dreadnatty
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February 2013
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by dreadnatty on Nov 9, 2015 4:28:38 GMT 1, Invader Will Bring His Signature Street-Art Mosaics to New York
www.nytimes.com/2015/11/09/arts/design/invader-will-bring-his-signature-street-art-mosaics-to-new-york.html?emc=edit_tnt_20151108&nlid=1055795&tntemail0=y&_r=2
PARIS — While the eyes of many in the art world are trained on the big New York auctions this month, an emissary from a dissident faction will be at work nearby, as the French street artist known as Invader brings his signature pixelated mosaic works back to the city.
The artist has built a substantial career over nearly two decades, installing works around the globe and beyond with a recent placement in the International Space Station. His work has earned him a place among the street-art elite, although without the wider recognition of peers like Shepard Fairey and Banksy.
His stature could rise further with his latest venture. Invader arrived in New York over the weekend with plans to put up new mosaics in the city, including some larger pieces installed with permission from property owners. (In 2013, he was arrested by the police in New York after an installation, but was not charged.)
“Invader’s work lends itself perfectly to architecture,” Mr. Fairey said in an email, “while simultaneously signaling that counterculture subversion can take any form.”
Like many street artists, Invader relies on a pseudonym, in his case inspired by the classic arcade game Space Invaders, to keep his real identity under wraps. But on a recent visit to his studio on the outskirts of Paris, he offered a glimpse of some of the New York-themed mosaics he plans to install, many of them tailored to specific sites.
In person, Invader has a French Everyman look, a pack-a-day slenderness. At 46, his face and demeanor are so nondescript that the moment you avert your eyes, he fades in memory, an advantage in his line of work.
The New York-bound works were sprawled out on the concrete floor in various states of completion. One was a six-foot-tall Joey Ramone in dark glasses and a red-and-white striped shirt. Beyond that was an image in black with white hair, the unmistakable likeness of Andy Warhol.
Invader rifled through a stack of finished works and selected a postersize board, peeling back an adhesive coating to reveal an instantly recognizable pixel portrait in baby blue, black and white, with sinister dark blue Invader figures descending in the background.
“What do New Yorkers think of Woody Allen?” he asked.
Like any artist, Invader went through an experimental phase.
“I had never made any graffiti before starting this project,” he said, referring to the signature style that he adopted in 1998.
“I became interested by computer pixelation,” he added. “It was the beginning of the Internet. It was a revolution, the beginning of video games, and the beginning of our era.”
After a period of painting in pixels, he discovered bathroom tiles. They stood in well for pixels, and their heft added texture.
In cities cluttered with street art, Invader’s placement skills set him apart. He ferrets out a city’s nerve center and places his work just out of reach but exactly where it will snag the most eyes, a method he calls “urban acupuncture.”
Carlo McCormick, an art critic in New York who met Invader in England in 2006, said that his work “is about its dialogue with the city.”
“It’s not just that it’s on a wall,” Mr. McCormick said. “Where is the wall? What does it look onto? How does it fit in with the fabric of a neighborhood?”
His loftiest accomplishment, the small piece that was carried to the International Space Station in January, led to additional installations at European Space Agency facilities across the Continent.
In all, Invader has installed more than 3,000 pieces in more than 60 cities around the world. A map on his website tracks some of his travels, and he has released a smartphone app that lets fans accumulate points by shooting photographs of his work.
“There are 5,879 people with the app,” he said, pulling up the data on his phone. “Look, someone posted 12 seconds ago.”
His success involves a curious balance of fame and anonymity. He sometimes works in a Bill Gates mask. In Banksy’s 2010 documentary “Exit Through the Gift Shop,” his face was pixelated.
“Usually the anonymous want fame, and famous people seek anonymity,” he said. “I have both. I feel free, both inside and outside from the art world.”
Invader’s work has become popular with collectors. In March, a large piece sold at auction for almost $350,000 at Christie’s in Hong Kong.
“He could transition fine,” Mr. McCormick said. “He could have a museum or gallery or fine art practice. But his passion lies elsewhere. “He just can’t stop doing the illegal work on the street.”
In Paris, Invader has reached an unspoken détente with that city’s gendarmes, who allow him to go about his business. In general, he feels embraced there.
“Police don’t see me as a threat,” he said. “After 15 years, nobody is complaining about what I’m doing,” he said. “I am seen not as a vandal but as an artist.”
Other cities are often less welcoming. So Invader has opted for a new tactic in New York, putting out a call on Instagram to building owners to determine who might be willing to let him install some of his mosaics legally. In exchange, the owners would acquire valuable Invader works at no charge. This will allow him to work on those pieces without fear of arrest, although still in the wee hours to protect his identity.
But authorization comes with a price: He has to get approval of the works themselves from the building owners. “That is different for me,” he said.
These legal works are likely to be out of reach to collectors and thieves. To thwart those who might take down his work for their own profit, he said, he has sought out sites with natural architectural recesses or filled-in windows. By installing a piece in the exact size and shape of these nooks, he leaves little wiggle room for anyone who might try to pry them out.
In recent years, he has also used larger, thinner tiles: Try to jimmy them off, and they’ll chip apart rather than popping off intact.
After his New York run, Invader plans to return to Paris and work on his next invasion in continued anonymity.
“I have never been tempted to reveal my identity,” Invader said. “What I do and create is more important than who exactly I am.”
Invader Will Bring His Signature Street-Art Mosaics to New York www.nytimes.com/2015/11/09/arts/design/invader-will-bring-his-signature-street-art-mosaics-to-new-york.html?emc=edit_tnt_20151108&nlid=1055795&tntemail0=y&_r=2PARIS — While the eyes of many in the art world are trained on the big New York auctions this month, an emissary from a dissident faction will be at work nearby, as the French street artist known as Invader brings his signature pixelated mosaic works back to the city. The artist has built a substantial career over nearly two decades, installing works around the globe and beyond with a recent placement in the International Space Station. His work has earned him a place among the street-art elite, although without the wider recognition of peers like Shepard Fairey and Banksy. His stature could rise further with his latest venture. Invader arrived in New York over the weekend with plans to put up new mosaics in the city, including some larger pieces installed with permission from property owners. (In 2013, he was arrested by the police in New York after an installation, but was not charged.) “Invader’s work lends itself perfectly to architecture,” Mr. Fairey said in an email, “while simultaneously signaling that counterculture subversion can take any form.” Like many street artists, Invader relies on a pseudonym, in his case inspired by the classic arcade game Space Invaders, to keep his real identity under wraps. But on a recent visit to his studio on the outskirts of Paris, he offered a glimpse of some of the New York-themed mosaics he plans to install, many of them tailored to specific sites. In person, Invader has a French Everyman look, a pack-a-day slenderness. At 46, his face and demeanor are so nondescript that the moment you avert your eyes, he fades in memory, an advantage in his line of work. The New York-bound works were sprawled out on the concrete floor in various states of completion. One was a six-foot-tall Joey Ramone in dark glasses and a red-and-white striped shirt. Beyond that was an image in black with white hair, the unmistakable likeness of Andy Warhol. Invader rifled through a stack of finished works and selected a postersize board, peeling back an adhesive coating to reveal an instantly recognizable pixel portrait in baby blue, black and white, with sinister dark blue Invader figures descending in the background. “What do New Yorkers think of Woody Allen?” he asked. Like any artist, Invader went through an experimental phase. “I had never made any graffiti before starting this project,” he said, referring to the signature style that he adopted in 1998. “I became interested by computer pixelation,” he added. “It was the beginning of the Internet. It was a revolution, the beginning of video games, and the beginning of our era.” After a period of painting in pixels, he discovered bathroom tiles. They stood in well for pixels, and their heft added texture. In cities cluttered with street art, Invader’s placement skills set him apart. He ferrets out a city’s nerve center and places his work just out of reach but exactly where it will snag the