that point on, it was
now a war between Graffiti and Street Art.</span><br />
</div>
<div class="MsoNormal">
<img alt="" class="alignnone size-full wp-image-32711" data-lazy-loaded="true" height="427" src="http://twistedsifter.sifter.netdna-cdn.com/wp-content/uploads/2012/01/banksy-robbo-war-london-camden-history-3.jpg" style="display: inline;" title="banksy robbo war london camden history (3)" width="640" /></div>
<div class="MsoNormal">
<br /></div>
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Street Art is considered to be a hybrid form of graffiti
that utilizes stencils, stickers, posters, sculpture and other media in order
to create the artist’s mark and convey their creative statements.<span style="font-size: x-small;"><a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn5" name="_ednref" title=""><span class="MsoEndnoteReference">[v]</span></a></span>
Graffiti Art, especially tags, are a vehicle used by the artist to make a statement
about who they are while Street Art tends to be more focused on conveying messages
about the world at large. Street Art is often used to make political,
environmental, or anti-war statements. While these messages and artists are often
anti-establishment, they have garnered respect in the art world, none more so
than the prolific Banksy.<br />
</div>
<div class="MsoNormal">
Banksy is considered to be the world’s best known Street
Artist, and just like Street Art, his roots lie in the world of Graffiti. Early
on, he realized that he needed to gain speed in order to create his work and
grow as an artist. For that he turned to stencils.<span style="font-size: x-small;"><a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn6" name="_ednref" title=""><span class="MsoEndnoteReference">[vi]</span></a></span>
This decision is where his ideals as an artist turned away from Graffiti Art
values. Stenciling is considered to be cheating in the larger part of the
Graffiti community<span style="font-size: x-small;"><a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn7" name="_ednref" title=""><span class="MsoEndnoteReference">[vii]</span></a></span> as it
removes the hand of the artist and a large part of the danger involved.
However, this also allows the stencil artist to carefully plan out their work
and to put further thought and meaning behind it. For example, the Stencil by
Banksy in the Camden tunnel could have any number of interpretations. It could
be a statement of the commodity of Graffiti, or that Graffiti is staring to
become more accepted. It could also be a bit of an insult to Graffiti by saying
it is unoriginal and something that can easily be done by anyone. Whatever the
meaning, the piece is not just the tag of the artist; it is an image that
inspires deeper thought.<br />
</div>
<div class="MsoNormal">
Banksy’s Camden tunnel piece also broke one of the cardinal
rules of Graffiti art. As King Robbo explained in the Channel 4 documentary <i style="mso-bidi-font-style: normal;">Grafitti Wars</i>, “…never incorporate a
piece by another artist into your work without that artist’s permission.”<span style="font-size: x-small;"><a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn8" name="_ednref" title=""><span class="MsoEndnoteReference">[viii]</span></a></span>
Before Banksy added his contribution to Robbo’s tag, there had already been
quite a lot of graffiti drawn over his work by others. However, these were tags
in their own right and had never incorporated Robbo’s work into them. In an
interview, Robbo stated, “What people don’t realize is that he’d already gone
over loads of my stuff before and I hadn’t bothered retaliating but this time
it was just so deliberate, so cowardly. If you’ve got the hump about something,
you send a message and discuss it like gentlemen, you don’t wipe out a piece of
graffiti history. “<span style="font-size: x-small;"><a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn9" name="_ednref" title=""><span class="MsoEndnoteReference">[ix]</span></a></span><br />
<span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"> </span></span><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"> </span></span></div>
<div class="MsoNormal">
<img alt="" class="alignnone size-full wp-image-32712" data-lazy-loaded="true" height="427" src="http://twistedsifter.sifter.netdna-cdn.com/wp-content/uploads/2012/01/banksy-robbo-war-london-camden-history-4.jpg" style="display: inline;" title="banksy robbo war london camden history (4)" width="640" /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
King Robbo retaliated with traditional tag lettering to let
Banksy know, in no uncertain terms, that he was encroaching on his territory.
