Perhaps one of the best street-art interventions of the year comes at the very end. Daniel Siering and Mario Shu developed a unique strategy for their site-specific public project in Potsdam, Germany. By wrapping a tree and covering the wrapping with incredibly detailed spray-paint, the duo manages to perfectly capture a stunning sinhle-point perspective which gives the illusion that the tree is bisected, with the top half mysteriously floating above the fields and horizon in the background.
As this is a developing story, there are precious few pictures to properly show the project (including proper links to the artist, or previous works) but check out this video (which as of now has less than 300 hits) to see the simple yet effective trompe l’oeil the two artists created, and hope that the two release more pictures, and more fantastic public projects, in 2014. (via streetartutopia)
Mark Jenkins’ sculptures occupy the uncanny valley. His work, in which he recreates the human body, places “people” into odd and often disturbing situations. Some of them are as fantastic as they are strange. One of the most interesting parts of Jenkins’ work is the way they are installed. His people are on the streets. They are life sized and dressed in conventional clothing, so they look as though they belong in the landscape. In reality, they don’t. His sculptures are standing in trash cans, on the edge of buildings, face first into a public fountain, and more.
Seeing Jenkins’ work amongst people is partially what makes it so successful. Seeing the reactions of others to these sculptures is both amusing and at times discerning. People walk by them as if they are nothing, as if they are completely normal. Sure, they stare at them, but they are never captured intervening on their behalf. Some, of course, aren’t believable. Others, like a woman stuck in a trashcan or laying on the top of the billboard would elicit some reaction. But, instead, she remains in the can.
The subversive nature of Jenkins’ installations is satisfying, especially if you are in on the joke and know it’s all fake. You could watch people for hours as they pass by, try and interact with the sculptures, and ultimately fail. The artist is taking the art outside the gallery and entering a world that combines art lovers and non-art lovers alike. (Via Hi Fructose)
Street artist Banksy has famously made his way to NYC. For the past few weeks he’s sprinkled his work throughout the city. Everyday, he posts photos on his Instagram feed of new pieces and where people can find them. The response, so far, has been staggering. His reputation and widespread media coverage has people turning out in droves to view his art.
Not everyone is impressed, though. Jerry Saltz, famed art critic for New York Magazine, calls him “Mr. Meh,” and is generally underwhelmed by the message of Banksy’s work. Saltz writes in a recent post on Vulture, “His black silhouette figures, surreptitiously painted on walls around the city, strike me as formulaic tweaked political cartooning, and anarchy-lite.” He goes on to say that Banksy is a repetitive thinker; If you’ve seen one, then you’ve seen them all. Additionally, Saltz notes that artists like Kara Walker have been creating silhouette works for nearly 20 years and Banksy’s work, “…doesn’t pack anywhere near the formal or psychological incendiary wallop” as Walker’s does.
In the above video, Saltz takes to the streets. He found a crowd of people surrounding Banksy’s work on the side of a DSW. Interestingly, the piece was vandalized. Another street artist screwed a large sheet of Plexiglas over Banksy’s work and painted “Let the Streets Decide” over top. Once it’s removed, Saltz talks with the crowd about what they think of Banksy and the particular piece:
From the conversation, Saltz has a realization. He writes, “I suddenly got what the reaction to Banksy is about: It’s being part of the reaction to a Banksy. It’s a multiplying communal occasion, friendly, a way to talk to strangers and share a piece of New York. It’s anti-Establishment, anti-capitalist, and anti-art-world enough to add a frisson of libertarian rebellion and take-it-to-the-street cred.”
Where do you stand with Saltz and the people on the street? Do you think Banksy is interesting?
Tatyana Fazlalizadeh, a Brooklyn-based painter and illustrator, responds to street harassment by creating dialogues through art in public places. Stop Telling Women To Smile, a series of portraits depict strong willed women responding to catcalls or inappropriate comments.
This series, which has been fostering solid conversations since it’s 2012 NY inception, is simple in its assertion, yet complex in the response. Madison Carlson of Feminspire addresses some male reactions the work has evoked, one of which involved a penis being drawn on the woman’s face. The New York Times additionally notes: “Andrés Carlos, 50, stood by the freshly pasted posters on Tompkins Avenue. ‘A woman likes nothing more than being told she is beautiful,’ he said. ‘For me, this is ridiculous.'”
