Banksy's classic "taking the piss" essay (adapted from an essay by Sean Tejaratchi) is a moving, important screed about the colonization of public space by advertising.
The Zen Pencils illustrated version gives very welcome visual component to Banksy's words, reminding us that as articulate as Banksy might be, his real power is in the image.
Taking The Piss: Conclusion [Sean Tejaratchi]
My friend Jonathan Koshi created a series of striking graphite drawings of tagged doorways he encountered in Brussels, Rome, Florence, Paris, Amsterdam, and Copenhagan. The work can now be seen at San Francisco's Secession Art & Design gallery and online. Koshi says:
I've focused on the tension between art, graffiti, vandalism, and architecture. In this series, I question tagging as vandalism with architectural drawings of tagged doors. I employ classic pencil drawing technique to capture the details of the tags and surrounding architecture to create a work of art where vandalism becomes an essential component of the piece.
Last week, in a coordinated attack by guerrilla artists across the UK, 365 outdoor ads were replaced by hand-printed works of art. It was a project of Brandalism, and they hit 10 cities, using hi-viz vests and steely nerves as camouflage while they did their work.
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Bored Panda rounds up a gallery of street art that "interacts with its surroundings" -- a fancy way of saying that the artists incorporate found settings from cracks in cement to blooming trees into their work. It's positively delightful.
(Images: Oak Oak)
Last year, Parisian street artist Invader, famed for his ubiquitous 8-bit video game mosaics, launched one of his invaders into the stratosphere on a weather balloon. On Tuesday (10/29), our pals at NYC's Jonathan LeVine Gallery are presenting a free screening of the short film about that project, titled ART4SPACE. The screenings are at 8pm and 9pm at Landmark Theatres Sunshine Cinema on East Houston Street. ART4SPACE screening
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from entered a Home Depot contest and hit on the idea of stenciling street art with hydrophobic NeverWet stuff, producing designs that are only visible when it rains.
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Kevyn Jacobs snapped this knit (crocheted?) Dalek bollard cover at the corner of West Magnolia Street and Commercial Street in Bellingham, WA. No clue as to the manufacturer of said confection, but bravo.
#Knitted #Dalek bollard cover (Thanks, Hagrid!)
Adam Mansbach's Rage is Back is a sneaky hybrid of a novel, part nostalgic urban graffiti memoir, full of vintage hiphop references and lush, old school New York descriptions; part brooding supernatural thriller where shamanic ritual and ancient subterranean presences secretly shape the mundane world of crime, wealth, privilege and art.
Dondi Vance, Rage's narrator, is the son of the legendary Rage Vance, a graffiti writer who went underground when Dondi was just two years old. Dondi's grown up with his mother, another graffiti writer, though she went straight with a job at second-rate literary agency and did her best to bring Dondi up right. He's bright, the kind of kid who qualifies for a scholarship spot at a fancy uptown private school, where his good grades point to an Ivy League future -- until he gets caught selling weed to his classmates and gets both expelled and kicked out of home.
All Dondi's life, he's heard stories about his father, and his father's madness. On the night Dondi was born, Rage and his crew went out to bomb a subway train with huge murals celebrating the birth. They were caught by Officer Bracken, a notorious cop who hated them with an irrational, unstoppable fury -- a fury so fierce that he actually drew his gun on them as they ran off, and, ultimately, murdered one of the crew, a young man named Eclipse.
The death pushed Rage over the edge, turned him into a revenge-bent graffiti-writing machine who covered massive swaths of the five boroughs with BRACKEN KILLED ECLIPSE tags and murals. Bracken, meanwhile, climbed the police ranks, seemingly unstoppably, and got Rage indicted in absentia, which led to Rage leaving for Mexico, abandoning his wife and their two-year-old son Dondi.
Rage is back. He's come back from a long dreamtime wandering the Amazon, learning from shamans, learning to be a shaman. And he's got revelations for Dondi about the night of the birth and the murder -- revelations about the thing they found in the subway tunnel, the force they encountered, an ancient evil that found something it liked in Bracken, who is now poised to become mayor of New York City.
