Wearology
Junior Member
Staff at FatFreeArt
Posts • 3,562
Likes • 4,393
April 2008
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MOCA "Art in the Streets" Until 8th August, by Wearology on May 24, 2011 17:27:15 GMT 1, I flew from New York to Los Angeles to see the MOCA show. I arrived at the museum today to only find out that it is closed on Tuesdays & Wednesdays. I guess I should have checked the museum hours before I started my cross country journey. I am now going back to the airport to return home.
I flew from New York to Los Angeles to see the MOCA show. I arrived at the museum today to only find out that it is closed on Tuesdays & Wednesdays. I guess I should have checked the museum hours before I started my cross country journey. I am now going back to the airport to return home.
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illu
Junior Member
Posts • 1,849
Likes • 366
December 2009
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MOCA "Art in the Streets" Until 8th August, by illu on May 24, 2011 17:30:58 GMT 1, I flew from New York to Los Angeles to see the MOCA show. I arrived at the museum today to only find out that it is closed on Tuesdays & Wednesdays. I guess I should have checked the museum hours before I started my cross country journey. I am now going back to the airport to return home.
uhh this is mean, but to lighten you up a bit: did you celebrated the day of the tortoise yesterday?
I flew from New York to Los Angeles to see the MOCA show. I arrived at the museum today to only find out that it is closed on Tuesdays & Wednesdays. I guess I should have checked the museum hours before I started my cross country journey. I am now going back to the airport to return home. uhh this is mean, but to lighten you up a bit: did you celebrated the day of the tortoise yesterday?
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MOCA "Art in the Streets" Until 8th August, by rottenredrooster on May 24, 2011 17:31:45 GMT 1, I flew from New York to Los Angeles to see the MOCA show. I arrived at the museum today to only find out that it is closed on Tuesdays & Wednesdays. I guess I should have checked the museum hours before I started my cross country journey. I am now going back to the airport to return home.
Bloody hell, unlucky mate.
I flew from New York to Los Angeles to see the MOCA show. I arrived at the museum today to only find out that it is closed on Tuesdays & Wednesdays. I guess I should have checked the museum hours before I started my cross country journey. I am now going back to the airport to return home. Bloody hell, unlucky mate.
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dasium
New Member
Posts • 591
Likes • 75
January 2011
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MOCA "Art in the Streets" Until 8th August, by dasium on May 24, 2011 17:32:50 GMT 1, I flew from New York to Los Angeles to see the MOCA show. I arrived at the museum today to only find out that it is closed on Tuesdays & Wednesdays. I guess I should have checked the museum hours before I started my cross country journey. I am now going back to the airport to return home.
Ouch, how crap....
I flew from New York to Los Angeles to see the MOCA show. I arrived at the museum today to only find out that it is closed on Tuesdays & Wednesdays. I guess I should have checked the museum hours before I started my cross country journey. I am now going back to the airport to return home. Ouch, how crap....
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MOCA "Art in the Streets" Until 8th August, by bazzj04 on May 24, 2011 17:32:51 GMT 1, I flew from New York to Los Angeles to see the MOCA show. I arrived at the museum today to only find out that it is closed on Tuesdays & Wednesdays. I guess I should have checked the museum hours before I started my cross country journey. I am now going back to the airport to return home.
Ha christ ,,, thats a fucking nightmare , im sorry but it is a little funny though,,,,
I flew from New York to Los Angeles to see the MOCA show. I arrived at the museum today to only find out that it is closed on Tuesdays & Wednesdays. I guess I should have checked the museum hours before I started my cross country journey. I am now going back to the airport to return home. Ha christ ,,, thats a fucking nightmare , im sorry but it is a little funny though,,,,
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Wearology
Junior Member
Staff at FatFreeArt
Posts • 3,562
Likes • 4,393
April 2008
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MOCA "Art in the Streets" Until 8th August, by Wearology on May 24, 2011 18:52:29 GMT 1, I wanted to share this experience with the forum because I thought we could all get a bit of a laugh from my bad experience. I was excited to at least take some photos of the outside installations and just realized the battery in the camera is dead. I give up - let this be a lesson to all our younger forum members - drugs are bad and being a 40 year old burnout is often challenging for me.
I wanted to share this experience with the forum because I thought we could all get a bit of a laugh from my bad experience. I was excited to at least take some photos of the outside installations and just realized the battery in the camera is dead. I give up - let this be a lesson to all our younger forum members - drugs are bad and being a 40 year old burnout is often challenging for me.
