I saw this next to a toy store and a Fred Myers in Greenwood on the way to a first b-day party in Seattle. I love the coin details and the colors.
...p.s. does that one squirrel look kind of sexy?!
sábado, 27 de noviembre de 2010
Seattle is SQUIRRELY
I saw this next to a toy store and a Fred Myers in Greenwood on the way to a first b-day party in Seattle. I love the coin details and the colors.
...p.s. does that one squirrel look kind of sexy?!
viernes, 26 de noviembre de 2010
jueves, 11 de noviembre de 2010
New Smyrna Exists!
My dad sent me these pics from a highway overpass in New Smyrna Beach, FL. What he doesn't know is that my fake id as a teen was from a place called New Smyrna, FL!
I love this fish, esp. because s/he looks very PRIDEFUL!
martes, 9 de noviembre de 2010
Simpsons Hall of Fame
Here is a wall from the end of the "Hall of Fame" tunnel on 14th Street featuring El Barto. I'll post more from this DC spot soon. Enjoy.
sábado, 6 de noviembre de 2010
Underbelly Project and MuralsDC: thoughts and critique
I’m strongly in favor of artistic projects that decorate the streets without necessarily conveying a PSA-style message or without excluding “untrained” (aka not professional) artists. That’s why I like hand-painted street signs and some graffiti and street art. But the New York Times article about The Underbelly Project (http://www.nytimes.com/2010/11/01/arts/design/01underbelly.html?_r=2&src=me&ref=homepage)
raised a few questions for me.
In short, the Underbelly Project is an underground gallery created by PAC and Workhorse in collaboration with other recognized street artists. It is located in a secret, inaccessible, abandoned subway shaft.
• One of the most striking comments in the NY Times article has to do the idea of SACRED SPACE. “We do want to preserve the kind of sacred quality of the place,” PAC said, “but we also want people to know it exists . . .”
So, the artist involved in creating this space want people to know it exists, but they don’t want people to see it. Is it fair to infer that you have to be cool enough, and connected enough to know about this place and to enter it? How is that different than having to be rich enough or connected enough to receive an invite to an exclusive gallery? The context is different, but the principle is the same.
I know that the culture of secrecy in graffiti has a long history and that it’s not a history I necessarily know or understand. But The Underbelly Project is composed of people that identify as “artists,” rather than taggers or graffiti artist. So, at the end of the day, what is the point of making street art that can’t be seen?
While I am sure that the experience of creating and viewing the underground project IS very thrilling, important, and special, I always thought the point of street art was to make public art – art that is available to the everyday man or woman – the man or woman that might feel excluded by the “sacred” quality of an art museum or gallery.
• The Underbelly Project’s choice of venue also raises questions. It’s an unused subway station – an unused public space. So the triumph of this work is the reclamation of a public space. Does it make sense to reclaim a public space in a way that is very private?
• The days of The Urban Landscape as an Artistic Frontier may be over. And I think many self-identified street artists are disappointed with the loss of urban exoticism that official recognition brings. Is the Underbelly Project’s choice of venue an attempt to hold on to that “final frontier?”
PAC and Workhorse voice a refusal of commercial galleries and pride in their ability to create outside of the constraints of a studio environment. Admirable. But Graffiti artist are reaching a point where they must acknowledge that they are being recognized by commercial and governmental entities. I think turning to secrecy is a way to protect their identities as street artist and to protect the way they work,
Local governments and politicians are publicly distinguishing between tagging and “graffiti art.” In D.C. Jim Graham has spearheaded the MuralsDC program, which has been a way for agencies to save money on clean up by commissioning “urban artist” to paint the Districts walls ! This is a somewhat refreshing progression from the older school Philadelphia Mural Arts Program (anti-graffiti network) that always seemed to prefer using studio-trained portfolio-approved artist in their fights against gangs (don’t get me wrong, Philly has some beautiful murals). But it is also a formalization of a traditionally informal art
“Street Artist” are having their work ripped off the blocks and resold in galleries, which would piss anyone off. Are they seeing those profits and do they want them?
In DC, Dominic Painter was on TV talking about “urban arts” programs creating opportunities to create a portfolio and not a police profile. I believe he was speaking about the Midnight Project when he said it gets “them” off the streets and into galleries. "They"(students?) develop skills and create economic opportunities. But if street artists are paid for their work are they still street artists?
I'm getting pretty off topic, but for more info see the links. And check out the Murals of MuralsDC if your in DC! If your in NY, I wouldn't recommend diving into the MTA shafts as the artist have sternly warned you against such actions!!! oooooooh.
http://theunderbellyproject.com/
http://muralsdc.wordpress.com/
Also, Tomorrow is gonna bring some niiiice pictures from the underground of DC. Be ready.
raised a few questions for me.
In short, the Underbelly Project is an underground gallery created by PAC and Workhorse in collaboration with other recognized street artists. It is located in a secret, inaccessible, abandoned subway shaft.
• One of the most striking comments in the NY Times article has to do the idea of SACRED SPACE. “We do want to preserve the kind of sacred quality of the place,” PAC said, “but we also want people to know it exists . . .”
So, the artist involved in creating this space want people to know it exists, but they don’t want people to see it. Is it fair to infer that you have to be cool enough, and connected enough to know about this place and to enter it? How is that different than having to be rich enough or connected enough to receive an invite to an exclusive gallery? The context is different, but the principle is the same.
