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TUBS, a longtime graffiti spot in Seattle, was demolished yesterday, MyNorthwest.com reported. Though initially slated for demolition four years ago, the popular University District building had languished for several years after most had written it off — the urban art collective Free Sheep Foundation even held a “memorial” to its imminent death in 2009. In a piece appearing that year, The Stranger’s Jen Graves wrote of the eccentric building’s long history:
This building has quite a past: Between 1905 and TUBS-time, it was a residence and small commercial space, a grocery store, the Big Bear Store, the Lucky Store, the P&C Serve U Grocery, a car dealership, the District Tavern, and Fotomat Drive-thru.
From 1982 to 2007 the building was a bathhouse (a “legendarily skeezy hot tub joint,” in Graves’s words), but since its closure had attracted the attention of some of the areas most prolific graffiti artists. Though the owner encouraged this use, it drew the ire of some area residents: a 2001 Seattle Pacific-Intelligencer article on neighborhood complaints called TUBS a “notorious graffiti hub.”
Not unlike the fate of 5Pointz in Long Island City, the land will be redeveloped into a large condominium.
While staying as a house guest, a naked Le Corbusier defiled Gray’s minimalist, color-blocked walls that were only restored in 2015.
Keep your friends close and your bad art friends closer.
Hear from Holly Jean Buck, Carolina Caycedo and David de Rozas, Simon Denny, Elizabeth Hoover, Renee Kemp-Rotan, Joseph Kunkel, and more at this free public event.
In his new book, Tyler Green argues that landscape was Emerson’s method of glorifying territories shaped and bordered by white men.
“The 52-hertz Whale,” which sings a song at a frequency no other whale uses, is a social media phenomenon. But this film shows that the phenomenon says more about us than whales.
EFA Open Studios offers a portal into the creative habitats of over 65 artists working in Manhattan’s longest-running studio program, including Dannielle Tegeder, Wafaa Bilal, Cui Fei, and Anina Major.
The unvarnished photographs celebrate the lives, beauty, and resilience of an oppressed group at Chile’s social peripheries in the 1980s, and the series was recently acquired by MOCA in Los Angeles.
51 international publishers and galleries showcase their latest editions in prints and artists’ books at this free public fair, which is fully online this year.
The University of Virginia researchers wrote that the data “provides compelling evidence that these symbols are associated with hate.”
We are waiting for spectacle and when the quotidian, yet incongruous actions occur I wonder whether there is any real payoff coming.
Tanega’s approach to mark-making comes across as stream of consciousness, as if she’s engaged in a conversation with herself.