most eyes, a method he calls “urban acupuncture.” Carlo McCormick, an art critic in New York who met Invader in England in 2006, said that his work “is about its dialogue with the city.” “It’s not just that it’s on a wall,” Mr. McCormick said. “Where is the wall? What does it look onto? How does it fit in with the fabric of a neighborhood?” His loftiest accomplishment, the small piece that was carried to the International Space Station in January, led to additional installations at European Space Agency facilities across the Continent. In all, Invader has installed more than 3,000 pieces in more than 60 cities around the world. A map on his website tracks some of his travels, and he has released a smartphone app that lets fans accumulate points by shooting photographs of his work. “There are 5,879 people with the app,” he said, pulling up the data on his phone. “Look, someone posted 12 seconds ago.” His success involves a curious balance of fame and anonymity. He sometimes works in a Bill Gates mask. In Banksy’s 2010 documentary “Exit Through the Gift Shop,” his face was pixelated. “Usually the anonymous want fame, and famous people seek anonymity,” he said. “I have both. I feel free, both inside and outside from the art world.” Invader’s work has become popular with collectors. In March, a large piece sold at auction for almost $350,000 at Christie’s in Hong Kong. “He could transition fine,” Mr. McCormick said. “He could have a museum or gallery or fine art practice. But his passion lies elsewhere. “He just can’t stop doing the illegal work on the street.” In Paris, Invader has reached an unspoken détente with that city’s gendarmes, who allow him to go about his business. In general, he feels embraced there. “Police don’t see me as a threat,” he said. “After 15 years, nobody is complaining about what I’m doing,” he said. “I am seen not as a vandal but as an artist.” Other cities are often less welcoming. So Invader has opted for a new tactic in New York, putting out a call on Instagram to building owners to determine who might be willing to let him install some of his mosaics legally. In exchange, the owners would acquire valuable Invader works at no charge. This will allow him to work on those pieces without fear of arrest, although still in the wee hours to protect his identity. But authorization comes with a price: He has to get approval of the works themselves from the building owners. “That is different for me,” he said. These legal works are likely to be out of reach to collectors and thieves. To thwart those who might take down his work for their own profit, he said, he has sought out sites with natural architectural recesses or filled-in windows. By installing a piece in the exact size and shape of these nooks, he leaves little wiggle room for anyone who might try to pry them out. In recent years, he has also used larger, thinner tiles: Try to jimmy them off, and they’ll chip apart rather than popping off intact. After his New York run, Invader plans to return to Paris and work on his next invasion in continued anonymity. “I have never been tempted to reveal my identity,” Invader said. “What I do and create is more important than who exactly I am.” |
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by Deleted on Nov 9, 2015 8:53:40 GMT 1, Invader Will Bring His Signature Street-Art Mosaics to New York www.nytimes.com/2015/11/09/arts/design/invader-will-bring-his-signature-street-art-mosaics-to-new-york.html?emc=edit_tnt_20151108&nlid=1055795&tntemail0=y&_r=2PARIS — While the eyes of many in the art world are trained on the big New York auctions this month, an emissary from a dissident faction will be at work nearby, as the French street artist known as Invader brings his signature pixelated mosaic works back to the city. The artist has built a substantial career over nearly two decades, installing works around the globe and beyond with a recent placement in the International Space Station. His work has earned him a place among the street-art elite, although without the wider recognition of peers like Shepard Fairey and Banksy. His stature could rise further with his latest venture. Invader arrived in New York over the weekend with plans to put up new mosaics in the city, including some larger pieces installed with permission from property owners. (In 2013, he was arrested by the police in New York after an installation, but was not charged.) “Invader’s work lends itself perfectly to architecture,” Mr. Fairey said in an email, “while simultaneously signaling that counterculture subversion can take any form.” Like many street artists, Invader relies on a pseudonym, in his case inspired by the classic arcade game Space Invaders, to keep his real identity under wraps. But on a recent visit to his studio on the outskirts of Paris, he offered a glimpse of some of the New York-themed mosaics he plans to install, many of them tailored to specific sites. In person, Invader has a French Everyman look, a pack-a-day slenderness. At 46, his face and demeanor are so nondescript that the moment you avert your eyes, he fades in memory, an advantage in his line of work. The New York-bound works were sprawled out on the concrete floor in various states of completion. One was a six-foot-tall Joey Ramone in dark glasses and a red-and-white striped shirt. Beyond that was an image in black with white hair, the unmistakable likeness of Andy Warhol. Invader rifled through a stack of finished works and selected a postersize board, peeling back an adhesive coating to reveal an instantly recognizable pixel portrait in baby blue, black and white, with sinister dark blue Invader figures descending in the background. “What do New Yorkers think of Woody Allen?” he asked. Like any artist, Invader went through an experimental phase. “I had never made any graffiti before starting this project,” he said, referring to the signature style that he adopted in 1998. “I became interested by computer pixelation,” he added. “It was the beginning of the Internet. It was a revolution, the beginning of video games, and the beginning of our era.” After a period of painting in pixels, he discovered bathroom tiles. They stood in well for pixels, and their heft added texture. In cities cluttered with street art, Invader’s placement skills set him apart. He ferrets out a city’s nerve center and places his work just out of reach but exactly where it will snag the most eyes, a method he calls “urban acupuncture.” Carlo McCormick, an art critic in New York who met Invader in England in 2006, said that his work “is about its dialogue with the city.” “It’s not just that it’s on a wall,” Mr. McCormick said. “Where is the wall? What does it look onto? How does it fit in with the fabric of a neighborhood?” His loftiest accomplishment, the small piece that was carried to the International Space Station in January, led to additional installations at European Space Agency facilities across the Continent. In all, Invader has installed more than 3,000 pieces in more than 60 cities around the world. A map on his website tracks some of his travels, and he has released a smartphone app that lets fans accumulate points by shooting photographs of his work. “There are 5,879 people with the app,” he said, pulling up the data on his phone. “Look, someone posted 12 seconds ago.” His success involves a curious balance of fame and anonymity. He sometimes works in a Bill Gates mask. In Banksy’s 2010 documentary “Exit Through the Gift Shop,” his face was pixelated. “Usually the anonymous want fame, and famous people seek anonymity,” he said. “I have both. I feel free, both inside and outside from the art world.” Invader’s work has become popular with collectors. In March, a large piece sold at auction for almost $350,000 at Christie’s in Hong Kong. “He could transition fine,” Mr. McCormick said. “He could have a museum or gallery or fine art practice. But his passion lies elsewhere. “He just can’t stop doing the illegal work on the street.” In Paris, Invader has reached an unspoken détente with that city’s gendarmes, who allow him to go about his business. In general, he feels embraced there. “Police don’t see me as a threat,” he said. “After 15 years, nobody is complaining about what I’m doing,” he said. “I am seen not as a vandal but as an artist.” Other cities are often less welcoming. So Invader has opted for a new tactic in New York, putting out a call on Instagram to building owners to determine who might be willing to let him install some of his mosaics legally. In exchange, the owners would acquire valuable Invader works at no charge. This will allow him to work on those pieces without fear of arrest, although still in the wee hours to protect his identity. But authorization comes with a price: He has to get approval of the works themselves from the building owners. “That is different for me,” he said. These legal works are likely to be out of reach to collectors and thieves. To thwart those who might take down his work for their own profit, he said, he has sought out sites with natural architectural recesses or filled-in windows. By installing a piece in the exact size and shape of these nooks, he leaves little wiggle room for anyone who might try to pry them out. In recent years, he has also used larger, thinner tiles: Try to jimmy them off, and they’ll chip apart rather than popping off intact. After his New York run, Invader plans to return to Paris and work on his next invasion in continued anonymity. “I have never been tempted to reveal my identity,” Invader said. “What I do and create is more important than who exactly I am.”