He did this in a classic lettering style he is known for working in, and he attacked
with the wit, rebellion, and spontaneity that had earned him so much respect
back in his heyday.<span style="font-size: x-small;"><a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn10" name="_ednref" title=""><span class="MsoEndnoteReference">[x]</span></a></span> He recreated
a tag and incorporated Banksy’s work into it, thus making it look like Banksy
was paying homage to him. He turned the tables and the battle lines were now
officially drawn.<br />
</div>
<div class="MsoNormal">
Banksy stated in his book Wall and Piece that, “Graffiti
remains gloriously unspoiled by progress.”<span style="font-size: x-small;"><a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_edn11" name="_ednref" title=""><span class="MsoEndnoteReference">[xi]</span></a></span><span style="mso-spacerun: yes;"><span style="font-size: x-small;"> </span> </span>While this is a potentially insulting statement,
Banksy underscores a very important point. Like it or not, Graffiti isn’t
trying to be anything more than what it is; a statement of the male ego without
visceral meaning. Street Art, on the other hand, takes a different creative
approach. It uses whatever means necessary to create a commercially acceptable,
anti-establishment message that provokes thought in the viewer. The artistic
battle between Banksy and Robbo has only begun, but it has revealed that while
Street Art has an ideology, Graffiti Art doesn’t need one. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Continued in part two…</div>
<div class="MsoNormal">
<br /></div>
<div style="mso-element: endnote-list;">
<br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="edn" style="mso-element: endnote;">
<div class="MsoNormal">
<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn1" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;">[i]</span></span></a> Jo
Fuertes-Knight, “King Robbo Eclusive Interview: My Graffiti War With Banksy,” <i style="mso-bidi-font-style: normal;">Sabotage Times</i>, February 28, 2012 , http://www.sabotagetimes.com/people/king-robbo-exclusive-interview-my-graffiti-war-with-banksy/.</div>
</div>
<div id="edn" style="mso-element: endnote;">
<div class="MsoNormal">
<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn2" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;">[ii]</span></span></a> Channel 4, “Graffiti
Wars,” <i style="mso-bidi-font-style: normal;">Street Art News</i> video, 46:47,
August 15, 2011, http://www.streetartnews.net/2011/08/robbo-vs-banksy-graffiti-wars-full.html.
<span style="mso-spacerun: yes;"> </span></div>
</div>
<div id="edn" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn3" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;">[iii]</span></span></a> Ibid.</div>
<div class="MsoEndnoteText">
<br /></div>
</div>
<div id="edn" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn4" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;">[iv]</span></span></a> Ibid.</div>
<div class="MsoEndnoteText">
<br /></div>
</div>
<div id="edn" style="mso-element: endnote;">
<div class="MsoNormal">
<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn5" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;">[v]</span></span></a><span style="mso-spacerun: yes;"> </span>Banksy. <i style="mso-bidi-font-style: normal;">Exit Through the Gift Shop</i>. DVD. Directed by Banksy. USA :
Producers Distribution Agency (PDA), 2010.</div>
</div>
<div id="edn" style="mso-element: endnote;">
<div class="MsoNormal">
<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn6" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;">[vi]</span></span></a> Banksy, <i style="mso-bidi-font-style: normal;">Wall and Piece </i>(London: Century, 2006),
13.</div>
</div>
<div id="edn" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn7" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;">[vii]</span></span></a> Channel 4,
“Graffiti Wars.”</div>
<div class="MsoEndnoteText">
<br /></div>
</div>
<div id="edn" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn8" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;">[viii]</span></span></a> Ibid.</div>
<div class="MsoEndnoteText">
<br /></div>
</div>