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ricobenfico
Junior Member
Posts • 3,174
Likes • 364
May 2008
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MOCA "Art in the Streets" Until 8th August, by ricobenfico on May 24, 2011 18:55:35 GMT 1, Ahhhh, Jon......I feel your pain!
Ahhhh, Jon......I feel your pain!
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chaserawr
Junior Member
Posts • 1,146
Likes • 224
February 2011
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MOCA "Art in the Streets" Until 8th August, by chaserawr on May 24, 2011 18:57:03 GMT 1, Cant you reschedule your flight to leave a few days later? Huge bummer.
Cant you reschedule your flight to leave a few days later? Huge bummer.
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MOCA "Art in the Streets" Until 8th August, by searchandrescue on May 24, 2011 19:07:10 GMT 1, I wanted to share this experience with the forum because I thought we could all get a bit of a laugh from my bad experience. I was excited to at least take some photos of the outside installations and just realized the battery in the camera is dead. I give up - let this be a lesson to all our younger forum members - drugs are bad and being a 40 year old burnout is often challenging for me.
Feeling the pain! Lesson to all younger members go out there and have fun, drugs can be a good thing if you learn to use them not abuse them. Personally I'd avoid anything not synthesised for humans!!!
I wanted to share this experience with the forum because I thought we could all get a bit of a laugh from my bad experience. I was excited to at least take some photos of the outside installations and just realized the battery in the camera is dead. I give up - let this be a lesson to all our younger forum members - drugs are bad and being a 40 year old burnout is often challenging for me. Feeling the pain! Lesson to all younger members go out there and have fun, drugs can be a good thing if you learn to use them not abuse them. Personally I'd avoid anything not synthesised for humans!!!
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Wearology
Junior Member
Staff at FatFreeArt
Posts • 3,562
Likes • 4,393
April 2008
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MOCA "Art in the Streets" Until 8th August, by Wearology on May 24, 2011 19:08:26 GMT 1, I will be back in California before August when the show ends but I just can't believe a museum would be closed Tuesday & Wednesday. It makes no sense at all. Can anyone recommend some galleries or art related stuff to do in California today until my flight leaves later tonight - thanks
I will be back in California before August when the show ends but I just can't believe a museum would be closed Tuesday & Wednesday. It makes no sense at all. Can anyone recommend some galleries or art related stuff to do in California today until my flight leaves later tonight - thanks
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love
Junior Member
Posts • 1,644
Likes • 389
October 2009
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MOCA "Art in the Streets" Until 8th August, by love on May 24, 2011 19:11:39 GMT 1, Wonder that this didn't happen to me yet. You got my feelings.
Wonder that this didn't happen to me yet. You got my feelings.
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jB
Junior Member
Posts • 4,677
Likes • 988
June 2007
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MOCA "Art in the Streets" Until 8th August, by jB on May 24, 2011 19:16:50 GMT 1, I will be back in California before August when the show ends but I just can't believe a museum would be closed Tuesday & Wednesday. It makes no sense at all. Can anyone recommend some galleries or art related stuff to do in California today until my flight leaves later tonight - thanks
Jon - go down to culver city to check out Carmichael's Gallery, Lebasse Projects, Roberts & Tilton, and Corey Helford Gallery - they are all in walking distance to one another and only about a 20$ cab ride from the MOCA Geffen
I will be back in California before August when the show ends but I just can't believe a museum would be closed Tuesday & Wednesday. It makes no sense at all. Can anyone recommend some galleries or art related stuff to do in California today until my flight leaves later tonight - thanks Jon - go down to culver city to check out Carmichael's Gallery, Lebasse Projects, Roberts & Tilton, and Corey Helford Gallery - they are all in walking distance to one another and only about a 20$ cab ride from the MOCA Geffen
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Yervi
Artist
New Member
Posts • 429
Likes • 7
November 2010
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MOCA "Art in the Streets" Until 8th August, by Yervi on May 24, 2011 19:28:54 GMT 1, ^^ agreed. if i didn't have class i would say let's meet up and have a pint. sorry for the sh!t luck bud. btw if you are still in the area and fancy a fantastic bowl or ramen, walk down to daikokuya.
^^ agreed. if i didn't have class i would say let's meet up and have a pint. sorry for the sh!t luck bud. btw if you are still in the area and fancy a fantastic bowl or ramen, walk down to daikokuya.