Invader Will Bring His Signature Street-Art Mosaics to New York www.nytimes.com/2015/11/09/arts/design/invader-will-bring-his-signature-street-art-mosaics-to-new-york.html?emc=edit_tnt_20151108&nlid=1055795&tntemail0=y&_r=2PARIS — While the eyes of many in the art world are trained on the big New York auctions this month, an emissary from a dissident faction will be at work nearby, as the French street artist known as Invader brings his signature pixelated mosaic works back to the city. The artist has built a substantial career over nearly two decades, installing works around the globe and beyond with a recent placement in the International Space Station. His work has earned him a place among the street-art elite, although without the wider recognition of peers like Shepard Fairey and Banksy. His stature could rise further with his latest venture. Invader arrived in New York over the weekend with plans to put up new mosaics in the city, including some larger pieces installed with permission from property owners. (In 2013, he was arrested by the police in New York after an installation, but was not charged.) “Invader’s work lends itself perfectly to architecture,” Mr. Fairey said in an email, “while simultaneously signaling that counterculture subversion can take any form.” Like many street artists, Invader relies on a pseudonym, in his case inspired by the classic arcade game Space Invaders, to keep his real identity under wraps. But on a recent visit to his studio on the outskirts of Paris, he offered a glimpse of some of the New York-themed mosaics he plans to install, many of them tailored to specific sites. In person, Invader has a French Everyman look, a pack-a-day slenderness. At 46, his face and demeanor are so nondescript that the moment you avert your eyes, he fades in memory, an advantage in his line of work. The New York-bound works were sprawled out on the concrete floor in various states of completion. One was a six-foot-tall Joey Ramone in dark glasses and a red-and-white striped shirt. Beyond that was an image in black with white hair, the unmistakable likeness of Andy Warhol. Invader rifled through a stack of finished works and selected a postersize board, peeling back an adhesive coating to reveal an instantly recognizable pixel portrait in baby blue, black and white, with sinister dark blue Invader figures descending in the background. “What do New Yorkers think of Woody Allen?” he asked. Like any artist, Invader went through an experimental phase. “I had never made any graffiti before starting this project,” he said, referring to the signature style that he adopted in 1998. “I became interested by computer pixelation,” he added. “It was the beginning of the Internet. It was a revolution, the beginning of video games, and the beginning of our era.” After a period of painting in pixels, he discovered bathroom tiles. They stood in well for pixels, and their heft added texture. In cities cluttered with street art, Invader’s placement skills set him apart. He ferrets out a city’s nerve center and places his work just out of reach but exactly where it will snag the most eyes, a method he calls “urban acupuncture.” Carlo McCormick, an art critic in New York who met Invader in England in 2006, said that his work “is about its dialogue with the city.” “It’s not just that it’s on a wall,” Mr. McCormick said. “Where is the wall? What does it look onto? How does it fit in with the fabric of a neighborhood?” His loftiest accomplishment, the small piece that was carried to the International Space Station in January, led to additional installations at European Space Agency facilities across the Continent. In all, Invader has installed more than 3,000 pieces in more than 60 cities around the world. A map on his website tracks some of his travels, and he has released a smartphone app that lets fans accumulate points by shooting photographs of his work. “There are 5,879 people with the app,” he said, pulling up the data on his phone. “Look, someone posted 12 seconds ago.” His success involves a curious balance of fame and anonymity. He sometimes works in a Bill Gates mask. In Banksy’s 2010 documentary “Exit Through the Gift Shop,” his face was pixelated. “Usually the anonymous want fame, and famous people seek anonymity,” he said. “I have both. I feel free, both inside and outside from the art world.” Invader’s work has become popular with collectors. In March, a large piece sold at auction for almost $350,000 at Christie’s in Hong Kong. “He could transition fine,” Mr. McCormick said. “He could have a museum or gallery or fine art practice. But his passion lies elsewhere. “He just can’t stop doing the illegal work on the street.” In Paris, Invader has reached an unspoken détente with that city’s gendarmes, who allow him to go about his business. In general, he feels embraced there. “Police don’t see me as a threat,” he said. “After 15 years, nobody is complaining about what I’m doing,” he said. “I am seen not as a vandal but as an artist.” Other cities are often less welcoming. So Invader has opted for a new tactic in New York, putting out a call on Instagram to building owners to determine who might be willing to let him install some of his mosaics legally. In exchange, the owners would acquire valuable Invader works at no charge. This will allow him to work on those pieces without fear of arrest, although still in the wee hours to protect his identity. But authorization comes with a price: He has to get approval of the works themselves from the building owners. “That is different for me,” he said. These legal works are likely to be out of reach to collectors and thieves. To thwart those who might take down his work for their own profit, he said, he has sought out sites with natural architectural recesses or filled-in windows. By installing a piece in the exact size and shape of these nooks, he leaves little wiggle room for anyone who might try to pry them out. In recent years, he has also used larger, thinner tiles: Try to jimmy them off, and they’ll chip apart rather than popping off intact. After his New York run, Invader plans to return to Paris and work on his next invasion in continued anonymity. “I have never been tempted to reveal my identity,” Invader said. “What I do and create is more important than who exactly I am.” including pre street work studio visits from The New York Times arranged by a professional PR company and oh yeah, don't forget to mention "Invader’s work has become popular with collectors. In March, a large piece sold at auction for almost $350,000 at Christie’s in Hong Kong"...lol |
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by Shoot Again on Nov 9, 2015 9:27:11 GMT 1, Invader Will Bring His Signature Street-Art Mosaics to New York www.nytimes.com/2015/11/09/arts/design/invader-will-bring-his-signature-street-art-mosaics-to-new-york.html?emc=edit_tnt_20151108&nlid=1055795&tntemail0=y&_r=2PARIS — While the eyes of many in the art world are trained on the big New York auctions this month, an emissary from a dissident faction will be at work nearby, as the French street artist known as Invader brings his signature pixelated mosaic works back to the city. The artist has built a substantial career over nearly two decades, installing works around the globe and beyond with a recent placement in the International Space Station. His work has earned him a place among the street-art elite, although without the wider recognition of peers like Shepard Fairey and Banksy. His stature could rise further with his latest venture. Invader arrived in New York over the weekend with plans to put up new mosaics in the city, including some larger pieces installed with permission from property owners. (In 2013, he was arrested by the police in New York after an installation, but was not charged.) “Invader’s work lends itself perfectly to architecture,” Mr. Fairey said in an email, “while simultaneously signaling that counterculture subversion can take any form.” Like many street artists, Invader relies on a pseudonym, in his case inspired by the classic arcade game Space Invaders, to keep his real identity under wraps. But on a recent visit to his studio on the outskirts of Paris, he offered a glimpse of some of the New York-themed mosaics he plans to install, many of them tailored to specific sites. In person, Invader has a French Everyman look, a pack-a-day slenderness. At 46, his face and demeanor are so nondescript that the moment you avert your eyes, he fades in memory, an advantage in his line of work. The New York-bound works were sprawled out on the concrete floor in various states of completion. One was a six-foot-tall Joey Ramone in dark glasses and a red-and-white striped shirt. Beyond that was an image in black with white hair, the unmistakable likeness of Andy Warhol. Invader rifled through a stack of finished works and selected a postersize board, peeling back an adhesive coating to reveal an instantly recognizable pixel portrait in baby blue, black and white, with sinister dark blue Invader figures descending in the background. “What do New Yorkers think of Woody Allen?” he asked. Like any artist, Invader went through an experimental phase. “I had never made any graffiti before starting this project,” he said, referring to the signature style that he adopted in 1998. “I became interested by computer pixelation,” he added. “It was the beginning of the Internet. It was a revolution, the beginning of video games, and the beginning of our era.” After a period of painting in pixels, he discovered bathroom tiles. They stood in well for pixels, and their heft added texture. In cities cluttered with street art, Invader’s placement skills set him apart. He ferrets out a city’s nerve center and places his work just out of reach but exactly where it will snag the most eyes, a method he calls “urban acupuncture.” Carlo McCormick, an art critic in New York who met Invader in England in 2006, said that his work “is about its dialogue with the city.” “It’s not just that it’s on a wall,” Mr. McCormick said. “Where is the wall? What does it look onto? How does it fit in with the fabric of a neighborhood?” His loftiest accomplishment, the small piece that was carried to the International Space Station in January, led to additional installations at European Space Agency facilities across the Continent. In all, Invader has installed more than 3,000 pieces in more than 60 cities around the world. A map on his website tracks some of his travels, and he has released a smartphone app that lets fans accumulate points by shooting photographs of his work. “There are 5,879 people with the app,” he said, pulling up the data on his phone. “Look, someone posted 12 seconds ago.” His success involves a curious balance of fame and anonymity. He sometimes works in a Bill Gates mask. In Banksy’s 2010 documentary “Exit Through the Gift Shop,” his face was pixelated. “Usually the anonymous want fame, and famous people seek anonymity,” he said. “I have both. I feel free, both inside and