Dondi is a hip-hop Holden Caufield, alienated from his parents and his schoomates, surrounded by role models of dubious vintage and value, desperately wanting to belong, but not wanting to give up his individuality. He's got a bright, acerbic, cynical adolescent outlook that's a treat to read (though I suspect it'd be less fun to be around). The caper that fills the second half of the book is big, weird, brash, and riddled with history and supernatural juju, and his ride through it is vastly entertaining, right through to the last page. This is a tremendously fun novel, and an authentic exploration of an illegal subculture, with all the frustrations and glories that entails.
If Adam Mansbach's name rings a bell, it might be because of his number-one NYT bestselling, piracy-as-viral-promo book Go the Fuck to Sleep.
During the Jubilee, someone -- probably Banksy -- posted a graffiti mural on the side of a Poundland discount shop depicting a child working in a sweatshop sewing bunting with the Union flag on it. The mural attracted great attention in Wood Green, the district of London where it appeared, and local councillors took steps to ensure that it was not removed or painted over by overzealous city workers.
Then, one day, it disappeared. And reappeared in the catalog of Fine Art Auctions in Miami, with an asking price of $500,000. The auction house (which hasn't returned any press calls on the work) claims that it got the Banksy (or "Banksy") from a collector who assured them that it had been acquired through legal means. The Poundland shop says it had nothing to do with flogging the piece, and no one can get the building's owner on the phone.
Meanwhile, a piece of freely given art that decries capitalism and exploitation has been removed from the neighbourhood that was so proud of it, and is up for sale for half a million dollars in America.
Poundland, the store from which the artwork was removed, has tweeted that it is “NOT responsible for either selling or removing the Banksy mural,” adding that it does not own the building in question and has been unable to contact the owner so far to find out more, while local politician Alan Strickland has already launched a campaign for the artwork to be returned.
Talking to reporters, Strickland explained that “Banksy gave this art for free to our community, so we’re all angry that it’s been removed and put on sale for $500,000 in the U.S. We’re trying to track down who is responsible. We’re not certain who removed it, but we’re absolutely certain we want it back!”
Irony is not dead.
Banksy Work Cut Out of Wall, Offered at Auction for More Than $500K [Graeme McMillan/Wired]
Essam Attia is NYC street artist who posted fake NYPD posters "reassuring" people about the ubiquitous surveillance of the department, especially via drones. The NYPD surveilled him, tracked him down and arrested him. Heck of a way to prove a point.
The NYDN reports that he's charged with "56 counts of criminal possession of a forged instrument, grand larceny possession of stolen property and weapons possession," the last (and possibly worst) charge coming because cops found an unloaded .22 pistol under his bed when they arrested him. On a practical level, Attia was not the most careful art criminal. He signed his work "ESSAM;" and he told Animal that he was a "a 29-year-old art-school grad from Maine, who served in Iraq as a 'geo-spatial analyst.'" It probably did not take an incredible amount of police work to narrow down the possibilities.
BB pal Greg Long spotted this magnificent graffiti near the GAMA-GO world headquarters in San Francisco's SOMA.
If you know the artist, please help me credit him/her! Commenters say it's the work of Goser! Thanks!
Grime Writer is a detergent-filled graffiti marker that cleans away street-filth to leave your message behind. There's a good chance that the graffiti you create with these is no more legal than any other kind -- there've been successful prosecutions against companies in the UK that paid "street teams" to "reverse-graffiti" their messages by using detergent and stencils to selectively clean away grime from public walls, leaving behind commercial messages.
Grime Writer is a special chunky marker pen that can be filled with cleaning solution, and used to create art on a canvas of filth. Use it to tag your dirty vehicles & windows, or to transform dirt into artistic expression.
Much more socially acceptable than real graffiti and (more importantly) a lot less illegal - Grime Writer helps you leave your mark wherever you find muck. Use responsibly to help promote the phenomenon of negative graffiti, and brilliantly combine the crime of defacing a bridge with the community service time cleaning it up again afterwards, into one harmless, helpful, creative act.
Montreal artist Shelley Miller creates "sugar murals" -- elaborate icing-sugar illustrations on tile that grace the sides of buildings. These often resemble stained glass or painted tile murals. Here's a bit about Cargo, installed in Montreal at Duke St. at corner of William St. in 2009 and left to gently decay:
Cargo is a public billboard initiative with the Darling Foundry presented in the context of le Mois de la Photo à Montréal (The Month of Photo), a biennale of contemporary photography that occurs in Montreal every 2 years. This project involved 2-parts: The first component was the creation of a sugar mural, created in the guise of a traditional ceramic “azulejo”. The image depicted speaks of the history of sugar, linking the port of Montreal into the global network of sugars history and the slave trade that supported this industry. The image links source and destination for all of the “cargo” related to this history, both sugar barrels and human cargo that were carried across the oceans.