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mylilly
New Member
Posts • 129
Likes • 29
March 2010
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MOCA "Art in the Streets" Until 8th August, by mylilly on May 24, 2011 20:33:30 GMT 1, A point that looks like it was brought up earlier, but brushed over is that the Banksy part of the MOCA look a bit hashed together. T-shirt pinned to the wall etc a little piece, here a stencil there, hung as if it was a college project! You don't have to be a great curator to know this is badly displayed... I know its meant for an informative collection of work. But seeing as it's hung in one of the worlds' leading gallery/muesums you would expect him to step up to the mark... If the scene is going to grow in the overall artworld it really needs to be doing shows as great as Satchii's Sensation. Maybe Banksy doesn't want to or even cares!!! Although there's great parts in the MOCA show it really doesn't stand up to the great historic shows.
A point that looks like it was brought up earlier, but brushed over is that the Banksy part of the MOCA look a bit hashed together. T-shirt pinned to the wall etc a little piece, here a stencil there, hung as if it was a college project! You don't have to be a great curator to know this is badly displayed... I know its meant for an informative collection of work. But seeing as it's hung in one of the worlds' leading gallery/muesums you would expect him to step up to the mark... If the scene is going to grow in the overall artworld it really needs to be doing shows as great as Satchii's Sensation. Maybe Banksy doesn't want to or even cares!!! Although there's great parts in the MOCA show it really doesn't stand up to the great historic shows.
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MOCA "Art in the Streets" Until 8th August, by Daniel Silk on May 27, 2011 14:20:35 GMT 1, The Story of Art in the Streets movie trailer
The Story of Art in the Streets movie trailer
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tobaum
Junior Member
Posts • 1,077
Likes • 7
November 2009
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MOCA "Art in the Streets" Until 8th August, by tobaum on May 28, 2011 9:12:02 GMT 1, Just back from California. Wearology, same as you, I went to MOCA to find the museum closed. Fortunately I managed to stay one more day and had a chance to see it. Glad to read you are going back in august, it definitely worth the look! And the good thing is... more banksy pieces in the meantime
I'll try to share pics asap (too many pics ^^)
Just back from California. Wearology, same as you, I went to MOCA to find the museum closed. Fortunately I managed to stay one more day and had a chance to see it. Glad to read you are going back in august, it definitely worth the look! And the good thing is... more banksy pieces in the meantime I'll try to share pics asap (too many pics ^^)
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Deleted
Posts • 0
Likes •
January 1970
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MOCA "Art in the Streets" Until 8th August, by Deleted on May 28, 2011 21:47:04 GMT 1, Thought some may appreciate this. Nice to see some well thought out articles coming out now that the hype has settled.
From the LA Times
MOCA's 'Art in the Streets' gets the big picture wrong
The stylish exhibition mainly showcases the commercial legacy of graffiti, ignoring much of the form's cultural influence and L.A.'s role.
Is graffiti the most influential art movement since Pop burst on the scene in 1962?
That's the head-turning claim made by "Art in the Streets," a controversial exhibition at the Museum of Contemporary Art. The show has been drawing the ire of social critics, alarmed by what they perceive as an institutional celebration of vandalism, all while drawing curious crowds (often young) to the museum's Little Tokyo warehouse space. Graffiti is identified as a global artistic phenomenon that is thriving 40 years after it first emerged as a cultural marker around 1971.
RELATED
Photos: MOCA's 'Art in the Streets' show
Art review: 'Art in the Streets' at the Geffen Contemporary at MOCA
MOCA's 'Art in the Streets' and commercial interests
Culture Monster: The L.A. Times arts blog
The answer to the question depends not on moralizing interpretations, however, as the social critics want. Having lived in Hollywood for more than a dozen years in the 1980s and '90s, I'm pretty well convinced that urban graffiti doesn't drag down neighborhoods, but instead erupts in areas already largely abandoned by civic forces. Graffiti scrawls a name on hitherto faceless social realities, instantly becoming a convenient target for blame.
Graffiti is a vernacular art. The remoteness of City Hall and the anonymity of socioeconomic power are confronted by in-your-face tagging, whose anarchic purpose is to register individual identity. In its crudest form it blurts, "I exist!" Its more imaginative forms also shout, "And I'm fantastic!"
Yes, graffiti is vandalism — a truism I know well from having repeatedly painted it out on my own former domicile. But what has that to do with MOCA? As critic William Poundstone pointedly asked, how many museum shows of El Greco are required to take a position on the Spanish Inquisition?
Still, MOCA's claim for the magnitude of graffiti's post-Pop influence on art is overblown. "Art in the Streets" cites global reach, including London; São Paolo, Brazil; Athens; and Tokyo, as evidence. (Sixty artists are surveyed.) Since the 1970s, however, the deepest impact on art culture has come from Conceptual art, not graffiti.
