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On the Run with Klone

Street art isn’t about time lines or history books but looking foward to see what the future brings if it was, the . Replacing an artist’s name is different than likening to another artist. P183 is not the ‘Banksy of Russia’. P183 is a street artist of very creative unique talents, and whose medium is both paint and stencil, and whose canvas is far harsher than the one that Banksy works off of. Just how there is one Blek le Rat, ( the pioneer of stenciling), there is one Banksy, and there is one P183.  The flip side is that by stating the artist is the ‘the banksy of [insert city or country]‘ there comes greater and quicker regonition. And if we are going to get technical I’d say that P183 is a combination of Blek le Rat, OakoAk, and his fellow Russian, T-Radya. The argument still remains though, that the artitsts own personal talent and expressions are not being seen as his own but rather as an attachment of another.

Street art is a medium of art that speaks, nay, that screams for itself. So let it scream, using its own language and voice, and let it be heard just the same.

Wenner invented a new geometry that creates compositions that appear to rise from or fall into the ground, “The pieces look real because they are calucalted to be perfectly and mathematically accurate.” His innovative style draws on religion and classical mythology. [via Daily Mail]

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More on Kurt Wenner:

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JANUARY 22, 2012 | 1-3 P.M.

(13197-A Gladstone Ave. Sylmar, CA 91342)

Spend an afternoon with legendary LA graffiti artist Galo “MAKE ONE” Canote. Dive into MAKE’s creative process as he takes you on a journey into LA street culture and teaches you the fundamentals of lettering and design. RSVP requested to rsvp@cafam.org by January 19th

Come Check It Out!!

The argument could journey both ways: now that there is a new leadership and with it a somewhat clean, albeit, dusty slate, why keep the remains of a past regime. A regime that leaves its people with scars and wounds, both literally and figuratively.

The opposite side to that argument, is that the graffiti serves as a warning to those who will take up the task of rebuilding and leading Libya, to take heed and not abuse the will and patience of its people.

There is also another proposition, to focus on more important matters of state rather than the trivial, and let the people’s voice ring in whatever form that they so chose. Paint is more agreeable to the eye than bullet holes.

BBC Article

(Photo by Khoi Nguyen/ArrestedMotion.com)

“What AEG did was in violation not only of my clients’ economic rights, but a violation of their moral rights as defined by federal and state law,” explained Mr. Zohar. The Visual Artists Rights Act (VARA) and the California Art Preservation Act (CAPA) protect the rights of artists and forbid the desecration, alteration or destruction of works of art.

“These renowned artists had agreed to show their artwork at the Ritz-Carlton Residences to help AEG attract affluent potential clientele to their vacant, multi-million dollar condos. Yet in return, their valuable art was coldly destroyed,” Mr. Zohar added.

The promotional event was held by AEG in conjunction with the 2011 Los Angeles Art Show. Part of the event was curated by Bryson Strauss, an internationally-recognized gallery and museum curator and director of the L.A. Art Machine, a community-based arts organization. Mr. Strauss was to supply fine artwork for the real estate marketing event on January 19, 2011, designed to attract potential buyers to the Ritz-Carlton Residences’ multi-million dollar penthouse suite, which remained unsold at the time. Mr. Strauss brought in several famed artists who provided their works for display at the event, including Shepard Fairey, creator of the Barack Obama “Hope” poster, and three critically-acclaimed street artists: Mear One, Chor Boogie and Shark Toof. Other featured artworks at the event were by legendary photojournalist Henri Cartier-Bresson, David LaChapelle, and Garret Suhrie. Following the successful party and the sale of Mr. Fairey’s works (which were then removed), AEG asked that Mear One, Chor Boogie and Shark Toof continue displaying their artwork because the penthouse would be shown to more potential buyers in the future. The artists agreed, but on condition that their multiple pieces of artwork eventually had to be returned, and had to be professionally de-installed under the supervision of L.A. Art Machine.

However, several months later, after Mr. Strauss and the artists had already made arrangements with AEG to retrieve the artwork, they were told that the artwork had been ordered removed by AEG and then disposed of as part of a routine cleanup.

“My clients were shocked by this admission and expected an apology, as well as payment for their artwork. AEG offered neither,” said Mr. Zohar. “Apparently they thought my clients lacked the resources and courage to take on such an influential and powerful business. They were wrong.”

All three of the street artists are highly regarded within the art world on both a national and international level. Mear One is well-known for his politically-themed works, city-wide mural installations, and featured album covers and clothing graphics for music artists such as Limp Bizkit and Guns N’ Roses. Chor Boogie has created murals in cities on five continents and painted portraits for Jay Z and Hugh Hefner, but may be best known for his mural painted on a portion of the Berlin Wall in 2010, valued at more than 500,000 Euros. Shark Toof’s works, known for his iconic wheatpaste of a hand drawn shark head, have been exhibited in galleries and museums throughout the United States including Portsmouth Museum of Art and currently at the Chinese American Museum.

“Corporate apathy toward art and artists is not that surprising,” said Mr. Strauss. “In this case, we all knew that Ritz-Carlton had commercial interests, but we initially took their excitement about this artwork, the artists, and the event as being genuine. However, it appears that when their 9 million dollar penthouse didn’t sell, corporate priorities shifted and they showed no real appreciation for the importance and value of these pieces. The loss of nearly 90 feet of murals by world-class artists is a tragedy. As a person who has committed his life to art and artists, I can’t get my head around the indifference.”

If in London Key Streets to Hit:

Bethnal Green Rd.
Hackney
Hackney Wick
Shoreditch
Hoxton Rd.
Vyner St.

ART GALLERIES

20 Projects
7th Floor
100 Brompton Road,
London, SW3 1ER
U.K.

Lomography Gallery
117 Commercial Street,
London, E1 6BG

Whitechapel Gallery
77-82 Whitechapel High Street
London E1 7QX

Outside World Gallery
44 Redchurch Street, London, E2 7DP
07814 430 852

Victoria Miro
16 Wharf Rd  City of London N1 7RW

Signal Gallery
32 Paul Street, London, EC2A 4LB
020 713 1500

Hoxton Art Gallery
64 Charlotte Road, London, EC2A 3PE
020 7739 6852

French Riveria
91 Brick Lane, Brick Lane, London, E1 6QL
0872 148 0522

Check Out: First Thursdays

FYI: On the first Thursday of every month the galleries and museums of East London open their doors late!!!!