GRAFFITI: STREET ART & CORPORATE VANDALISM

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As old as the Ancient Greeks & Romans, as fresh as Banksy, Shepard Fairey & Pure Evil, the art of graffiti keeps on living on, fighting on, and well hell, moving on. The argument isn't relevant any more. The high society that once rejected the indecipherable scrawlings and imaginative bombings of a marginalized youth, have succumb, swallowing up commissioned pieces like the commercial juggernaut it represented even way back when. But what does this success imply? Money, fame and immortality? At the price of your street cred? Your uniqueness? Your soul?

Just look at the prototype: SAMO a.k.a Jean-Michel Basquiat, Brooklyn's very own artistic phenomenon turned tragic premonition. At first they called it the lowest of the low in criminal activity, then the height of modern day creativity. Then finally Basquiat got 'THE' label - Neo-Expressionist. His works travelled the globe in a whirlwind of media frenzys, crashing social circles and taking the art world by storm. Backed by big money he started to pick up pace... But as I'm sure you know, living the fast life doesn't always mean you're moving forward. There's always sideways and backwards. On August 12th 1988, he was found dead from a heroin/cocaine overdose aged 27.

I'm not saying death will come to all those who 'sell out', as I don't believe Basquiat did 'sell out'. It serves as a metaphor for the commercialisation of art, of originality and rebellion. It represents the artwork auctioned off to a select few, the graffiti used in advertising campaigns, and the corporate trend in selling our culture back to us for a profit. What we can't ignore is the large price tag that comes with this kind of blank check, the uncertainty of what happens next. Those at the forefront of 'urban art' have had to reclaim the streets, they've had to fight back for their identities. Timeout calls him the 'Scarlet Pimpernel', we know him as Banksy, and he's all about sticking it to the man. His recognisable and memorable pieces get the point across humorously. Political rhetoric in the shape of a placard packing rat, kissing coppers and florist terrorists, all aimed at you. You the pedestrian, you the citizen, you the human. And even with mass media attention and fame he still wants to stay anonymous, and free. For sure these guys sell a shed load. Shepard Fairey has OBEY, Banksy and Pure Evil exhibit their work and shift prints & canvases, but its the streets where their true value lies. Its the streets where they can express themselves and their opinions. And its dissatisfaction with the streets that drives the art on. Like the graffiti artists of Ancient Greece and Rome, the writing's on the wall, and its the authorities and corrupt systems that serve as subject matter. Graffiti was always an act of expression and rebellion, and nowadays its moving on to outrun those who want to capitalise on its success. Just look at Banksy's 'One nation under CCTV' to see where we are now. I want to sign off with some examples of artists who have turned this idea on its head. Re-innovating and re-creating. Playing them at their own game. Enjoy.

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ALSO CHECK OUT: BANKSY SHEPARD FAIREY PURE EVIL BASQUIAT DR. D POSTER BOY ART OF THE STATE & NELLY DUFF
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BACK TO THE FUTURE

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IF YOU DON'T KNOW, NOW YOU KNOW

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AN EXERT FROM FOREST OF BLISS

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Whilst at uni I watched 'Forest of Bliss' (1989) by Robert Gardner, a Visual Anthropologist. I thought it was brilliant & have been looking online for the full version ever since. Here's an exert I found on youtube and my views on his work:
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'Gardner is a purveyor of highly cinematic film, strong visuals and stylistic aesthetics. His ability to establish a distinctive sense of art in his work has gain him cult status amongst visual anthropologists. He has a formulaic process to his film making; themes of death and violence occur regularly in an attempt to answer universal questions such as; 'how do people deal with death?' To achieve what he sees as an authenticity to his research he avoids taking a 1st & 2nd person accounts, like participant observation, instead choosing not to involve his subjects in the terms of a narrative i.e. dialogue etc.

Located in Benares, India, the film begins with a sunrise and ends with a sunset. Throughout there is no English dialog, voice-overs or subtitles; everything is visual. Meticulous looking shots, framed and executed to the finest detail, show how extensive storyboarding has help seemlessly move one shot to another. The subject matter, Benares itself, is remarkable, shocking, dirty and beautiful: funeral processions, kite-flying children, thousands of marigolds and dog fights are but a few items in this “fly on the wall” documentary.

We see the integration of people in the wider community, no singular character dominates, but a few people going about their daily lives. Through Gardner’s use of symbolism we see themes of death reoccurring. For instance the dead cow that is usually held in such reverence to Hindus, is dragged down the stairs with its head ricocheting off each step. I interpret this scene as no matter what incantation our soul takes, through death, plant, animal or man go through the same process. He is very subjective and makes no apology for bringing different ideas and themes together in this unique style of authorship. Therefore his audiences end up interpreting the film in many diverse ways.'
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How do you see it?!
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