I have always considered it a phenomenon of sorts. The reason why the transition from graffiti artist/street artist/ especially piecers, into gallery artist being what seems rather difficult. At first glance the, historically mostly true, hypothesis, just does not seem to have much reason or logic to back it up. Just the grey area of real-life pudding in the proof( you know what I mean). The tough transition is best summarized as unfortunate. Of course there are exemptions, those persons who walk this planet, transcending, as if they knew something no one else knows. Check out Nerd's Heavy Metal from last year's MOS. Seriously? Thats art. Thats Chicago.
Bombers and taggers throw a wrench into the string of logic. Sometimes nailing some business owners windows or, of course, the almighty CTA--god forbid--creates a damper on the public sentiment and view of street art/graffiti. Even in places like Wynnwood in Miami, riddled with street art, in every nook and cranny, even there, you'll find business owners acting like one might as a business owner or property owner. Just the way it is.
That being said, I envision a world where every wall has a David Choe, Staik, Nerd, Risk, Gnome, fuck it....throw in Mr. Brainswash, on the walls of every building of a major city instead of boring brick. But none of this explains why the transition for street artist into gallery artist is such a tricky one.
My thoughts on it: Size Matters. Seriously that is about as good a solution as I can come up with and I've been considering this topic for years. The Topic is interesting and is open to the floor. The Good news are the plethora of cases we have that defy my initial statement.
Vty,
Bryan
My-StreetArt.com
Gallerys hold very little interest to your average bomber/tagger But at that level "art" rarely come into it. Its about getting up. The public's point of view means little or nothing. The only thing that matters is what your peers (other bombers and taggers) think? A writer will have had to had a good few years in the graffiti wilderness before considering a step into galleries . Most of the time it will be forced in one way or another on the writer. Either because the writers financial situation demands it. Or because a well meaning promoter, gallery owner wants something "current" to fill his wallet and the need for art buyers to want the "current" fad..
ReplyDeleteThe only time it really works is when the writer starts to think about his/her letters as more than just territorial pissings but as art. Thinking of it as a product,because the art buying public is not who a real graffiti writer aims his work at. A real writer is ONLY interested in those afore mentioned peers and its that change in attitude and sometimes medium. Learning how to translate the foundations of graffiti lettering and making it available to the person paying for it
I am a commercial graffiti writer. Peace
I found your reply compelling an enlightening. Especially interesting was when you wrote, "A real writer is ONLY interested in those aforementioned peers and its change in attitude and sometimes medium." Interestingly enough I read an article not so long ago about the Street Art scene in Toronto which is apparently booming. In that article the author pointed out that in a sense Street Art and Graffiti are Elitist because it is meant only for only those with in the community to be able to read it and have a chance at understanding its true meaning, etc. Not even being able to pick up on where letters are hidden--or some folks do not even know letters are involved at all--that poor fellow was a layperson to the street art community but enjoyed it and has especially taken an interest in my StreetArt Chicao App for IOS project that I am about to release. So while it never occurred to me to think of graffiti and street art as elitists--turns out it was only because i was looking at a definition of elitism that was provincial and perhaps elitist!
ReplyDeleteAnd you also pointed out the solution, "learning how to translate the foundations of graffiti lettering and making it available to the person paying for it" You captured the quintessence of that one. There is nothing left for me to say. Oh except you really also nailed it again when you wrote, "only time is really works is when the writer starts to think about his or her lettering as more than just territorial pissings but as art." That almost calls for an rgoyf. Sort of, because ultimately its an enlightening statement, a street artist could read that and the course of their career could change hearing statements like that. The statement is bittersweet as well. As encouraging as the words are, there is also a harsh truth and disenchantment that goes along with the reality of the harsh transition from street artists to gallery artist.
Question: how do you feel about graff galleries as a business enterprise?
And is there a website i can check out your work? I think i saw some on flickr.
and are you in chicago? You have any local chicago pieces?
Thanks very much for your reply. i enjoy the repartee.
Cheers,
Street Art App Developer and Producer
Bryan Levine
847-626-5466
hit me up with some of your work :bryan@my-streetart.com if you would like to.