outside from the art world.” Invader’s work has become popular with collectors. In March, a large piece sold at auction for almost $350,000 at Christie’s in Hong Kong. “He could transition fine,” Mr. McCormick said. “He could have a museum or gallery or fine art practice. But his passion lies elsewhere. “He just can’t stop doing the illegal work on the street.” In Paris, Invader has reached an unspoken détente with that city’s gendarmes, who allow him to go about his business. In general, he feels embraced there. “Police don’t see me as a threat,” he said. “After 15 years, nobody is complaining about what I’m doing,” he said. “I am seen not as a vandal but as an artist.” Other cities are often less welcoming. So Invader has opted for a new tactic in New York, putting out a call on Instagram to building owners to determine who might be willing to let him install some of his mosaics legally. In exchange, the owners would acquire valuable Invader works at no charge. This will allow him to work on those pieces without fear of arrest, although still in the wee hours to protect his identity. But authorization comes with a price: He has to get approval of the works themselves from the building owners. “That is different for me,” he said. These legal works are likely to be out of reach to collectors and thieves. To thwart those who might take down his work for their own profit, he said, he has sought out sites with natural architectural recesses or filled-in windows. By installing a piece in the exact size and shape of these nooks, he leaves little wiggle room for anyone who might try to pry them out. In recent years, he has also used larger, thinner tiles: Try to jimmy them off, and they’ll chip apart rather than popping off intact. After his New York run, Invader plans to return to Paris and work on his next invasion in continued anonymity. “I have never been tempted to reveal my identity,” Invader said. “What I do and create is more important than who exactly I am.” including pre street work studio visits from The New York Times arranged by a professional PR company and oh yeah, don't forget to mention "Invader’s work has become popular with collectors. In March, a large piece sold at auction for almost $350,000 at Christie’s in Hong Kong"...lol
Exciting (as always) ;-)
Invader Will Bring His Signature Street-Art Mosaics to New York www.nytimes.com/2015/11/09/arts/design/invader-will-bring-his-signature-street-art-mosaics-to-new-york.html?emc=edit_tnt_20151108&nlid=1055795&tntemail0=y&_r=2PARIS — While the eyes of many in the art world are trained on the big New York auctions this month, an emissary from a dissident faction will be at work nearby, as the French street artist known as Invader brings his signature pixelated mosaic works back to the city. The artist has built a substantial career over nearly two decades, installing works around the globe and beyond with a recent placement in the International Space Station. His work has earned him a place among the street-art elite, although without the wider recognition of peers like Shepard Fairey and Banksy. His stature could rise further with his latest venture. Invader arrived in New York over the weekend with plans to put up new mosaics in the city, including some larger pieces installed with permission from property owners. (In 2013, he was arrested by the police in New York after an installation, but was not charged.) “Invader’s work lends itself perfectly to architecture,” Mr. Fairey said in an email, “while simultaneously signaling that counterculture subversion can take any form.” Like many street artists, Invader relies on a pseudonym, in his case inspired by the classic arcade game Space Invaders, to keep his real identity under wraps. But on a recent visit to his studio on the outskirts of Paris, he offered a glimpse of some of the New York-themed mosaics he plans to install, many of them tailored to specific sites. In person, Invader has a French Everyman look, a pack-a-day slenderness. At 46, his face and demeanor are so nondescript that the moment you avert your eyes, he fades in memory, an advantage in his line of work. The New York-bound works were sprawled out on the concrete floor in various states of completion. One was a six-foot-tall Joey Ramone in dark glasses and a red-and-white striped shirt. Beyond that was an image in black with white hair, the unmistakable likeness of Andy Warhol. Invader rifled through a stack of finished works and selected a postersize board, peeling back an adhesive coating to reveal an instantly recognizable pixel portrait in baby blue, black and white, with sinister dark blue Invader figures descending in the background. “What do New Yorkers think of Woody Allen?” he asked. Like any artist, Invader went through an experimental phase. “I had never made any graffiti before starting this project,” he said, referring to the signature style that he adopted in 1998. “I became interested by computer pixelation,” he added. “It was the beginning of the Internet. It was a revolution, the beginning of video games, and the beginning of our era.” After a period of painting in pixels, he discovered bathroom tiles. They stood in well for pixels, and their heft added texture. In cities cluttered with street art, Invader’s placement skills set him apart. He ferrets out a city’s nerve center and places his work just out of reach but exactly where it will snag the most eyes, a method he calls “urban acupuncture.” Carlo McCormick, an art critic in New York who met Invader in England in 2006, said that his work “is about its dialogue with the city.” “It’s not just that it’s on a wall,” Mr. McCormick said. “Where is the wall? What does it look onto? How does it fit in with the fabric of a neighborhood?” His loftiest accomplishment, the small piece that was carried to the International Space Station in January, led to additional installations at European Space Agency facilities across the Continent. In all, Invader has installed more than 3,000 pieces in more than 60 cities around the world. A map on his website tracks some of his travels, and he has released a smartphone app that lets fans accumulate points by shooting photographs of his work. “There are 5,879 people with the app,” he said, pulling up the data on his phone. “Look, someone posted 12 seconds ago.” His success involves a curious balance of fame and anonymity. He sometimes works in a Bill Gates mask. In Banksy’s 2010 documentary “Exit Through the Gift Shop,” his face was pixelated. “Usually the anonymous want fame, and famous people seek anonymity,” he said. “I have both. I feel free, both inside and outside from the art world.” Invader’s work has become popular with collectors. In March, a large piece sold at auction for almost $350,000 at Christie’s in Hong Kong. “He could transition fine,” Mr. McCormick said. “He could have a museum or gallery or fine art practice. But his passion lies elsewhere. “He just can’t stop doing the illegal work on the street.” In Paris, Invader has reached an unspoken détente with that city’s gendarmes, who allow him to go about his business. In general, he feels embraced there. “Police don’t see me as a threat,” he said. “After 15 years, nobody is complaining about what I’m doing,” he said. “I am seen not as a vandal but as an artist.” Other cities are often less welcoming. So Invader has opted for a new tactic in New York, putting out a call on Instagram to building owners to determine who might be willing to let him install some of his mosaics legally. In exchange, the owners would acquire valuable Invader works at no charge. This will allow him to work on those pieces without fear of arrest, although still in the wee hours to protect his identity. But authorization comes with a price: He has to get approval of the works themselves from the building owners. “That is different for me,” he said. These legal works are likely to be out of reach to collectors and thieves. To thwart those who might take down his work for their own profit, he said, he has sought out sites with natural architectural recesses or filled-in windows. By installing a piece in the exact size and shape of these nooks, he leaves little wiggle room for anyone who might try to pry them out. In recent years, he has also used larger, thinner tiles: Try to jimmy them off, and they’ll chip apart rather than popping off intact. After his New York run, Invader plans to return to Paris and work on his next invasion in continued anonymity. “I have never been tempted to reveal my identity,” Invader said. “What I do and create is more important than who exactly I am.” including pre street work studio visits from The New York Times arranged by a professional PR company and oh yeah, don't forget to mention "Invader’s work has become popular with collectors. In March, a large piece sold at auction for almost $350,000 at Christie’s in Hong Kong"...lol On this one, I'm not on the same cynical side as you @martedanielsen ...you surprised me here, any bad (personal) experience with Invader or what ? I tend to always agree with your posts but found it a bit weird this time to blame a successful /respected artist to use a PR (aren't they/you all when one can afford it ?) and hint it's misplaced that his astonishing auction results get flagged ;-) Couldn't we just be happy for such artists when they eventually successfully knock on the door of the (richer) Contemporary Art Market (like KAWS achieved it) ? Peace Exciting (as always) ;-) |
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Dr Plip
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by Dr Plip on Nov 9, 2015 10:26:06 GMT 1, “while simultaneously signaling that counterculture subversion can take any form.” including pre street work studio visits from The New York Times arranged by a professional PR company and oh yeah, don't forget to mention "Invader’s work has become popular with collectors. In March, a large piece sold at auction for almost $350,000 at Christie’s in Hong Kong"...lol
Edit: (winky face)
“while simultaneously signaling that counterculture subversion can take any form.” including pre street work studio visits from The New York Times arranged by a professional PR company and oh yeah, don't forget to mention "Invader’s work has become popular with collectors. In March, a large piece sold at auction for almost $350,000 at Christie’s in Hong Kong"...lol Don't you just hate it when a perfectly good counterculture is subverted. Edit: (winky face) |
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Dr Plip
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by Dr Plip on Nov 9, 2015 10:52:18 GMT 1, He's now 46? Jesus, where is the time going? I don't think I can begrudge a street artist from starting to seek permission for his work. At 46, you're probably starting to feel your age and the US police are a bit shooty these days. Plus, you have to think about your future. When you have more years behind you than ahead, I can understand wanting a bit of money for your eventual retirement.