Conceptualism is the primary lingua franca of art today — like it or not, and for good or ill. Sixty artists couldn't scratch the surface of its four-decade history. It operates the way Cubism did a century ago, its simultaneity of multiple viewpoints having given birth to Dada in the 'teens and Surrealism in the '20s and dominated the 20th century's first half. Now, Conceptual art even drives the materials of painting and sculpture that it once seemed poised to dissolve.
Remember Tom Wolfe's nutty 1975 rant, "The Painted Word," a slim volume claiming that theory had knocked visual experience to the ground and held it down for the count? One could even say that graffiti owes its 1980s emergence into art world consciousness to the success of Conceptual art's frontal assault on formalist Modernism, with its crabbed notion that, say, a painting's highest purpose is to define what a painting is. With an emphasis on words, some Conceptual art even opened the door to thinking of tagging as an artistic strategy.
Text in art was not novel; think Cubism again, with its fragments of newspapers and other collage elements. But in the '60s, Ed Ruscha's big, blaring paintings of words or Lawrence Weiner's typographic word-play written directly on gallery walls shifted the artistic role of language from subordinate to primary.
So "Art in the Streets" gets the big picture wrong — even though it does have much else to recommend it.
Perhaps the show's most resonant feature is that it clarifies graffiti's relationship to comics and cartoons. Like in the Pop art whose influence MOCA now claims street art has eclipsed, cartoon sensibilities are everywhere to be seen.
It's there in some of the worst work, such as a jejune installation of an urban alley, complete with a corny mannequin of a heroin addict, by California artist Neck Face. It also dominates much of the best, including the famous chalk drawings that Keith Haring made on New York subway advertising panels and the woebegone "hangover heads" drawn by Barry McGee. Even the late Margaret Kilgallen's marvelous monumental signage makes underground comics environmental.
Exploding cartoons to environmental scale is a street art staple. Cartoons and graffiti are both forms of mass art — not popular art, which is consumer-oriented, but mass art, which is hurled at anyone and everyone. Partly addressed to children, it exults in senselessness, as art critic Amy Goldin once noted. She identified mass art as intentionally irresponsible, demonic, fragmentary and nihilistic.
"Mass art addresses its audience from a madhouse," Goldin wrote, "as inmate to inmate." At MOCA, look at the sublime vulgarity of the low-rider ice cream truck spray-painted by Mister Cartoon, with its sexist busty-babes and leering metal-flake clowns, and you'll know what Goldin means.
Graffiti is a visual wing of hip-hop. Its general cultural effect has been huge, including in fashion, video games, graphic design, advertising — even tattoos. (In 2006, the Pew Research Center estimated that 40% of Gen-Xers are tattooed.) Yet eloquence in the madhouse is rare, while inchoate raving is commonplace. Despite highlights, the show overflows with repetitive material, as if stuck in gear going on two generations now.
The sameness is wearying. And, sorry, but claiming that skateboarding is performance art, which this show does, is like saying "Keeping Up With the Kardashians" is TV theater. True, but emptily so.
So the biggest disappointment of "Art in the Streets" is its misunderstanding of history. That hits close to home.
Consider what doesn't appear in the show — not even in the catalog chronology or the gallery's information timeline.
Between 1969 and 1973, the L.A. Fine Arts Squad, led by Victor Henderson and Terry Schoonhoven, undertook an independent series of remarkable wall paintings around the city. During a period of Vietnam War disillusionment, they turned conventional expectations for commercial billboards into apocalyptic, free-for-all street visions.
In 1972 Willie Herrón, reacting to a gang assault on his brother, painted a wrenching mural in a City Terrace alley. He carefully incorporated the wall's existing graffiti, expressly to insist on its equivalence with his painting.
That same year the Chicano artists' collective Asco — Herrón, Gronk and Harry Gamboa Jr. — laid conceptual claim to the Los Angeles County Museum of Art by tagging the building the way a painter signs a canvas. Gamboa photographed Asco's fourth member, Patssi Valdez, standing astride the bold graffiti.
The Squad's work was the subject of a recent show at Culver City's Cardwell Jimmerson Gallery. Photographic documentation of the LACMA tagging is in a survey of Latin American political art currently at Mexico City's National Institute of Fine Arts. And an Asco retrospective opens at LACMA in September. But none of it is at MOCA.
Nor is any of the 1981 documentary "Mur Murs" by French director Agnes Varda, which chronicled much of the prior decade's L.A. street art, including graffiti. "Mur Murs" is not included in the loop of "seminal film and video" playing at the show's end.
