Design an image, crafting it lovingly from the aether. Make it appealing to look at, and fill it will subtle meaning. Then, after much gentle and loving effort, venture out into the night and glue it to a pole, abandoning it there. This is the life of the street artist. Once his picture is up and his work is done, he vanishes into the darkness to wait and see how the Universe will respond. As a seasoned veteran of the streets, he operates cunningly and without ado; occasionally, however, he struggles with memories of earlier agony. Oh how he would sweat when first starting out, and quiver, his knees shaking on the way to check and see if his image were still up or if it had been scraped down or covered over in the few hours since it was born. Oh how he would wallow in sadness at finding his tender little piece plastered over with another person's art, or, worse, hacked off and discarded by a member of one of those Artwork Desecration Teams. The budding street artist suffers trepidation because his graffiti – once it is stuck up or otherwise applied – stops belonging to just one person and becomes the common property of anyone who might look at it; it merges with the harsh and tumultuous meritocracy that is graffiti.
If the graffiti artist wants to keep his sanity, he will realize quickly (by delving deeply into his soul-space and maintaining a proper equilibrium there) that his street art, along with the graffiti applied by the next vandal, is just one segment in a giant, shifting mosaic applied by hundreds of selfless SDUBS (Self Directed Urban Beautification Specialists) whose goal is to enliven the otherwise colorless and visually barren asphalt landscape (phaltscape). With enough experience he will understand that by covering only a portion of his piece instead of defacing it entirely, the other street artists deem his art edgy, unique, or beautiful enough to merit a continuing existence on wall, pole, and street-sign. (Exceptions to this rule include if his work is so terribly lame as to be worth neither time nor effort to cover over or if he is particularly good at putting his pieces in places few others might reach, which in itself would prove his mettle.) As long as he stays in the graffiti game, he shall, in time, develop a vandal's eye of his own, which will allow him to judge which pieces to cover over, which to incorporate into his newest work of art, and which to not touch at all.
His is a dangerous game of applying and fleeing, watching and forgetting, shrugging and re-applying. His is a world in which his city destroys his art nearly as quickly as he can apply it, a world in which his work must stand not only the test of time but also appeal to the sensibilities of any subsequent vandal whose primarily purpose is to destroy the phaltscape. He must keep one eye out for meddlesome and ever-watchful cops while contending with some of the finest artists operating today for display space, artists who plaster over poor and inferior works of art mercilessly and without hesitation. Such is life in the harsh meritocracy of the graffiti-writer.
mentiri factorem fecit – 場黑麥
Showing posts with label judge. Show all posts
Showing posts with label judge. Show all posts
18 February 2013
23 May 2012
on job-creating street art
In this year in which the president of the United States of America is once again appointed to his post by representatives who are themselves selected (not elected) by the individual States and sent off to the all-powerful electoral college, much is being said in public about Things That Create Jobs, and about Job-Creating Agencies, Legislation, Institutions, and Policies. Amid all of this hullabaloo, it is not surprising to this author that one major job-producing aspect of American culture has been left out, namely: Street Art.
Street art creates jobs in different ways. First of all, graffiti writers frequently purchase large quantities of name badges, shipping labels, poster-board, poster sheets, glue, and other such materials which they use as media for storing their art, for moving it around without too much fuss or unnecessary weight, and for applying their art to otherwise unadorned surfaces – if not for street artists, the persons making these products would likely be unemployed. Then, our favorite urban vandals buy markers, pens, chalk, ink, spray-cans filled with paint, colored pencils, regular pencils, cans of paint both acrylic and oil-based, and many other media with which they make marks upon the aforementioned paper products or deface public (and private) property directly – if not for street artists, the persons making these products would likely be unemployed. Beyond this, Self-Directed Urban Beautification Specialists (SDUBS) purchase face-masks, respirators, eye-protectors, and many other such materials required to shield their soft tissues from fumes and splatter caused by their many writing implements – if not for street artists, the persons making these products would likely be unemployed. (I would like to point out the major flaw in the argument I am making here: that the enormous, intricately-linked nature of our capitalist world markets means that the action of a few, specific individuals does not necessarily create jobs for any other specific individuals, even if the two parties Seem To Be Directly Linked; it is therefore impossible to attribute the Creation of Jobs to any one specific action (such as buying a packet of colored markers), person (such as Banksy), or group of persons (such as all American graffiti-writers put together), but the same can be said for the bullshit seeping from the mouths of our corrupted and re-election-obsessed politicians who claim that this specific thing or that specific policy Created Jobs.) Thirdly, graffiti writers create jobs by giving judges a means to punish juvenile delinquents and other such petty criminals by scrawling on and otherwise defacing property that needs to be subsequently scrubbed clean of said defacement, rehabilitated, and re-painted – if not for street artists, the persons making the cleaning products needed in said rehabilitation, and the persons catching, trying, and sentencing these law-breakers, would likely be out of work.
The above text is brief, but, I believe, powerful, justification for officially recognizing self-directed urban beautification as essential to a robust economy and a vibrant and lively national consciousness. So please, dear friends, write to your local street artist, and thank her for getting Americans back to work.
場黑麥 mentiri factorem fecit
Street art creates jobs in different ways. First of all, graffiti writers frequently purchase large quantities of name badges, shipping labels, poster-board, poster sheets, glue, and other such materials which they use as media for storing their art, for moving it around without too much fuss or unnecessary weight, and for applying their art to otherwise unadorned surfaces – if not for street artists, the persons making these products would likely be unemployed. Then, our favorite urban vandals buy markers, pens, chalk, ink, spray-cans filled with paint, colored pencils, regular pencils, cans of paint both acrylic and oil-based, and many other media with which they make marks upon the aforementioned paper products or deface public (and private) property directly – if not for street artists, the persons making these products would likely be unemployed. Beyond this, Self-Directed Urban Beautification Specialists (SDUBS) purchase face-masks, respirators, eye-protectors, and many other such materials required to shield their soft tissues from fumes and splatter caused by their many writing implements – if not for street artists, the persons making these products would likely be unemployed. (I would like to point out the major flaw in the argument I am making here: that the enormous, intricately-linked nature of our capitalist world markets means that the action of a few, specific individuals does not necessarily create jobs for any other specific individuals, even if the two parties Seem To Be Directly Linked; it is therefore impossible to attribute the Creation of Jobs to any one specific action (such as buying a packet of colored markers), person (such as Banksy), or group of persons (such as all American graffiti-writers put together), but the same can be said for the bullshit seeping from the mouths of our corrupted and re-election-obsessed politicians who claim that this specific thing or that specific policy Created Jobs.) Thirdly, graffiti writers create jobs by giving judges a means to punish juvenile delinquents and other such petty criminals by scrawling on and otherwise defacing property that needs to be subsequently scrubbed clean of said defacement, rehabilitated, and re-painted – if not for street artists, the persons making the cleaning products needed in said rehabilitation, and the persons catching, trying, and sentencing these law-breakers, would likely be out of work.
The above text is brief, but, I believe, powerful, justification for officially recognizing self-directed urban beautification as essential to a robust economy and a vibrant and lively national consciousness. So please, dear friends, write to your local street artist, and thank her for getting Americans back to work.
場黑麥 mentiri factorem fecit
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