<div id="edn" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn9" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;">[ix]</span></span></a>
Fuertes-Knight, “King Robbo Eclusive Interview: My Graffiti War With Banksy.”</div>
<div class="MsoEndnoteText">
<br /></div>
</div>
<div id="edn" style="mso-element: endnote;">
<div class="MsoNormal">
<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn10" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;">[x]</span></span></a> Matilda
Battersby, “The Gloves are off: Graffiti Legend King Robbo has resurfaces to
Settle a Score with Banksy,” <i style="mso-bidi-font-style: normal;">The Independent</i>,
April 21, 2011 , http://www.independent.co.uk/arts-entertainment/art/features/the-gloves-are-off-graffiti-legend-king-robbo-has-resurfaced-to-settle-a-score-with-banksy-2270575.html.</div>
</div>
<div id="edn" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602#_ednref" name="_edn11" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;">[xi]</span></span></a> Banksy, <i style="mso-bidi-font-style: normal;">Wall and Peace</i>, 184.</div>
</div>
</div>
Anonymoushttp://www.blogger.com/profile/04544970328968835856noreply@blogger.com1tag:blogger.com,1999:blog-490303853724506602.post-16560066888172832712012-10-15T16:37:00.000-07:002012-11-07T11:30:37.589-08:00Street Art: The Power of Location<!--[if gte mso 9]><xml>
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Perspective in art can be defined by creating a viewpoint
for your audience that will best communicate your subject and serve a
particular message. The goal of perspective in street art is many times communicated
and acted on by choice of location.
The canvas of a street artist is the world and is not confined by what
can museum appropriate and the lines of a canvas. It can be placed anywhere and
the choice of the location has as much impact to the viewer as the content
itself. Location is used as a tool
to further communicate the message the street artist is making to the viewer.
If you have the same content<a href="http://www.blogger.com/blogger.g?blogID=490303853724506602" name="_GoBack"></a> in two different locations,
the meaning behind could be completely different at each location. One location
would have a different perspective than the other even if it were the same
imagery of street art. </div>
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<br /></div>
<div class="MsoNormal">
Carlo McCormick, author of <i style="mso-bidi-font-style: normal;">Trespass: A history of Uncommissioned Urban Art</i>, discusses the
conquest of space in street art. McCormick states, “Location is everything;
context and content are ultimately the most measurable difference between what
is written in the bathroom stall and the profound bravado of more heroic feats
like Smith and Sanes landmark subjugation of the Brooklyn Bridge, a move so
ball-out as the single greatest escalation within the graffiti wars.” [1] The
marking of Smith and Sanes in 1988 on the Brooklyn Bridge was an impactful
statement strictly based on marking the territory of an icon. If the street
artists wrote their name on the side of a motor vehicle it would not have made
such a large impact to the viewers.<br />
<br />
<br />
<img src="http://farm3.static.flickr.com/2410/1921803083_8ca84bd498.jpg" style="-webkit-user-select: none;" /><br />
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Filippo Minelli is a street artist that is famous for his
work that pointed out the growing disconnect with reality that comes from
living a 2.0 lifestyle. Minelli wrote names of the companies that connect us to
living a 2.0 lifestyle in locations that give a clear portrayal of the slums of
third world. In Bamako, Mali 2008, he wrote FACEBOOK on the side of a landfill
and in Phnom Penh, Cambodia, 2007 he wrote FLICKR and MYSPACE on the side of
slum buildings.<span style="mso-spacerun: yes;"> </span>Minelli notes, “Writing
the names of anything connected with the 2.0 life we are living in the slums of
the third world is to point out the gap between the reality we still live in
and the ephemeral world of technologies.” [2] The choice of location brings new
context to the names creating a contrasting perspective between or digital life
and the realities that exist in third world countries.<br />
<br /></div>