About as far as it gets are paintings by L.A. artist Chaz Bojórquez, whose 1970s precedent in wall-stenciling reaches all the way to London's Banksy today. Gusmano Cesaretti's photographs of Chicano graffiti are also compelling. But East L.A. graffiti artist Gajin Fujita, whose distinctive paintings merging tagging with the "floating world" of traditional Japanese ukiyo-e are the most important 21st century iteration of graffiti's influence on art (he shows regularly at L.A. Louvre), is nowhere to be found.
Mostly MOCA tells a mythic tale in which graffiti, an Expressionist art form, is largely born in Manhattan, spreads across the country and finally envelopes the world. If the story sounds familiar, that's because it replays New York School legend, long since discredited, about Abstract Expressionist painting in the 1940s. The generative action has merely shifted from 10th Street and Greenwich Village, stamping ground of Pollock and De Kooning, to the South Bronx and the Lower East Side, hangouts of Crash and Kenny Scharf.
New York was certainly pivotal in marketing graffiti, starting in the 1980s, just as it was for Abstract Expressionism in the 1950s. In fact, that's the real sequence leading from Pop art to street art. MOCA's stylish exhibition mostly extends a legacy of commercial influence, which is the wrong way for an art museum to frame a show.
www.latimes.com/entertainment/news/la-ca-knight-graffiti-notebook-20110529,0,839366.story
Thought some may appreciate this. Nice to see some well thought out articles coming out now that the hype has settled. From the LA Times MOCA's 'Art in the Streets' gets the big picture wrongThe stylish exhibition mainly showcases the commercial legacy of graffiti, ignoring much of the form's cultural influence and L.A.'s role. Is graffiti the most influential art movement since Pop burst on the scene in 1962? That's the head-turning claim made by "Art in the Streets," a controversial exhibition at the Museum of Contemporary Art. The show has been drawing the ire of social critics, alarmed by what they perceive as an institutional celebration of vandalism, all while drawing curious crowds (often young) to the museum's Little Tokyo warehouse space. Graffiti is identified as a global artistic phenomenon that is thriving 40 years after it first emerged as a cultural marker around 1971. RELATED Photos: MOCA's 'Art in the Streets' show Art review: 'Art in the Streets' at the Geffen Contemporary at MOCA MOCA's 'Art in the Streets' and commercial interests Culture Monster: The L.A. Times arts blog The answer to the question depends not on moralizing interpretations, however, as the social critics want. Having lived in Hollywood for more than a dozen years in the 1980s and '90s, I'm pretty well convinced that urban graffiti doesn't drag down neighborhoods, but instead erupts in areas already largely abandoned by civic forces. Graffiti scrawls a name on hitherto faceless social realities, instantly becoming a convenient target for blame. Graffiti is a vernacular art. The remoteness of City Hall and the anonymity of socioeconomic power are confronted by in-your-face tagging, whose anarchic purpose is to register individual identity. In its crudest form it blurts, "I exist!" Its more imaginative forms also shout, "And I'm fantastic!" Yes, graffiti is vandalism — a truism I know well from having repeatedly painted it out on my own former domicile. But what has that to do with MOCA? As critic William Poundstone pointedly asked, how many museum shows of El Greco are required to take a position on the Spanish Inquisition? Still, MOCA's claim for the magnitude of graffiti's post-Pop influence on art is overblown. "Art in the Streets" cites global reach, including London; São Paolo, Brazil; Athens; and Tokyo, as evidence. (Sixty artists are surveyed.) Since the 1970s, however, the deepest impact on art culture has come from Conceptual art, not graffiti. Conceptualism is the primary lingua franca of art today — like it or not, and for good or ill. Sixty artists couldn't scratch the surface of its four-decade history. It operates the way Cubism did a century ago, its simultaneity of multiple viewpoints having given birth to Dada in the 'teens and Surrealism in the '20s and dominated the 20th century's first half. Now, Conceptual art even drives the materials of painting and sculpture that it once seemed poised to dissolve. Remember Tom Wolfe's nutty 1975 rant, "The Painted Word," a slim volume claiming that theory had knocked visual experience to the ground and held it down for the count? One could even say that graffiti owes its 1980s emergence into art world consciousness to the success of Conceptual art's frontal assault on formalist Modernism, with its crabbed notion that, say, a painting's highest purpose is to define what a painting is. With an emphasis on words, some Conceptual art even opened the door to thinking of tagging as an artistic strategy. Text in art was not novel; think Cubism again, with its fragments of newspapers and other collage elements. But in the '60s, Ed Ruscha's big, blaring paintings of words or Lawrence Weiner's typographic word-play written directly on gallery walls shifted the artistic role of language from subordinate to primary. So "Art in the Streets" gets the big picture wrong — even though it does have much else to recommend it. Perhaps the show's most resonant feature is that it clarifies