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Sebastian Buck of Unurth, which is arguably the premiere street art photo blog, has a lot of visual goodies from LA MOCA’s Art in the Streets. He also has some very interesting thoughts on the show, which officially opens tomorrow:
Art in the Streets is a missed opportunity: the show focuses so heavily on graffiti that it ignores so many of the important street artists that have been active in the last 10 years … of the hundreds of artists that have appeared on Unurth, only about 12 are represented in this show (of ~95 total). And the Blu debacle matters; the show is much poorer for his absence, and the spirit that he represents.
Hmm … 12 of 95? That’s roughly 12%. As we already reported only about 10% of the show is comprised of non-American artists and approximately 8% are female, and, of course, there is overlap in all these categories.
So, all this begs the question, what is this show really about?
From the looks of it, it seems like a show of American male graffiti writers, which may have been alright if this exhibition took place in 1991, when there were less women creating art in the streets and street art was much less differentiated from graffiti and less global. But, two decades later this display that trumpeted itself as an exhibition that will “trace the development of graffiti and street art from the 1970s to the global movement it has become today” seems to have fallen short of that original promise.
MOCA director Jeffrey Deitch says the institution anticipated that an exhibition on graffiti and street art could bring unwanted and unauthorized ancillary activity from “some of the young taggers who are anarchic … It’s a language of youth culture, and we can’t stop it. It goes with the territory.”
Poussin and the Dance is a valiant attempt to break into Poussin’s staunchly academic oeuvre and provide a relatable point of entry, highlighting the exciting elements of revelry and movement despite impenetrable and unemotional rendering.
Anarchist illustrator N.O. Bonzo produces decentralized media in a highly bureaucratic cultural landscape. Their illustrations, murals, and literature emerge in unexpected places, from the streets of Portland, Oregon, to the far ends of Reddit and Twitter, addressing relations of labor and identity in the workplace and on the streets. Growth and care are central themes…
This exhibition explores how images of the human body were used to provoke profound physical and emotional responses in viewers from the 15th through 18th centuries.
With scavenged materials, Amanda Maciel Antunes constructs a motherland.
Where are the directors taking the stage to acknowledge workers’ demands today?
The collaborative handmade paper- and printmaking center at the Pennsylvania Academy of the Fine Arts publishes new works by Liz Collins and Sarah McEneaney.
There is a debate whether the memory of Little Syria should be seized upon to tell truthful and positive stories about Arabs in the US, or whether any conflation between its history and contemporary politics is inappropriate.
The profile includes works by Egon Schiele, Amedeo Modigliani, Peter Paul Rubens, and a prehistoric Venus of Willendorf figurine.
These horrifying dolls definitely won’t murder you in your sleep.