When street art starts to mix with money/PR teams/advertising/auction results, it's interesting to see the different opinions from people. It's a bit like that bohemia thing, and how many want the artists to seem pure and real. The struggle is part of it and once an artist tastes fame, wealth or success, they lose that realness.
Anyway, I haven't had coffee yet, so I am probably talking a huge pile of merde. I look forward to seeing what Invader has mined from my childhood. I'm loving the TMNT and Spider-Man. It creates pleasurable reactions in my brain.
He's now 46? Jesus, where is the time going? I don't think I can begrudge a street artist from starting to seek permission for his work. At 46, you're probably starting to feel your age and the US police are a bit shooty these days. Plus, you have to think about your future. When you have more years behind you than ahead, I can understand wanting a bit of money for your eventual retirement.
When street art starts to mix with money/PR teams/advertising/auction results, it's interesting to see the different opinions from people. It's a bit like that bohemia thing, and how many want the artists to seem pure and real. The struggle is part of it and once an artist tastes fame, wealth or success, they lose that realness.
Anyway, I haven't had coffee yet, so I am probably talking a huge pile of merde. I look forward to seeing what Invader has mined from my childhood. I'm loving the TMNT and Spider-Man. It creates pleasurable reactions in my brain.
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by Deleted on Nov 9, 2015 11:47:06 GMT 1, Hi Shoot Again
Nothing personal at all and wasn't a dig at Invader but at the Fairey statement "counterculture subversion can take any form.” Including PR'd street works and studio visits from NYT ? don't think so.
Tell it like it is (as Plip so rightly pointed out) We're not stupid.
Hi Shoot AgainNothing personal at all and wasn't a dig at Invader but at the Fairey statement "counterculture subversion can take any form.” Including PR'd street works and studio visits from NYT ? don't think so. Tell it like it is (as Plip so rightly pointed out) We're not stupid. |
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by Dexter Bulldog on Nov 9, 2015 11:58:29 GMT 1, While it may not be"counterculture" to ask permission, as an NYC resident I'm excited to see if him doing so this time around leads to the pieces staying up longer. Bring it
While it may not be"counterculture" to ask permission, as an NYC resident I'm excited to see if him doing so this time around leads to the pieces staying up longer. Bring it
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bsimkin
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by bsimkin on Nov 9, 2015 15:33:44 GMT 1, Hi Shoot AgainNothing personal at all and wasn't a dig at Invader but at the Fairey statement "counterculture subversion can take any form.” Including PR'd street works and studio visits from NYT ? don't think so. Tell it like it is (as Plip so rightly pointed out) We're not stupid.
Oh the irony, nuart.. Although i applaud your hardwork and success of your annual street festival, isnt your goal to achieve international PR and hopefully raising the profile of artists (like, imo, the overrated dolk, sandra, icy & sot) for your potential future personal gain?? Confused by your critique of street artists using the same channels to their benfit as you'd hope to have for your own festival....
Hi Shoot AgainNothing personal at all and wasn't a dig at Invader but at the Fairey statement "counterculture subversion can take any form.” Including PR'd street works and studio visits from NYT ? don't think so. Tell it like it is (as Plip so rightly pointed out) We're not stupid. Oh the irony, nuart.. Although i applaud your hardwork and success of your annual street festival, isnt your goal to achieve international PR and hopefully raising the profile of artists (like, imo, the overrated dolk, sandra, icy & sot) for your potential future personal gain?? Confused by your critique of street artists using the same channels to their benfit as you'd hope to have for your own festival.... |
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by Deleted on Nov 9, 2015 17:36:20 GMT 1, Hi Shoot AgainNothing personal at all and wasn't a dig at Invader but at the Fairey statement "counterculture subversion can take any form.” Including PR'd street works and studio visits from NYT ? don't think so. Tell it like it is (as Plip so rightly pointed out) We're not stupid. Oh the irony, nuart.. Although i applaud your hardwork and success of your annual street festival, isnt your goal to achieve international PR and hopefully raising the profile of artists (like, imo, the overrated dolk, sandra, icy & sot) for your potential future personal gain?? Confused by your critique of street artists using the same channels to their benfit as you'd hope to have for your own festival....
Hi Shoot AgainNothing personal at all and wasn't a dig at Invader but at the Fairey statement "counterculture subversion can take any form.” Including PR'd street works and studio visits from NYT ? don't think so. Tell it like it is (as Plip so rightly pointed out) We're not stupid. Oh the irony, nuart.. Although i applaud your hardwork and success of your annual street festival, isnt your goal to achieve international PR and hopefully raising the profile of artists (like, imo, the overrated dolk, sandra, icy & sot) for your potential future personal gain?? Confused by your critique of street artists using the same channels to their benfit as you'd hope to have for your own festival.... Well if you agree with the statement that "counterculture subversion" can be in the form of a pre street work studio visit arranged by a PR company, then I guess you have the right to believe that. |
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Matt
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by Matt on Nov 9, 2015 17:46:21 GMT 1, Oh the irony, nuart.. Although i applaud your hardwork and success of your annual street festival, isnt your goal to achieve international PR and hopefully raising the profile of artists (like, imo, the overrated dolk, sandra, icy & sot) for your potential future personal gain?? Confused by your critique of street artists using the same channels to their benfit as you'd hope to have for your own festival.... Well if you agree with the statement that "counterculture subversion" can be in the form of a pre street work studio visit arranged by a PR company, then I guess you have the right to believe that.
I agree with the sentiment that the whole Invader thing is getting increasingly staged, and this belittles the artistic strength of the "invasion".
However as a Festival, albeit a "counterculture" one, do you not count on the full arsenal of traditional promotion and financing tactics ? Do you not arrange walls for Artists to paint legally ? Do you not count on strong PR, including this forum ?
In this case, instead of shooting from the hip at Invader and forumites, I would find it more enlightening to have your personal point of view on balancing a counterculture art from with mass appeal entertainment .
Oh the irony, nuart.. Although i applaud your hardwork and success of your annual street festival, isnt your goal to achieve international PR and hopefully raising the profile of artists (like, imo, the overrated dolk, sandra, icy & sot) for your potential future personal gain?? Confused by your critique of street artists using the same channels to their benfit as you'd hope to have for your own festival.... Well if you agree with the statement that "counterculture subversion" can be in the form of a pre street work studio visit arranged by a PR company, then I guess you have the right to believe that. Wow that is one corny argument… I agree with the sentiment that the whole Invader thing is getting increasingly staged, and this belittles the artistic strength of the "invasion". However as a Festival, albeit a "counterculture" one, do you not count on the full arsenal of traditional promotion and financing tactics ? Do you not arrange walls for Artists to paint legally ? Do you not count on strong PR, including this forum ? In this case, instead of shooting from the hip at Invader and forumites, I would find it more enlightening to have your personal point of view on balancing a counterculture art from with mass appeal entertainment . |
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Deleted
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by Deleted on Nov 9, 2015 18:10:23 GMT 1, Well if you agree with the statement that "counterculture subversion" can be in the form of a pre street work studio visit arranged by a PR company, then I guess you have the right to believe that. Wow that is one corny argument… I agree with the sentiment that the whole Invader thing is getting increasingly staged, and this belittles the artistic strength of the "invasion". However as a Festival, albeit a "counterculture" one, do you not count on the full arsenal of traditional promotion and financing tactics ? Do you not arrange walls for Artists to paint legally ? Do you not count on strong PR, including this forum ? In this case, instead of shooting from the hip at Invader and forumites, I would find it more enlightening to have your personal point of view on balancing a counterculture art from with mass appeal entertainment .