I know that the culture of secrecy in graffiti has a long history and that it’s not a history I necessarily know or understand. But The Underbelly Project is composed of people that identify as “artists,” rather than taggers or graffiti artist. So, at the end of the day, what is the point of making street art that can’t be seen?
While I am sure that the experience of creating and viewing the underground project IS very thrilling, important, and special, I always thought the point of street art was to make public art – art that is available to the everyday man or woman – the man or woman that might feel excluded by the “sacred” quality of an art museum or gallery.
• The Underbelly Project’s choice of venue also raises questions. It’s an unused subway station – an unused public space. So the triumph of this work is the reclamation of a public space. Does it make sense to reclaim a public space in a way that is very private?
• The days of The Urban Landscape as an Artistic Frontier may be over. And I think many self-identified street artists are disappointed with the loss of urban exoticism that official recognition brings. Is the Underbelly Project’s choice of venue an attempt to hold on to that “final frontier?”
PAC and Workhorse voice a refusal of commercial galleries and pride in their ability to create outside of the constraints of a studio environment. Admirable. But Graffiti artist are reaching a point where they must acknowledge that they are being recognized by commercial and governmental entities. I think turning to secrecy is a way to protect their identities as street artist and to protect the way they work,
Local governments and politicians are publicly distinguishing between tagging and “graffiti art.” In D.C. Jim Graham has spearheaded the MuralsDC program, which has been a way for agencies to save money on clean up by commissioning “urban artist” to paint the Districts walls ! This is a somewhat refreshing progression from the older school Philadelphia Mural Arts Program (anti-graffiti network) that always seemed to prefer using studio-trained portfolio-approved artist in their fights against gangs (don’t get me wrong, Philly has some beautiful murals). But it is also a formalization of a traditionally informal art
“Street Artist” are having their work ripped off the blocks and resold in galleries, which would piss anyone off. Are they seeing those profits and do they want them?
In DC, Dominic Painter was on TV talking about “urban arts” programs creating opportunities to create a portfolio and not a police profile. I believe he was speaking about the Midnight Project when he said it gets “them” off the streets and into galleries. "They"(students?) develop skills and create economic opportunities. But if street artists are paid for their work are they still street artists?
I'm getting pretty off topic, but for more info see the links. And check out the Murals of MuralsDC if your in DC! If your in NY, I wouldn't recommend diving into the MTA shafts as the artist have sternly warned you against such actions!!! oooooooh.
http://theunderbellyproject.com/
http://muralsdc.wordpress.com/
Also, Tomorrow is gonna bring some niiiice pictures from the underground of DC. Be ready.
jueves, 4 de noviembre de 2010
miércoles, 3 de noviembre de 2010
Touched by a Pink Seal (or dolphin)
Aun que que este imagen de un lobo del mar ( o sea un delfin . . .) es muy preciosa, mas me lo gusta por que me recuedra de otro favorito mio - el mural de pediatria que se queda en la Avenida Brasil, Lima. En este aparece un pie pesista. Quien sabia que los murales de pediatristas eran tan buenos. Ahora, nosotros.
Much thanks to DMZ in DC for sending this photo taken in Leticia, Amazonas Colombia.
Here is an interesting article sent by miss Anastasia. It is about a recent "exhibit" of street art, which will prompt me to share more thoughts about : what is street art, who makes it, why, is it the same thing as a graffiti or mural, who is it for etc.
Click on the link below
http://www.nytimes.com/2010/
Commentarios
forgive me
Well, the two published comments were detected as spam and thus erased. Please don't hesistate to comment again - you will not be silenced.
thnx,
JC
lunes, 1 de noviembre de 2010
Shark Attack!!!
thank god someone was reasonable enough to include some useful information on this sign.West Maui, Hawaii
(shout out WKPOA)
Prophetic Mural
A mural painted in the factory district of Dakar, dedicated to prophets from Cheikh Amadou Bamba to Jimmy Carter and Bob Marley.
If you know the name of the artist please comment, because I can't remember it. . . sorry.
Dakar, Senegal
If you know the name of the artist please comment, because I can't remember it. . . sorry.
Dakar, Senegal
End of the telecentre
One of the now defunct calling centers run out of homes in Dakar.
Mermoz, Dakar
Fast Times in Philadelphia
Angela's Doppleganger.
Sartain and McKean
Micahel Jackson, Betty Boop, and Jesus. All things I love
South Philly.
Corner Store with an often repeated hand.
South Philly.
Water (wuder) Ice. Passyunk.
South Philly romantic classic and style inspiration for the everyman - King of Jeans!
Passyunk.
Favoritos
Radiodores - best word in Spanish, best example of corporate painted street signs.
Faucett con La Marina - Lima, Peru.
foto por mar
Un orginal quoi! Les karr rapides du Dakar, Sénégal. Karr rapide means fast car, the privately-owned public transportation in the capital. . . sign painting that moves.
Dakar, Sénégal
Faucett con La Marina - Lima, Peru.
foto por mar
Un orginal quoi! Les karr rapides du Dakar, Sénégal. Karr rapide means fast car, the privately-owned public transportation in the capital. . . sign painting that moves.Dakar, Sénégal
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