<div class="MsoNormal">
<img height="213" src="http://www.bored-night.com/uploads/tu/pics/Filippo%20Minelli/filippominelli-contraddictions001.jpg" style="-webkit-user-select: none;" width="320" /><img height="212" src="http://www.woostercollective.com/flickr_minelli.JPG" style="-webkit-user-select: none;" width="320" /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Banksy is one of the most well-known and controversial
street artist of our time and has work placed across the globe. In 2006, Banksy
took a trip to Disneyland in Anaheim, California to place a life-size sculpture
of a Guantanamo Bay prisoner inside the Rocky Mountain Railroad ride. A
spokeswoman for Banksy said the stunt was intended to highlight the plight
terror suspects at the controversial detention centre in cuba.” [3] In the
award-winning documentary, <i style="mso-bidi-font-style: normal;">Exit Through
the Gift Shop</i>, Banksy states while looking at a map of the amusement park,
“There’s this site with a picture of a camera on it saying this would be a
great place to take a souvenir photo. So, that obviously seemed like the best
place to put him.” [4] Other than picking a location in the park that is high
in traffic and a place that is common for souvenir photos to have his work
showcased in the background of the photos taken, there is a strategic purpose
in choosing Disneyland as the location for the work. Disneyland is a fantasy
world where visitors become submerged into fairytales and escape the harsh
realities faced in everyday life. By placing the Guantanamo Bay prisoner into
the fairytale world, Banksy creates a thick contrast between the realities of
war that are commonly ignored with the fairytale life we choose to live. <br />
<br /></div>
<div class="MsoNormal">
<o:p> </o:p><img alt="Banksy en Disneyland" class="media" galleryimg="no" height="368" id="fullSizedImage" src="http://i1027.photobucket.com/albums/y333/puntocaotico/VLCSNAP2010-10-27-02h12m58s14.png" width="640" /><br />
<br /></div>
<div class="MsoNormal">
David Ley and Roman Cybriwsky wrote in the Annals of the
Association of American Geographers, “The quality and location of graffiti
display regularities. They manifest the distribution of various social
attitudes and intimate subsequent behavior in space; as such, certain types of
graffiti forecast both potential and actual behavior.” [5] The article
discusses how the context of street art is not just dependent on the imagery
alone. Who did the work and the location of the work are just as important
variables. If teenage gangs performed street art for territorial markers, the
imagery may indicate a name or contested space. However, if street art were
performed in an ethnic neighborhood it would have a higher probability of being
related to social change.<span style="mso-spacerun: yes;"> </span>Street
artists place tremendous value on the location of their work to further
emphasize their message behind the perspective. [5]</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In 2007, Laura Keeble, a London based artist, created a
piece titled <i style="mso-bidi-font-style: normal;">Idol Worship</i> at cemetery
in South End, Essex, England. She created a series of tombstones out of
polystyrene, plaster and spray paint for global brands, such as McDonalds,
Chanel, and Nike.<span style="mso-spacerun: yes;"> </span>The purpose of
the work was to look at belief systems and idol worship of corporations. By
marrying death with the corporate identities of popular brands creates a pause
for thought in the viewers’ perception of corporate dependency. The location of
the street art plays a large role in the perspective and message behind the
work. By placing the tombstones of corporate identities in an area where prayer
is commonly practiced, the context of the work and the message to the viewer
changes. Keeble was aware of the locations’ common practice of prayer and used
the location as a tool to convey her message to the public. [6]<br />
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<span class="Apple-style-span" style="font-family: Cambria; font-size: 16px;">In </span><span class="Apple-style-span" style="font-family: Cambria; font-size: 16px;"><i style="mso-bidi-font-style: normal;">The Work on the Street: Street