Well if you agree with the statement that "counterculture subversion" can be in the form of a pre street work studio visit arranged by a PR company, then I guess you have the right to believe that. Wow that is one corny argument… I agree with the sentiment that the whole Invader thing is getting increasingly staged, and this belittles the artistic strength of the "invasion". However as a Festival, albeit a "counterculture" one, do you not count on the full arsenal of traditional promotion and financing tactics ? Do you not arrange walls for Artists to paint legally ? Do you not count on strong PR, including this forum ? In this case, instead of shooting from the hip at Invader and forumites, I would find it more enlightening to have your personal point of view on balancing a counterculture art from with mass appeal entertainment . That's a very good point. I'll have a think. So, with regards to street art and street art festivals, do the ends, justify the means ? |
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met
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by met on Nov 9, 2015 20:21:48 GMT 1, “while simultaneously signaling that counterculture subversion can take any form.” including pre street work studio visits from The New York Times arranged by a professional PR company and oh yeah, don't forget to mention "Invader’s work has become popular with collectors. In March, a large piece sold at auction for almost $350,000 at Christie’s in Hong Kong"...lol Don't you just hate it when a perfectly good counterculture is subverted. Edit: (winky face)
That was a gloriously clever post — even if weakened by the subsequent edit for clarification of tone (which I'd like to think was unnecessary for most readers).
“while simultaneously signaling that counterculture subversion can take any form.” including pre street work studio visits from The New York Times arranged by a professional PR company and oh yeah, don't forget to mention "Invader’s work has become popular with collectors. In March, a large piece sold at auction for almost $350,000 at Christie’s in Hong Kong"...lol Don't you just hate it when a perfectly good counterculture is subverted. Edit: (winky face) That was a gloriously clever post — even if weakened by the subsequent edit for clarification of tone (which I'd like to think was unnecessary for most readers). |
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Matt
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by Matt on Nov 9, 2015 20:40:55 GMT 1, Don't you just hate it when a perfectly good counterculture is subverted. Edit: (winky face) That was a gloriously clever post — even if weakened by the subsequent edit for clarification of tone (which I'd like to think was unnecessary for most readers).
But in the other side it enables the reader to picture Dr Plip making a "winky face" which is both touching and kind of hilarious
Don't you just hate it when a perfectly good counterculture is subverted. Edit: (winky face) That was a gloriously clever post — even if weakened by the subsequent edit for clarification of tone (which I'd like to think was unnecessary for most readers). But in the other side it enables the reader to picture Dr Plip making a "winky face" which is both touching and kind of hilarious |
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met
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by met on Nov 9, 2015 20:44:59 GMT 1, Hi Shoot AgainNothing personal at all and wasn't a dig at Invader but at the Fairey statement "counterculture subversion can take any form.” Including PR'd street works and studio visits from NYT ? don't think so. Tell it like it is (as Plip so rightly pointed out) We're not stupid. Oh the irony, nuart.. Although i applaud your hardwork and success of your annual street festival, isnt your goal to achieve international PR and hopefully raising the profile of artists (like, imo, the overrated dolk, sandra, icy & sot) for your potential future personal gain?? Confused by your critique of street artists using the same channels to their benfit as you'd hope to have for your own festival....
Whilst I too have an issue with a couple of the artists represented and promoted by @martedanielsen / Nuart Gallery, I don't see the problem with his comment.
He's made clear it isn't directed at Invader, but rather at the use by Shepard Fairey (notorious for always trying to have it both ways) of "counterculture subversion" — an expression which in this context is ill-suited.
According to the New York Times article, Invader will be seeking consent to access buildings and put up his artwork. That doesn't sound very subversive.
And there will apparently be an additional step, further extending the control of the building owners: They will pre-approve and sign-off on the specific pieces going up on their respective properties. In this sanctioned, officialised scenario, referring to counterculture is arguably misleading as well. It would seem more honest to acknowledge we've now crossed into the mainstream.
Hi Shoot AgainNothing personal at all and wasn't a dig at Invader but at the Fairey statement "counterculture subversion can take any form.” Including PR'd street works and studio visits from NYT ? don't think so. Tell it like it is (as Plip so rightly pointed out) We're not stupid. Oh the irony, nuart.. Although i applaud your hardwork and success of your annual street festival, isnt your goal to achieve international PR and hopefully raising the profile of artists (like, imo, the overrated dolk, sandra, icy & sot) for your potential future personal gain?? Confused by your critique of street artists using the same channels to their benfit as you'd hope to have for your own festival.... Whilst I too have an issue with a couple of the artists represented and promoted by @martedanielsen / Nuart Gallery, I don't see the problem with his comment. He's made clear it isn't directed at Invader, but rather at the use by Shepard Fairey (notorious for always trying to have it both ways) of "counterculture subversion" — an expression which in this context is ill-suited. According to the New York Times article, Invader will be seeking consent to access buildings and put up his artwork. That doesn't sound very subversive. And there will apparently be an additional step, further extending the control of the building owners: They will pre-approve and sign-off on the specific pieces going up on their respective properties. In this sanctioned, officialised scenario, referring to counterculture is arguably misleading as well. It would seem more honest to acknowledge we've now crossed into the mainstream. |
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11
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by 11 on Nov 9, 2015 20:52:57 GMT 1, Oh the irony, nuart.. Although i applaud your hardwork and success of your annual street festival, isnt your goal to achieve international PR and hopefully raising the profile of artists (like, imo, the overrated dolk, sandra, icy & sot) for your potential future personal gain?? Confused by your critique of street artists using the same channels to their benfit as you'd hope to have for your own festival.... Whilst I too have an issue with a couple of the artists represented and promoted by @martedanielsen / Nuart Gallery, I don't see the problem with his comment. He's made clear it isn't directed at Invader, but rather at the use by Shepard Fairey (notorious for always trying to have it both ways) of "counterculture subversion" — an expression which in this context is ill-suited. According to the New York Times article, Invader will be seeking consent to access buildings and put up his artwork. That doesn't sound very subversive. And there will apparently be an additional step, further extending the control of the building owners: They will pre-approve and sign-off on the specific pieces going up on their respective properties. In this sanctioned, officialised scenario, referring to counterculture is arguably misleading as well. It would seem more honest to acknowledge we've now crossed into the mainstream.