graffiti's relationship to comics and cartoons. Like in the Pop art whose influence MOCA now claims street art has eclipsed, cartoon sensibilities are everywhere to be seen. It's there in some of the worst work, such as a jejune installation of an urban alley, complete with a corny mannequin of a heroin addict, by California artist Neck Face. It also dominates much of the best, including the famous chalk drawings that Keith Haring made on New York subway advertising panels and the woebegone "hangover heads" drawn by Barry McGee. Even the late Margaret Kilgallen's marvelous monumental signage makes underground comics environmental. Exploding cartoons to environmental scale is a street art staple. Cartoons and graffiti are both forms of mass art — not popular art, which is consumer-oriented, but mass art, which is hurled at anyone and everyone. Partly addressed to children, it exults in senselessness, as art critic Amy Goldin once noted. She identified mass art as intentionally irresponsible, demonic, fragmentary and nihilistic. "Mass art addresses its audience from a madhouse," Goldin wrote, "as inmate to inmate." At MOCA, look at the sublime vulgarity of the low-rider ice cream truck spray-painted by Mister Cartoon, with its sexist busty-babes and leering metal-flake clowns, and you'll know what Goldin means. Graffiti is a visual wing of hip-hop. Its general cultural effect has been huge, including in fashion, video games, graphic design, advertising — even tattoos. (In 2006, the Pew Research Center estimated that 40% of Gen-Xers are tattooed.) Yet eloquence in the madhouse is rare, while inchoate raving is commonplace. Despite highlights, the show overflows with repetitive material, as if stuck in gear going on two generations now. The sameness is wearying. And, sorry, but claiming that skateboarding is performance art, which this show does, is like saying "Keeping Up With the Kardashians" is TV theater. True, but emptily so. So the biggest disappointment of "Art in the Streets" is its misunderstanding of history. That hits close to home. Consider what doesn't appear in the show — not even in the catalog chronology or the gallery's information timeline. Between 1969 and 1973, the L.A. Fine Arts Squad, led by Victor Henderson and Terry Schoonhoven, undertook an independent series of remarkable wall paintings around the city. During a period of Vietnam War disillusionment, they turned conventional expectations for commercial billboards into apocalyptic, free-for-all street visions. In 1972 Willie Herrón, reacting to a gang assault on his brother, painted a wrenching mural in a City Terrace alley. He carefully incorporated the wall's existing graffiti, expressly to insist on its equivalence with his painting. That same year the Chicano artists' collective Asco — Herrón, Gronk and Harry Gamboa Jr. — laid conceptual claim to the Los Angeles County Museum of Art by tagging the building the way a painter signs a canvas. Gamboa photographed Asco's fourth member, Patssi Valdez, standing astride the bold graffiti. The Squad's work was the subject of a recent show at Culver City's Cardwell Jimmerson Gallery. Photographic documentation of the LACMA tagging is in a survey of Latin American political art currently at Mexico City's National Institute of Fine Arts. And an Asco retrospective opens at LACMA in September. But none of it is at MOCA. Nor is any of the 1981 documentary "Mur Murs" by French director Agnes Varda, which chronicled much of the prior decade's L.A. street art, including graffiti. "Mur Murs" is not included in the loop of "seminal film and video" playing at the show's end. About as far as it gets are paintings by L.A. artist Chaz Bojórquez, whose 1970s precedent in wall-stenciling reaches all the way to London's Banksy today. Gusmano Cesaretti's photographs of Chicano graffiti are also compelling. But East L.A. graffiti artist Gajin Fujita, whose distinctive paintings merging tagging with the "floating world" of traditional Japanese ukiyo-e are the most important 21st century iteration of graffiti's influence on art (he shows regularly at L.A. Louvre), is nowhere to be found. Mostly MOCA tells a mythic tale in which graffiti, an Expressionist art form, is largely born in Manhattan, spreads across the country and finally envelopes the world. If the story sounds familiar, that's because it replays New York School legend, long since discredited, about Abstract Expressionist painting in the 1940s. The generative action has merely shifted from 10th Street and Greenwich Village, stamping ground of Pollock and De Kooning, to the South Bronx and the Lower East Side, hangouts of Crash and Kenny Scharf. New York was certainly pivotal in marketing graffiti, starting in the 1980s, just as it was for Abstract Expressionism in the 1950s. In fact, that's the real sequence leading from Pop art to street art. MOCA's stylish exhibition mostly extends a legacy of commercial influence, which is the wrong way for an art museum to frame a show. www.latimes.com/entertainment/news/la-ca-knight-graffiti-notebook-20110529,0,839366.story
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ilmambo
Junior Member
Posts • 2,336
Likes • 240
March 2010
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MOCA "Art in the Streets" Until 8th August, by ilmambo on Jun 10, 2011 10:34:16 GMT 1, TUC March 26/03/2011 di suburbanslice, su Flickr
banksy was there and took inspiration?