But, Fazlalizadeh and Carlson disagree with Carlos. This is not about beauty, but control. Carlson asserts, “Yelling or whistling at a woman on the street like she’s a dog who will come when you call, or telling a woman to ‘Smile. It can’t be that bad. You’d be so much prettier if you smiled,’ dehumanizes her. It reduces her purpose to pleasing the male gaze. The posters, answering that reduction with confrontation, are meant to show street harassers that they are not entitled to women’s smiles or any other part of them.”
The work of the street artist known as 108 is much like his pseudonym: simple and mysterious. Often large black masses of abstract street art inhabit walls. Devoid of most or any detail, these masses are frequently punctuated by bursts of color. In a way the colorful abstractions feel like offshoots or biological growths on the larger black masses. There is a larger flow to his murals that are somehow familiar. The shapes, the way interact with their surfaces, and the way in interacts with itself feels organic. 108 explains this idea in a 2006 interview saying:
“Usually I work in public spaces, you know, and the background is the most important thing. I must find a good shapes for that place, usually I prefer old walls and abandoned places, and my “thing” grow by it self, as a tree or moss did, but I know nature do that really better than me! It’s very hard for me to work on a blank white surface… in that situations I must find a good inspiration elsewhere, maybe in another work I did before or working with a good friend with good ideas.”
Other times his abstract murals almost hint at an iconography, symbols, or recognizable shapes. Like much abstraction there is a lot of room for interpretation. Still, he goes on to say:
“Most of my works come from my unconscious and are totally irrational. You can see the abstract, soft and gloomy shapes… My works are also very symbolic. The same old example of the wheel, I found it in my unconscious, it was a big fixation for me… usually I have drawn it with 8 rays inside… In fact it was the sun wheel, one of the most important symbol in ancient Indoeuropean cultures (you can find it in a lot of Indian and Celtic stuff). This is just one example.”
Favio Martinez, better known on the street as Curiot, is a street artist based in Mexico City. His murals and paintings are especially colorful and complex. Curiot has a well-known and easily distinguishable style. Strange creatures populate his compositions. While each creature is definitely alien, Curiot creates them using familiar animal-like components. Often, these creatures are seen being worshiped by comparably tiny people giving the murals. In a way, this pulls Curiot’s work out of science fiction and places it more as a meditation and variations on Mexican Culture. The gallery statement from a recent solo exhibit at FFDG further explains Curiot’s inspiration:
“Curiot’s colorful paintings, featuring mythical half-animal half-human figures and scenes, which allude to Mexican traditions (geometric designs, Day of the Dead styles, myths and legends, tribal elements), are rendered in precise detail with a mixture of highly vibrant yet complementary colors. “Growing up in the States sort of gave me a diluted Mexican culture, I had no clue what I was missing out on until I moved back 10 years ago”, says Curiot. “The bright colors, folklore, ancient cultures and the beautiful handcrafts are some of the things that I embraced and which influence my work deeply”. The 11 new paintings in “Age of Omuktlans” tell the story of man’s distance from his natural path as he focuses his energy on satisfying his material pleasures and the dystopia this creates.”
Single-perspective installations have been extremely popular for the past several years, with the best examples making their rounds instantly on the usual social media platforms. The real shame of this mass exposure is that viewers rarely experience the tactile joy of these illusions, viewing the photographs but never seeing them first-hand. This is especially true with the work of Georges Rousse, a French artist who has been creating his painted perspective installations in abandoned and soon-to-be demolished buildings since the 1980’s.
Finding influence from Land Art as well as specific works like Suprametist painter Kazimir Malevich’s Black Square, Rousse pre-dates the modern trends of illusionistic installation, having perfected his trademark geometric style and his fondness for desolate locations decades ago. According to his site’s bio, Rousse considers himself a painter, sculptor, architect, and ultimately a photographer, but considers his raw material to be his great inspiration: Space. Upon selecting a site, Rousse goes about creating a unique angular perspective, that when photographed, compels the viewer to re-analyze their own surroundings, possibilities, transformations, and ultimately, Space.
Rousse explains, “The convergence of these spaces goes beyond a visual game: Like a hall of mirrors, enigmatic and dizzying, it questions the role of photography as a faithful reproduction of reality; it probes the distances between perception and reality, between imaginary and concrete.” (via My Modern Met)
Italian street artist Agostino Iacurci is one prolific muralist. His signature style has popped up around the globe in unique locations. The first image, one of the largest murals I’ve ever seen, dominates the side of a skyscraper in Taiwan. Consider the second set of photographs which can be found inside the walls of a maximum security prison near Rome. The third set is over 985 feet long and on a school in the Western Sahara. Iacurci’s singular narrative-like style has seen exhibitions and walls both small and large is a story told globally.