Oh the irony, nuart.. Although i applaud your hardwork and success of your annual street festival, isnt your goal to achieve international PR and hopefully raising the profile of artists (like, imo, the overrated dolk, sandra, icy & sot) for your potential future personal gain?? Confused by your critique of street artists using the same channels to their benfit as you'd hope to have for your own festival.... Whilst I too have an issue with a couple of the artists represented and promoted by @martedanielsen / Nuart Gallery, I don't see the problem with his comment. He's made clear it isn't directed at Invader, but rather at the use by Shepard Fairey (notorious for always trying to have it both ways) of "counterculture subversion" — an expression which in this context is ill-suited. According to the New York Times article, Invader will be seeking consent to access buildings and put up his artwork. That doesn't sound very subversive. And there will apparently be an additional step, further extending the control of the building owners: They will pre-approve and sign-off on the specific pieces going up on their respective properties. In this sanctioned, officialised scenario, referring to counterculture is arguably misleading as well. It would seem more honest to acknowledge we've now crossed into the mainstream. I'm assuming he is seeking permission because of his last run-in with the NYC Police department - i don't know about American Law but maybe if he doesn't have pre-approval and after his last offence he could face a significant stretch if he gets caught again......just my view on why he seems to be cautious about what he puts where |
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11
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by 11 on Nov 9, 2015 20:55:13 GMT 1, That was a gloriously clever post — even if weakened by the subsequent edit for clarification of tone (which I'd like to think was unnecessary for most readers). But in the other side it enables the reader to picture Dr Plip making a "winky face" which is both touching and kind of hilarious 
That was a gloriously clever post — even if weakened by the subsequent edit for clarification of tone (which I'd like to think was unnecessary for most readers). But in the other side it enables the reader to picture Dr Plip making a "winky face" which is both touching and kind of hilarious Knowing Plip it was definitely a typo and should have read W a nky face - a bit more touching |
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Matt
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by Matt on Nov 9, 2015 20:59:22 GMT 1, But in the other side it enables the reader to picture Dr Plip making a "winky face" which is both touching and kind of hilarious Knowing Plip it was definitely a typo and should have read W a nky face - a bit more touching
as long as he keeps the "touching" to himself I'm fine !
But in the other side it enables the reader to picture Dr Plip making a "winky face" which is both touching and kind of hilarious Knowing Plip it was definitely a typo and should have read W a nky face - a bit more touching as long as he keeps the "touching" to himself I'm fine ! |
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met
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by met on Nov 9, 2015 21:06:04 GMT 1, Whilst I too have an issue with a couple of the artists represented and promoted by @martedanielsen / Nuart Gallery, I don't see the problem with his comment. He's made clear it isn't directed at Invader, but rather at the use by Shepard Fairey (notorious for always trying to have it both ways) of "counterculture subversion" — an expression which in this context is ill-suited. According to the New York Times article, Invader will be seeking consent to access buildings and put up his artwork. That doesn't sound very subversive. And there will apparently be an additional step, further extending the control of the building owners: They will pre-approve and sign-off on the specific pieces going up on their respective properties. In this sanctioned, officialised scenario, referring to counterculture is arguably misleading as well. It would seem more honest to acknowledge we've now crossed into the mainstream. I'm assuming he is seeking permission because of his last run-in with the NYC Police department - i don't know about American Law but maybe if he doesn't have pre-approval and after his last offence he could face a significant stretch if he gets caught again......just my view on why he seems to be cautious about what he puts where
The reasoning behind Invader's decision is completely understood.
My comments were limited to Shepard Fairey's choice of language. In fairness, Fairey's quote may have been taken out of context, or prior to him knowing the manner in which Invader would proceed with his forthcoming New York invasion.
Whilst I too have an issue with a couple of the artists represented and promoted by @martedanielsen / Nuart Gallery, I don't see the problem with his comment. He's made clear it isn't directed at Invader, but rather at the use by Shepard Fairey (notorious for always trying to have it both ways) of "counterculture subversion" — an expression which in this context is ill-suited. According to the New York Times article, Invader will be seeking consent to access buildings and put up his artwork. That doesn't sound very subversive. And there will apparently be an additional step, further extending the control of the building owners: They will pre-approve and sign-off on the specific pieces going up on their respective properties. In this sanctioned, officialised scenario, referring to counterculture is arguably misleading as well. It would seem more honest to acknowledge we've now crossed into the mainstream. I'm assuming he is seeking permission because of his last run-in with the NYC Police department - i don't know about American Law but maybe if he doesn't have pre-approval and after his last offence he could face a significant stretch if he gets caught again......just my view on why he seems to be cautious about what he puts where The reasoning behind Invader's decision is completely understood. My comments were limited to Shepard Fairey's choice of language. In fairness, Fairey's quote may have been taken out of context, or prior to him knowing the manner in which Invader would proceed with his forthcoming New York invasion. |
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Matt
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by Matt on Nov 9, 2015 21:19:10 GMT 1, The reasoning behind Invader's decision is completely understood
Although I understand that he would be cautious, having a team asking for permission before sticking anything up kind of defeats the purpose of the invasion.
Let's be honest, Invader is pretty much the most repetitive artist out there. Whatson and others get a lot of flack for overdoing go their style, but Invader has been doing the same thing over and over since the late 90s.
But the reason it works is because it is all part of his artistic process. Invading cities at night etc...
His NY thing looks all staged. He might as well print the maps now and just ship the mosaics for the landlords to put up themselves.
It even looks as if Fairey is dissing him as a subtext of the article
The reasoning behind Invader's decision is completely understood Although I understand that he would be cautious, having a team asking for permission before sticking anything up kind of defeats the purpose of the invasion. Let's be honest, Invader is pretty much the most repetitive artist out there. Whatson and others get a lot of flack for overdoing go their style, but Invader has been doing the same thing over and over since the late 90s. But the reason it works is because it is all part of his artistic process. Invading cities at night etc... His NY thing looks all staged. He might as well print the maps now and just ship the mosaics for the landlords to put up themselves. It even looks as if Fairey is dissing him as a subtext of the article |
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simona
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by simona on Nov 9, 2015 23:56:18 GMT 1, Yes, Invader is repetitive, but his style is his own. I can't think of anyone using tiles like he does. Whatson, Dolk et al are repetitive because they are all pretty much just copying Banksy and/or Blek but without the wit and intelligence.
I don't see anything wrong with using a few locations that come with the consent of the owners. It means he can work in peace, put large works up which hopefully won't get torn down so quick. Some of his previous invasions have included locations that rely on the owners permission. I can't see this as being any different, just that he has been more open about requesting places for his work. The last Hong Kong invasion worked pretty much the same way. It is just because of the local conditions. The invasion is still happening; you won't know where or what the next one will be. You can be sure that they'll also be a number of pieces put up that do not have permission...
Yes, Invader is repetitive, but his style is his own. I can't think of anyone using tiles like he does. Whatson, Dolk et al are repetitive because they are all pretty much just copying Banksy and/or Blek but without the wit and intelligence.
I don't see anything wrong with using a few locations that come with the consent of the owners. It means he can work in peace, put large works up which hopefully won't get torn down so quick. Some of his previous invasions have included locations that rely on the owners permission. I can't see this as being any different, just that he has been more open about requesting places for his work. The last Hong Kong invasion worked pretty much the same way. It is just because of the local conditions. The invasion is still happening; you won't know where or what the next one will be. You can be sure that they'll also be a number of pieces put up that do not have permission...
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Dr Plip
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by Dr Plip on Nov 10, 2015 1:15:13 GMT 1, The reasoning behind Invader's decision is completely understood Although I understand that he would be cautious, having a team asking for permission before sticking anything up kind of defeats the purpose of the invasion. Let's be honest, Invader is pretty much the most repetitive artist out there. Whatson and others get a lot of flack for overdoing go their style, but Invader has been doing the same thing over and over since the late 90s. But the reason it works is because it is all part of his artistic process. Invading cities at night etc... His NY thing looks all staged. He might as well print the maps now and just ship the mosaics for the landlords to put up themselves. It even looks as if Fairey is dissing him as a subtext of the article
Like you said, if future works are created with permission, is that now reaching a point where he can just "call it in" or have assistants put up the work?
I'm not knocking Invader AT ALL, but I do think the "Invasion" aspect of his street work held a lot of appeal to me.
I don't blame him for wanting an easier life. I hope his work doesn't go from subversive/decorative to just decorative though.