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MOCA "Art in the Streets" Until 8th August, by Agent Provocateur on Jun 10, 2011 10:35:01 GMT 1, Damn... quality sign, his mind must be wired differently to the rest of ours, simple, clever and to the point!
Damn... quality sign, his mind must be wired differently to the rest of ours, simple, clever and to the point!
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MOCA "Art in the Streets" Until 8th August, by Phear Loathing on Jun 13, 2011 16:35:11 GMT 1, Driving to LA today to see the exhibit. Really looking forward to it!
Driving to LA today to see the exhibit. Really looking forward to it!
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MOCA "Art in the Streets" Until 8th August, by Daniel Silk on Jun 17, 2011 15:34:30 GMT 1, Banksy Exhibit @ MOCA
Banksy Exhibit @ MOCA
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MOCA "Art in the Streets" Until 8th August, by Daniel Silk on Jun 21, 2011 13:24:35 GMT 1,
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Deleted
Posts • 0
Likes •
January 1970
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MOCA "Art in the Streets" Until 8th August, by Deleted on Jun 21, 2011 20:35:01 GMT 1, BREAKING: Brooklyn Museum changes mind about "Art in the Streets." ow.ly/5n531
We've just been forwarded an email sent by the Brooklyn Museum to a street artist in the "Art in the Streets" show, currently on view at the MOCA. The Brooklyn Museum was scheduled to be the next shop in the show's tour, but that's no more. Read the letter from Brooklyn Museum Director Arnold Lehman below:
I am writing with the unfortunate news the Brooklyn Museum must withdraw as the second venue for "Art in the Streets." I asked our curator, Sharon Matt Atkins, for your email address so that you might hear this news directly from me. As I hope you know, we have all been tremendously enthusiastic about this exhibition from the very beginning, and we applaud LA MOCA for organizing such a groundbreaking project bringing the important history of graffiti and street art to a broad public. In Brooklyn, we saw it as an appropriate next exhibition for us after our Jean-Michel Basquiat and graffiti exhibitions in 2005 and 2006, respectively.
We regret that we are now in the position of withdrawing from this project. We have already and will continue to face severe reductions in financial support that require the Museum to make very tough decisions in light of the challenges facing us in the coming fiscal year. With no major funding in place, we cannot move ahead.
I know I speak for Sharon as well in expressing our regret that we will not be able to move ahead with presenting "Art in the Streets." We have the utmost respect for your work, and I hope we will find other opportunities to collaborate in the future.
UPDATE: We just talked with someone intimately familiar with the show, and he said, "I think it could be a combination that the museum is afraid of the show and the negative press it could bring them. Why would New York not want this show? I don't believe that someone would not pay for this exhibit."
The show has received negative attention recently, notably from the N.Y. Daily News, which opined in an April editorial that "museum mavens will be sticking their thumbs in the eyes of every bodega owner and restaurant manager who struggles to keep his or her property graffiti-free, not to mention the eyes of all New Yorkers who cringe recalling the days of graffiti-covered subway cars."