My neighbourhood in East London has a lot of very nice street art, and a fair number of hipster entrepreneurs who lead tourist parties on "Street Art Tours." Artist Dr D combined the Olympic police-state with the Street Art Tour phenomenon to make this great prank notice, which I snapped on the way to our weekly Sunday brunch.
Pompeii is the city frozen in time. Which means that nobody ever came through and cleaned up all the (often incredibly dirty) ancient Roman graffiti (or added their own, more modern, stuff).
So, what you find is a really cool time capsule of the way random, average puellae et pueri talked, at least in certain situations. This is colloquial Latin, and that's not something we get many chances to see.
It's also hilarious. I've seen some of these examples of Pompeiian graffiti over the years, but, as far as I'm concerned, it never gets old. (Ba-DUM-ching!) Some good examples:
From the Bar/Brothel of Innulus and Papilio: "Weep, you girls. My penis has given you up. Now it penetrates men’s behinds. Goodbye, wondrous femininity!"
From the Bar of Prima: The story of Successus, Severus and Iris is played out on the walls of a bar: [Severus]: “Successus, a weaver, loves the innkeeper’s slave girl named Iris. She, however, does not love him. Still, he begs her to have pity on him. His rival wrote this. Goodbye.”. [Answer by Successus]: “Envious one, why do you get in the way. Submit to a handsomer man and one who is being treated very wrongly and good looking.” [Answer by Severus]: “I have spoken. I have written all there is to say. You love Iris, but she does not love you.”
From the House of Pascius Hermes; left of the door: "To the one defecating here. Beware of the curse. If you look down on this curse, may you have an angry Jupiter for an enemy."
From the basilica: "The man I am having dinner with is a barbarian."
For more about average Roman life, I really recommend Terry Jones' documentary "The Hidden History of Rome". You can watch it streaming on Netflix. It's a great overview of the little bits that we know about how non-elites lived thousands of years ago.
Via The Nation
I'm a super fan of Breaking Bad and Boingboing as well.... is there something to the shared alliteration? I thought you might like this stencil I found in Vancouver a few months ago. Someone did a whole series of Mr White. They were fantastic.
Ron English's Stickable Art Offenses is an inspired collection of stickers from one of the world's most iconic sticker artists. Ron English designed the iconic Ronald McDonald parody for Super-Size Me, and has built his reputation on grotesque, trenchant, and funny graphic attacks on corporate logos and marketing.
The book opens with English's reminiscence of one of the many times he was arrested for stickering in New York City, then leaps into more than 40 pages' worth of die-cut, full-color vinyl stickers. English's stickers are a bit like a highly politicized Wacky Packages or Garbage Pail Kids for grownups, with a bit of Warholian whimsy thrown in, by way of AdBusters. The book ends with some lovely photos of English's work in the wild, from giant murals to billboard defacements to guerrilla re-branding in the grocery store cereal aisle.
Ron English is a great favorite around these parts, as this extensive collection of Ron English posts from our archives can attest. I can't wait to start decorating my environs with his work
Last Gasp, English's publisher, were kind enough to send us some hi-rez outtakes from the book for your pleasure. Visit the jump to see more.
Colossal has the story of a massive, awesome street-art installation in Chicago created by Bored, who turned the city into a huge, spread-out game of Monopoly, complete with enormous Chance cards containing marriage proposals and massive dice.
After a few desperate tweets and some emailing, I finally got in touch with the artist (or artists!) known as Bored. The person (or group) chooses to remain anonymous but expressed via email their dissatisfaction at the lack of quality street art around Chicago. Saying specifically that “the goal of this entire project has been to present something different than a stencil painted on the ground or a poster pasted to a wall. Something 3-dimensional that can be picked up, beaten down, kicked, yanked, grabbed, and broken. And if someone ever put forth the effort to remove it, like a weed it will always grow back. And if left alone it will evolve into something different.”
While there are a number of good street artists in Chicago, this is definitely a welcome change of pace. I’m really excited to see this project evolve and hope they have more ideas brewing.