Now the Shepard Fairey, the man who gave us Hope and then made us Hope-less is weighing in on the Blu mural controversy and it’s rather embarrassing. The good part:
I’m not a fan of censorship but that is why I, and many of the other artists of the show, chose to engage in street art for its democracy and lack of bureaucracy …
However, a museum is a different context with different concerns. It would be tragic for the break through of a street art /graffiti show at a respected institution like MOCA to be sabotaged by public outcry over perceived antagonism or insensitivity in Blu’s mural. Graffiti is enough of a contentious issue already. The situation is unfortunate but I understand MOCA’s decision. Sometimes I think it is better to take the high road and forfeit a battle but keep pushing to win the war.
So, Fairey suggests people give up. It’s the museum world after all and [here’s the subtext] he’s been dying for acceptance for, like, ever, so don’t ruin this for him.
He’s not a “fan” of censorship, he’ll have you know. Where does he draw the line? We have no idea.
What’s your point, Fairey? What do you understand about MOCA’s decision? The fact that they commissioned a work and the director of the museum destroyed it after ignoring the opinions of the local community or even his fellow curators and then asked the artist “to openly agree with their decision to erase the wall“?
How about the whole bungled process? No harsh words for Deitch and MOCA? How about the fact that Deitch couldn’t be bothered to see a preliminary drawing before he jetted off to the Miami art fairs, or did he see it and then change his mind? Also, where are all the other curators in this show or are we to assume this is Deitch’s pet project and all decisions are solely his?
And what’s this war you’re talking about? The Iraq and Afghanistan wars that continues to kill Americans, civilians, and bankrupt our country? The possible war hinted at in Blu’s mural? Some fictional street art war you’ve waging in your head against some establishment who wants to keep you down? And this “take the high road” thing? Huh?
I think the public will actually respect street art more if they represent something and not roll over whenever someone gives them some attention or money. In the 1980s, street art and graffiti shows were rather safe. The whole movement was eventually doomed when it was repackaged as a style for mass consumption, and like all styles it went out of fashion.
If the street art community wants to have some staying power in the world then they will have to stand their ground to represent something. I think Blu was doing exactly that.
I am disturbed that Fairey doesn’t even address Blu’s work and what it represents. I predict that most people will ignore this statement and see it for what it is, an artist protecting his dealer/curator/bro.
This week, missed signs of previous life on Mars, the appeal of forged art, and why are blue whales singing in lower octaves?
All the Beauty and the Bloodshed forcefully posits multiple parallels between the world Nan Goldin grew up in and the one she fights in today.
The latest episode of this documentary series on PBS explores the meaning of home through handmade objects, hand built homes, and the artists who create them.
Your list of must-see, fun, insightful, and very Los Angeles art events this month, including Bob Thompson, Aimee Goguen, Uta Barth, the Transcendental Painting Group, and more.
There is the singular artist and then there is the more exclusive club that has only one member. Harvey belongs to the latter.
Rhode Island School of Design opens registration for its residential summer Pre-College program and year-round online intensive Advanced Program Online.
The artists say the Museum of Contemporary Art Kiasma must sever ties with Poju Zabludowicz, whose wealth comes in part from Israeli defense contracting.
Vanessa Albury, whose eco-friendly ceramic sculptures help revive filter-feeder populations, is raising funds to complete her first film about the project.
Hrag Vartanian, Hyperallergic’s editor-in-chief, is one of the guest jurors reviewing applications for the two-month residency in Utica, New York.
An archeological exploration of the amphitheater’s sewers and water systems uncovered remnants of meat, vegetables, olives, nuts, and yes, pizza.
At this year’s show, I reflected on the lack of bilingual materials, the absurdity of art-fair gimmick, and the workers who make it all possible.
Hear a band of improvisers led by Rajna Swaminathan and a performance of Morton Feldman’s “For John Cage” in programs inspired by the exhibition, “New York: 1962-1964.”
Your list of must-see, fun, insightful, and very New York art events this month, including art made during the first stock market crash, a homage to feline friends, and the 10-year anniversary of a crucial public art initiative.
Astrid Dick was told that she could not paint stripes because Sean Scully and Frank Stella have done so before her, a patently foolish statement.