BREAKING: Brooklyn Museum changes mind about "Art in the Streets." ow.ly/5n531 We've just been forwarded an email sent by the Brooklyn Museum to a street artist in the "Art in the Streets" show, currently on view at the MOCA. The Brooklyn Museum was scheduled to be the next shop in the show's tour, but that's no more. Read the letter from Brooklyn Museum Director Arnold Lehman below: I am writing with the unfortunate news the Brooklyn Museum must withdraw as the second venue for "Art in the Streets." I asked our curator, Sharon Matt Atkins, for your email address so that you might hear this news directly from me. As I hope you know, we have all been tremendously enthusiastic about this exhibition from the very beginning, and we applaud LA MOCA for organizing such a groundbreaking project bringing the important history of graffiti and street art to a broad public. In Brooklyn, we saw it as an appropriate next exhibition for us after our Jean-Michel Basquiat and graffiti exhibitions in 2005 and 2006, respectively. We regret that we are now in the position of withdrawing from this project. We have already and will continue to face severe reductions in financial support that require the Museum to make very tough decisions in light of the challenges facing us in the coming fiscal year. With no major funding in place, we cannot move ahead. I know I speak for Sharon as well in expressing our regret that we will not be able to move ahead with presenting "Art in the Streets." We have the utmost respect for your work, and I hope we will find other opportunities to collaborate in the future. UPDATE: We just talked with someone intimately familiar with the show, and he said, "I think it could be a combination that the museum is afraid of the show and the negative press it could bring them. Why would New York not want this show? I don't believe that someone would not pay for this exhibit." The show has received negative attention recently, notably from the N.Y. Daily News, which opined in an April editorial that "museum mavens will be sticking their thumbs in the eyes of every bodega owner and restaurant manager who struggles to keep his or her property graffiti-free, not to mention the eyes of all New Yorkers who cringe recalling the days of graffiti-covered subway cars."
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Yervi
Artist
New Member
Posts • 429
Likes • 7
November 2010
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MOCA "Art in the Streets" Until 8th August, by Yervi on Jun 22, 2011 7:28:59 GMT 1, so sad
so sad
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MOCA "Art in the Streets" Until 8th August, by Daniel Silk on Jun 23, 2011 10:16:53 GMT 1,
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madtaper
New Member
Posts • 179
Likes • 63
November 2010
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MOCA "Art in the Streets" Until 8th August, by madtaper on Aug 7, 2011 6:12:40 GMT 1, I just got into LA today . Gonna hit the MOCA show tomorrow with big group. Monday is last day. Anyone else in town for this? I can't wait
I just got into LA today . Gonna hit the MOCA show tomorrow with big group. Monday is last day. Anyone else in town for this? I can't wait
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madtaper
New Member
Posts • 179
Likes • 63
November 2010
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MOCA "Art in the Streets" Until 8th August, by madtaper on Aug 8, 2011 4:25:14 GMT 1, Fun day. Place was packed street art overload today
Fun day. Place was packed street art overload today
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MOCA "Art in the Streets" Until 8th August, by Daniel Silk on Aug 11, 2011 11:12:45 GMT 1, "The Exhibitionist"
"The Exhibitionist"
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Deleted
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January 1970
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MOCA "Art in the Streets" Until 8th August, by Deleted on Aug 11, 2011 17:30:33 GMT 1, Banksy work helps draw record crowds to graffiti event.
www.bbc.co.uk/news/entertainment-arts-14492710
An exhibition about graffiti and street art, featuring the work of Banksy, has attracted record numbers to the Museum of Contemporary Art in Los Angeles.
The museum said 201,352 people went to view Art in the Streets which opened in April and closed on Monday.
Previous attendance records were set in 2002 when 195,000 people saw an Andy Warhol Retrospective.
However, the Art in the Streets exhibition ran for four weeks longer than the pop art exhibition.
It is thought that free entry every Monday to the Streets event - sponsored by Banksy - helped boost visitor numbers.
The museum said on average more than 4000 visitors attended on the free day and a daily average of 2,486 people would visit during the rest of the week.
The final day of the exhibition attracted an all-time daily high with 8,424 people through the door.
Other artists featured included Shepard Fairey and Space Invader.
The institution also said that nearly 2,500 new members joined during the exhibition's 17-week run.
The results come in the first year of director Jeffery Deitch's tenure at the museum.
"It is my mission to increase MOCA's attendance and to engage new audiences," he said.
Banksy work helps draw record crowds to graffiti event. www.bbc.co.uk/news/entertainment-arts-14492710An exhibition about graffiti and street art, featuring the work of Banksy, has attracted record numbers to the Museum of Contemporary Art in Los Angeles. The museum said 201,352 people went to view Art in the Streets which opened in April and closed on Monday. Previous attendance records were set in 2002 when 195,000 people saw an Andy Warhol Retrospective. However, the Art in the Streets exhibition ran for four weeks longer than the pop art exhibition. It is thought that free entry every Monday to the Streets event - sponsored by Banksy - helped boost visitor numbers. The museum said on average more than 4000 visitors attended on the free day and a daily average of 2,486 people would visit during the rest of the week. The final day of the exhibition attracted an all-time daily high with 8,424 people through the door. Other artists featured included Shepard Fairey and Space Invader. The institution also said that nearly 2,500 new members joined during the exhibition's 17-week run. The results come in the first year of director Jeffery Deitch's tenure at the museum. "It is my mission to increase MOCA's attendance and to engage new audiences," he said.
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