The Brooklyn Museum has issued a press release stating that it will no longer be hosting LA MOCA’s Art in the Streets exhibition, which was scheduled to appear in Brooklyn next spring.
The Los Angeles Police Department caught and arrested two French nationals vandalizing buildings with “buckets of grout and pieces of tile” near the LA Museum of Contemporary Art’s Little Tokyo gallery this past Friday. One of the vandals seems to be the famed French street artist Space Invader, reports the LA Times.
There is apparently something about institutional street art shows that move museum folk towards declarations of their firstness. Street Art at the Tate Modern in 2008 was billed as “the first major public museum display of Street Art in London” while just last winter Hugh Davies, Director of the Museum of Contemporary Art in San Diego, glowed that he was “really proud” to be “the first (American) museum to do an international street art show of this scale and scope.”
Art In The Streets, the latest and of course much buzzed exhibition opening at Los Angeles’s Museum of Contemporary Art is billed by MOCA Director Jeffrey Deitch as — surprise surprise — “the first exhibition to position the work … from street culture in the context of contemporary art history.”
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 show. He also has some very interesting thoughts on the show, which officially opens tomorrow:
On April 17, MOCA LA’s Art in the Streets exhibition opens. The show, which was organized in roughly a year or since Deitch became director of the institution, promises to be a major exploration of street art, graffiti and skateboard culture at one of the country’s most important contemporary art institutions. Today, I spoke to one of the exhibition’s curators, Roger Gastman about his important new book, The History of American Graffiti, which he co-authored with Caleb Neelon, and the MOCA show.
This morning, LA Anonymous unveiled their latest work, a circus-inspired poster installed on the north-facing wall of Zip Fusion Sushi in downtown LA, near Little Tokyo. Titled “Art in the Streets” (2011), the poster by LA Anonymous appears a week before MOCA LA director Jeffrey Deitch’s Art in the Streets show opens.
The Blu/MOCA whitewash censorship incident isn’t going away as some street artists continue to draw attention to LA MOCA director Jeffrey Deitch’s lapse in judgment.
Los Angeles — With a cardboard cross and draped coffin, a group of activists and artists assembled in front of downtown LA’s Millennium Biltmore Hotel to stage a “Funeral Procession of Free Artistic Expression,” where Smithsonian Secretary Wayne Clough was speaking as part of the Town Hall Los Angeles public issues series on “New Perspectives at the Smithsonian.”
The funeral procession was organized in large part by the art protest group LA Raw and the Center for the Study of Political Graphics (CSPG), in response to Clough’s ordered removal of David Wojnarowicz’s 1987 video “A Fire in My Belly” from the National Portrait Gallery’s Hide/Seek: Difference and Desire in American Portraiture exhibition in late November 2010.
LA-based art protest group LA RAW invited artists and activists, along with supporters of free speech and free expression, to gather at the Biltmore Hotel in downtown LA, where Smithsonian Secretary Wayne Clough was to speak at the Town Hall Los Angeles public issues series, to protest against the escalating art censorship from the Smithsonian to LA MoCA. [LA Raw blog]
Last Thursday January 13, there was a panel discussion at LA’s Fowler Museum titled “How Does Street Art Humanize Cities?” Organized with Zócalo, the event featured curators, artists, and reporters, most of whom were associated in some way with the LA MOCA’s upcoming street art exhibition, yet to everyone’s surprise the topic of the Blu mural whitewash wasn’t even discussed. But that’s not to say it didn’t come up in other ways. A new protest group, LA Raw, handed out condoms branded with MOCA director Jeffrey Deitch’s name on them to remind those in attendance that the erasure of artist Blu’s mural is not forgotten. One source told us that he estimates 80% of the audience to the Fowler event received one of the protest condoms as they walked in and additional condoms were placed around the venue.
Now that the dust has somewhat settled on the Wojnarowicz and Blu censorship cases, a number of people have been chiming in about what this tells us about the state of art and our culture, specifically American culture. The numerous opinions from where I stand look dire. Here are some fascinating posts we haven’t mentioned before.
Even if LA MOCA thinks the Blu Mural Censorship controversy is going to go away, it isn’t. The institution has not responded to Hyperallergic’s requests for comments on the issue or an unedited interview on the topic of the Blu mural censorship. And now, LA Times‘s Culture Monster reports on the latest action by some street artists, including Chicano artist/Vietnam War veteran Leo Limon and Joey Krebs (aka The Phantom Street Artist), equipped with projectors at the MOCA Geffen Contemporary wall.