Art and Visual Culture</i></span><span class="Apple-style-span" style="font-family: Cambria; font-size: 16px;">, Martin Irvine wrote</span>, “The social meaning of street art is a function of material locations
with all their already structured symbolic values. The city location is an
inseparable substrate for the work, and street art is explicitly an engagement
with a city, often a specific neighborhood. Street artists are adept masters of
the semiotics of space, and engage with the city itself as a collage or
assemblage of visual environments and source material. A specific site, street,
wall, or building in London, New York, Paris, or Washington, DC is already
encoded as a symbolic place, the dialogic context for the placement of the
piece by the artist.” [7] Street artists convey some sort of
message in their work and create a process of thought to the viewer. Whether it
is a territorial mark, a reflection of social change, or a political statement,
there is a message behind the work and the location of the work plays a large
role in communicating the message. <span class="Apple-style-span" style="color: white;"><o:p></o:p></span></div>
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<span style="mso-bidi-font-family: Georgia; mso-bidi-font-size: 11.0pt;">[1] Carlo
McCormick, <i style="mso-bidi-font-style: normal;">Trespass: A History of
Uncommissioned Art </i>(Los Angeles, CA: Taschen Publishing, 2010), 51.<o:p></o:p></span></div>
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<span style="mso-bidi-font-family: Georgia; mso-bidi-font-size: 11.0pt;">[2] Ibid.,74.<o:p></o:p></span></div>
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<span style="mso-bidi-font-family: Georgia; mso-bidi-font-size: 11.0pt;">[3] BBC News, “Artist Banksy Targets Disneyland,” BBC News
online; available from <a href="http://news.bbc.co.uk/2/hi/entertainment/5335400.stm">http://news.bbc.co.uk/2/hi/entertainment/5335400.stm</a>
> (accessed 12 October 2012). 1.<o:p></o:p></span></div>
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<span style="mso-bidi-font-family: Arial; mso-bidi-font-size: 10.0pt;">[4] Banksy. <i>Exit Through the Gift Shop</i>. DVD. Directed by Banksy.
USA : Producers Distribution Agency (PDA), 2010.<o:p></o:p></span></div>
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[5] David Ley and Roman Cybriwsky, “Urban Graffiti As Territorial
Markers,” <i style="mso-bidi-font-style: normal;">ANNALS of the Association of
American Geographers</i> Vol. 64, No. 4 (1974): [journal on-line]; available
from JSTOR digital library, < <a href="http://www.jstor.org/discover/10.2307/2569491?uid=3739616&uid=2129&uid=2&uid=70&uid=4&uid=3739256&sid=21101152264283">http://www.jstor.org/discover/10.2307/2569491?uid=3739616&uid=2129&uid=2&uid=70&uid=4&uid=3739256&sid=21101152264283</a>>
(accessed 8 October 2012). 491.<o:p></o:p><br />
[6] Carlo McCormick, <i>Trespass: A History of Uncommissioned Art </i>(Los Angeles, CA: Taschen Publishing, 2010), 51.</div>
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<span style="mso-bidi-font-family: Arial; mso-bidi-font-size: 10.0pt;">[7] </span><span style="mso-bidi-font-family: Arial; mso-bidi-font-size: 10.0pt;">Martin Irvine, <i style="mso-bidi-font-style: normal;">The Work on the
Street: Street Art and Visual Culture</i>, Pre press version of a chapter in Barry
Sandywell and Ian Heywood, <i style="mso-bidi-font-style: normal;">The Handbook
of Visual Culture</i> (London & New York, NY: </span><span style="color: black; mso-bidi-font-family: Georgia; mso-bidi-font-size: 9.5pt;">Berg,
2012), 235-278, (Georgetown University Press, Washington, DC: 2012), 4.</span><br />
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<!--EndFragment-->Brian Bobbhttp://www.blogger.com/profile/08737174584869956860noreply@blogger.com0tag:blogger.com,1999:blog-490303853724506602.post-63296450529888819332012-10-14T18:02:00.002-07:002012-10-14T18:04:50.073-07:00Motivations and Thouhts of two Female Street Artists<div class="separator" style="clear: both; text-align: center;">
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A neat look inside the motivations of two very different female street artists. Anonymoushttp://www.blogger.com/profile/04544970328968835856noreply@blogger.com0