#StreetArt
The reasoning behind Invader's decision is completely understood Although I understand that he would be cautious, having a team asking for permission before sticking anything up kind of defeats the purpose of the invasion. Let's be honest, Invader is pretty much the most repetitive artist out there. Whatson and others get a lot of flack for overdoing go their style, but Invader has been doing the same thing over and over since the late 90s. But the reason it works is because it is all part of his artistic process. Invading cities at night etc... His NY thing looks all staged. He might as well print the maps now and just ship the mosaics for the landlords to put up themselves. It even looks as if Fairey is dissing him as a subtext of the article I think the illegal placement was/is a big part of the Invader "thing". I mean, for me, that's what separates his mosaic recreations from other people's. Anyone can pick up some tiles, pause a Streets of Rage game, make a mosaic and stick it on a friendly building. It was his daring, combined with the illegality of his work's placement that made it successful. Not everyone would or could do that. Like you said, if future works are created with permission, is that now reaching a point where he can just "call it in" or have assistants put up the work? I'm not knocking Invader AT ALL, but I do think the "Invasion" aspect of his street work held a lot of appeal to me. I don't blame him for wanting an easier life. I hope his work doesn't go from subversive/decorative to just decorative though. #StreetArt |
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by South Bound on Nov 10, 2015 1:29:36 GMT 1, Having put up art illegally around the world for over 17 years, Invader has earned the right to do what he wants, when he wants, how he wants.
I have never had the balls to do any street work (outside of being the lookout) so who am I to judge. I personally commend him for being so dedicated to his art form.
If he wants to do it this way, more power to him.
Having put up art illegally around the world for over 17 years, Invader has earned the right to do what he wants, when he wants, how he wants.
I have never had the balls to do any street work (outside of being the lookout) so who am I to judge. I personally commend him for being so dedicated to his art form.
If he wants to do it this way, more power to him.
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floubi
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by floubi on Nov 10, 2015 8:46:12 GMT 1, Doing this invasion this way in NYC makes me finally hope I'll be able to flash them next summer!
NYC is THE place were the mosaic "disappear" so fast that I totally understand him on this one.
Who is playing with the app here?
Doing this invasion this way in NYC makes me finally hope I'll be able to flash them next summer!
NYC is THE place were the mosaic "disappear" so fast that I totally understand him on this one.
Who is playing with the app here?
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by Shoot Again on Nov 10, 2015 9:43:04 GMT 1, 
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alexdb
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by alexdb on Nov 10, 2015 11:43:18 GMT 1, What Southbound says, if you are already for 17 years doing your own thing, it may be well time to do it the way you like to do it yourself. For sure, I will still enjoy his work. And to be honest, arent all those newspapers not making it like a pr stunt? Probably otherwise it wouldn't be any news story for the paper.
Just a question, how long will he be in NY?
What Southbound says, if you are already for 17 years doing your own thing, it may be well time to do it the way you like to do it yourself. For sure, I will still enjoy his work. And to be honest, arent all those newspapers not making it like a pr stunt? Probably otherwise it wouldn't be any news story for the paper.
Just a question, how long will he be in NY?
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bsimkin
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by bsimkin on Nov 12, 2015 16:59:35 GMT 1, Wow that is one corny argument… I agree with the sentiment that the whole Invader thing is getting increasingly staged, and this belittles the artistic strength of the "invasion". However as a Festival, albeit a "counterculture" one, do you not count on the full arsenal of traditional promotion and financing tactics ? Do you not arrange walls for Artists to paint legally ? Do you not count on strong PR, including this forum ? In this case, instead of shooting from the hip at Invader and forumites, I would find it more enlightening to have your personal point of view on balancing a counterculture art from with mass appeal entertainment . That's a very good point. I'll have a think. So, with regards to street art and street art festivals, do the ends, justify the means ?
IMO: If Invader can enhance his ability to pull off larger scale invasions, more people will discover his pixelated talents, thus further appreciation for his body of work and the scene in general? Yes, it could be construed as the street art version of 'selling out' to do interviews with the NY Times and getting pre-approval from building owners to pull off his goals, but i'm sure, just as Shepard Fairey did some illegal walls while putting up commissioned walls for Library Street Collective in Detroit, Invader will still make his mark in only the sneaky and clever ways he knows how.
Wow that is one corny argument… I agree with the sentiment that the whole Invader thing is getting increasingly staged, and this belittles the artistic strength of the "invasion". However as a Festival, albeit a "counterculture" one, do you not count on the full arsenal of traditional promotion and financing tactics ? Do you not arrange walls for Artists to paint legally ? Do you not count on strong PR, including this forum ? In this case, instead of shooting from the hip at Invader and forumites, I would find it more enlightening to have your personal point of view on balancing a counterculture art from with mass appeal entertainment . That's a very good point. I'll have a think. So, with regards to street art and street art festivals, do the ends, justify the means ? To answer your question— in 2015, I think it does (for street artists and festivals). Festivals do give a wide range of people the chance to discover new artists (see Dismaland). But for individual street artists, the tacticts employed today would have been considered anti--anti-culture ten+ years ago when the attention to the scene was more fanboy than mainstream. IMO: If Invader can enhance his ability to pull off larger scale invasions, more people will discover his pixelated talents, thus further appreciation for his body of work and the scene in general? Yes, it could be construed as the street art version of 'selling out' to do interviews with the NY Times and getting pre-approval from building owners to pull off his goals, but i'm sure, just as Shepard Fairey did some illegal walls while putting up commissioned walls for Library Street Collective in Detroit, Invader will still make his mark in only the sneaky and clever ways he knows how. |
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Matt
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by Matt on Nov 12, 2015 18:21:07 GMT 1, That's a very good point. I'll have a think. So, with regards to street art and street art festivals, do the ends, justify the means ? To answer your question— in 2015, I think it does (for street artists and festivals). Festivals do give a wide range of people the chance to discover new artists (see Dismaland). But for individual street artists, the tacticts employed today would have been considered anti--anti-culture ten+ years ago when the attention to the scene was more fanboy than mainstream. IMO: If Invader can enhance his ability to pull off larger scale invasions, more people will discover his pixelated talents, thus further appreciation for his body of work and the scene in general? Yes, it could be construed as the street art version of 'selling out' to do interviews with the NY Times and getting pre-approval from building owners to pull off his goals, but i'm sure, just as Shepard Fairey did some illegal walls while putting up commissioned walls for Library Street Collective in Detroit, Invader will still make his mark in only the sneaky and clever ways he knows how.
I completely get the point of view, and how it would apply, to take your own example, to Shep. Some stuff he does illegally, other is comissioned and that is probably fine.
But Invader's artistic process is an Invasion, which by definition is uninvited. You don't send a fax asking for permission to Invade...
I may appear to be slashing Invader, but I actually really admire and respect him, and this will not change my general appreciation of him as an artist.
But the fact remains that for the sake of aesthetics and safety he has, in my eyes, compromised the integrity of his process..
Maybe this one should be called "Invader decorates New York" instead of "Invades" ?
That's a very good point. I'll have a think. So, with regards to street art and street art festivals, do the ends, justify the means ? To answer your question— in 2015, I think it does (for street artists and festivals). Festivals do give a wide range of people the chance to discover new artists (see Dismaland). But for individual street artists, the tacticts employed today would have been considered anti--anti-culture ten+ years ago when the attention to the scene was more fanboy than mainstream. IMO: If Invader can enhance his ability to pull off larger scale invasions, more people will discover his pixelated talents, thus further appreciation for his body of work and the scene in general? Yes, it could be construed as the street art version of 'selling out' to do interviews with the NY Times and getting pre-approval from building owners to pull off his goals, but i'm sure, just as Shepard Fairey did some illegal walls while putting up commissioned walls for Library Street Collective in Detroit, Invader will still make his mark in only the sneaky and clever ways he knows how. I completely get the point of view, and how it would apply, to take your own example, to Shep. Some stuff he does illegally, other is comissioned and that is probably fine. But Invader's artistic process is an Invasion, which by definition is uninvited. You don't send a fax asking for permission to Invade... I may appear to be slashing Invader, but I actually really admire and respect him, and this will not change my general appreciation of him as an artist. But the fact remains that for the sake of aesthetics and safety he has, in my eyes, compromised the integrity of his process.. Maybe this one should be called "Invader decorates New York" instead of "Invades" ? |
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dreadnatty
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Invader Will Bring His Signature Street-Art Mosaics to NYC, by dreadnatty on Nov 17, 2015 0:38:30 GMT 1, Little love for Greenpoint
http://instagram.com/p/-KUWxhzUJW
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WOOF
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