on the SDUBS codex

Street artists have a method, yet they have no known method; they follow a code, yet they follow no known code. There is a rule and a measure to the business of graffiti, a codex of unwritten, non-binding, and unspoken rules that are themselves constantly in flux, and always changing. As it would be foolish to attempt to capture these rules or to try to fix them in ink and in time, and as few who dare write about them live to tell the tale (let alone receive any sort of respect from their peers), let us examine a few of the more apparent entries in the SDUBS codex, or the Self Directed Urban Beautification Specialist's rulebook.

To celebrate the glories of socialism, the SDUBS applies her artwork primarily to public property such as street signs, USPS mail boxes, pavement, asphalt, utility poles, subway and light-rail cars, city buses, and to any otherwise unadorned surface located in or on local, state, or federal government buildings. (Graffiti will find its way onto privately-owned property, but if it does, it more than likely belongs on whatever boring and otherwise unadorned surface the vandal decided to deface.) Since she cannot hope to please all persons who might cast eyes upon her labors, the SDUBS works to satisfy her own artistic sensitivities and not those of anyone else. As her work is constantly exposed to external and internal criticism, she allows her natural abilities to flourish ceaselessly, and strives to make her artwork more vibrant, more colorful, less oppressive, more daring, less confusing, and more dastardly than all the rest; it is her goal to criticize those things as she sees wrong with the society in which she lives. Driven by a righteous purity that even she cannot quite explain, she is always on the move seeking out virgin surfaces upon which to display her talents. A creature of deep serenity and pervasive inner calm, she goes about the business of graffiti accompanied only by her own steadfast conviction, never hesitating in the application of her work, never fearful of the potential consequences of her actions, never glancing about to see who might be looking at her; she is a seasoned operator who cares about little but the task at hand. She does not linger near the applied work, nor does she deviate from her course any longer than it might take to stick up her dearly departed piece. And, finally, she experiments with any and every conceivable style of artwork creation and application until she has found the mixture that suits her best: Hereby, she avoids frustration, plays to her greatest strengths, and stagnates neither in style nor in daring.

The author hopes that this brief but poorly-worded and insufficiently-researched list might help the uninitiated to gain a better understanding of street art, of the street artist, and of the goals and aspirations of these strange and wonderful persons. To the night-crawling, alley-lurking, pride-swallowing, risk-taking SDUBS of the world: May your pens not leak, your nozzles never clog, and your hearts stay free of pride and malice. Mahalo, friends, mahalo.

場黑麥 mentiri factorem fecit

on the magical nature of street art | encyclopediamericanifesto

  There is mysterious work afoot in major cities across America – the work of street artists! Search modern urban architecture's unadorned spaces, and you will find gallery upon gallery of cunningly executed and deftly placed works of art. Look in the forgotten and the underutilized areas so common to today's city, and you will discover a riot of forever changing and seemingly self-rejuvenating works all crammed and pasted and plastered over each other. And if you watch over a few weeks time the canvas of urban art shift and change you will begin to wonder who are the persons who put up these strange and colorful pictures, and how ponderous are their cojones.

  It shall remain a mystery what exactly drives the individual to risk his life simply to showcase his artistic abilities; the street artist keeps from sight – only twice in the last two months have I seen street artists at work, and both times were at night. We may never explain why a person starts suddenly to affix his artwork to previously unadorned public surfaces, just as we may never explain why state and local governments hate street art as much as they do, or why they work so hard to cover it up and remove it. (I suspect that governments make street art illegal so that they can incarcerate gang members for spray painting, although these official bodies have in effect criminalized all public artwork other than that found on billboards or on other tax-revenue-generating places, which makes little sense from an artistic standpoint but complete sense from a capitalistic standpoint.)

  The self-directed urban beautification specialist, or SDUBS, works for neither fame nor money – she operates because she knows it is more important for her to pursue her Happiness freely and without restriction than for all the buildings to look the same. She executes her craft with the sole intention of making the urban environment more beautiful, and she can hardly stand to see a blank space go unfilled. Her city and state will punish her for her efforts, not rewared her. They look upon her as if she were vile and incorrigible scum, yet she has already forgiven them both, because her heart is pure, and devoid of malice.

  場黑麥ioanni elymucampus fecit

p.s. go to urbanartuploads.blogspot.com or to urbanartuploads.tumblr.com to see pictures of street art