Author: mastercraftsmanstudios

The work of 13 Subtle Street Artists

Paper Geodes by A Common Name

Female street artist Paige Smith AKA A Common Name creates 3D geodes from paper and resin and installs them into cracks and larger gaps in the Los Angeles area. She installs them wherever she sees fit so that people come across them as they would come across such a treasure in nature.

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Charles Simonds’ Miniature Dwellings

Charles Simonds creates miniature dwellings for imaginary civilizations of “Little People” as they migrate through different cities throughout the world. Simonds has worked in New York, Paris, Shanghai, Berlin, London, Dublin and more.

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Joe Iurato’s Small Wooden Figures

Joe Iurato uses layers of hand cut paper and spray paint to create small figures he places in urban environments, which explore and document his personal experiences.

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Mentalgassi’s Pasted Photographs and Lenticular Fence Art

London street art collective Mentalgassi personifies everyday structures around the city by pasting large photographs of faces onto them. They also have collaborated with Amnesty International to create lenticular images that honor a man who was convicted of murder and put to death despite doubts about his guilt. 

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David Zinn’s Street Chalk Works

David Zinn creates endearing chalk drawings throughout the streets in Michigan. His drawings are composed of charcoal and found objects in addition to chalk, and are improvised on site. Often times his drawings interact with their surroundings in some way.

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OakOak’s Playful Animated Everyday Objects

French Street Artist OakOak puts a playful spin on ordinary objects throughout his hometown St. Etienne by animating everyday objects with stencils of superheroes and cartoon characters.

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Nomerz’s Anthropomorphic Buildings

Russian street artist Nomerz animates buildings and other structures by painting faces on them in ways that embrace and incorporate their flaws.

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Timm Schnieder’s Googly-Eyed Urban Objects

German artist Timm Schneider makes his own googly eyes out of Styrofoam and marker, which he then strategically places to animate objects such as trashcans, dumpsters and more.

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Punny Street Art by JPS

British street Artist JPS stencils puns with popular hip-hop figures that talk about street art. He also creates more subtle works that interact with the surfaces themselves.

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Unique Yarn Bombing

Juliana Santacruz Herrera fills potholes in Paris with yarn, both calling attention to them and beautifying the streets at the same time.

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EVOL’s Miniature Cities Within Cities

German artist EVOL creates miniature cities within cities by painting electric boxes and other rectangular structures to look like large buildings.

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Slinkachu’s Little People Project

Street artist Slinkachu installs miniature people into scenes created by found objects. The figures are left to be noticed or ignored and are so tiny that most people don’t even realize they are there.

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Pejac’s Trompe L’oeil Windows

Spanish artist Pejac paints beautiful small windows with oversized shutters on the sides of buildings in Istanbul. They are well done illusions that draw viewers in for a closer look. They represent the “perception and illusion of freedom.”

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“Train Project” Embraces Abandoned Railroad Tracks in a Unique Way

French design studio HeHe has come up with the “Train Project” to take advantage of and explore abandoned railroad tracks before they disappear. This project is a collection of vehicles that have been made to travel the abandoned tracks autonomously. Two of the vehicles, ‘Metronome’ and ‘M-Blem’ are solar powered, and a third, ‘Radeau de Sauvetage’ is powered by a sail. HeHe describes the project as “an ongoing body of speculative investigation into the language and aesthetics of transport culture,” and “a temporary, imaginative solution to question our industrialized conscience in relation to locomotion.” The project is not limited to France—HeHe has created vehicles for tracks in other countries and there is a similar project in Mexico.

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Information and photos from Weburbanist

‘Worn Out’: Palestinian Artist Creates Clay Figures to Commemorate Victims of War in Gaza

Palestinian artist Iyad Sabbah has constructed a family of clay figures, titled ‘Worn Out’, which he has posed wandering away from wreckage created by the war in Gaza. The figures appear almost mummified and have small blotches of red to reference the blood of war. The family represents the everyday violence the people of Gaza encounter and acts as a commemoration for those who have been victims of the war.

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All photos and information from Designboom

‘Windwaker’: New Land Art Park will Harvest Wind Energy in Denmark

Julio Alejandro and Miguel Angel Lopez Carro have designed a land art park that will harvest wind energy in Copenhagen’s seaport. The park is composed of swaying sheets that resemble a fleet of boats sailing toward Edvard Erikson’s The Little Mermaid sculpture. Because the sheets change with the wind, the park is very dynamic and provides visitors with a unique experience each time they visit. The sheets will also provide rain protection when needed and lighting at night. Carro’s hope is that the park will put Copenhagen ahead in the urban integration of green energy.

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Information from Designboom

Entrium Cloud Canopy

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Portland State University’s Science, Research, and Teaching Center just got prettier. The architectural firm Faulders Studio designed a canopy to decorate and shade the main entrance of the building, and the result is impressive to say the least.

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The curved aluminum fins that compose the canopy filter sunlight, while following “vectorial weather flows, topographical contours, wave oscillations, and amorphous cellular clusters,” as described by california-based architect Thom Faulders.

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According to designboom, the sculpture seeks to engage the perception of students, faculty, and visitors, and also create a threshold space which links the outside world with the intellectual activity inside the building.

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(All photos were taken from deesignboom)

Blogging the Book: Chapter Four- Finding His Own Style

If I didn’t think Banksy was an outsider before reading this chapter, my mind has been completely made up. Ellsworth-Jones discusses more in depth how Banksy became a stencil artist and what that means to the graffiti community as a whole. 

Banksy says in his own book, Wall and Piece, that he made the switch to stencils after he took too long on a free hand graffiti piece and was almost caught by the police. Later he has been quoted in saying that he just isn’t quick enough working free hand and quite frankly so bad with a spray can to the point where he knew he needed to make a change. 

This natural impetus to make a change in his style is what made Banksy famous. “…however talented Banksy was as a freehand artist, it is still fair to say that if he had stuck to his freehand style he would probably still be doing it in Bristol today, and probably no one other than the tight circle of the city’s graffiti artists and ex-artists would have ever heard of him.” (Pg. 60)

Banksy separates himself even further from traditional graffiti artists because he even stencils his tag (pictured above). This is seen as “cheating” or breaking the rules/code by many artists in the field, but Banksy does not seem to care. He knows that he is an outsider among outsiders.

While it might be easy to label Banksy as an original artist, one other stencil artist did come before him and seem to have much influence over his work. The Parisian artist Blek Le Rat used stencils years before Banksy. Once researching Blek Le Rat, it is almost impossible to separate the difference between him and Banksy. 

So, while Banksy is seen as an outsider by his contemporaries, it is evident that right now the rest of the world reveres him. His pieces are selling for obscene amounts of money, especially when you consider that traditional street artists generally do not approve of it. He is a rouge, but that is what made him famous. So famous in fact that one piece, The Mild Mild West was going to become a new landmark with coffee shops and a glass enclosure to protect it. When it was defaced by a disgruntled group, they were quick to point out that they were not breaking any code of street art. Quoted saying: “Come on, you only care about it cos it’s a Banksy and he sells his lazy polemics to Hollywood movie stars for big bucks. Come on, you only care about it cos it makes you feel edgy and urban…Graffiti artists are the copywriters for the capitalist created phenomenon of urban art. Graffiti artist are the performing spray-can monkeys for gentrification.” (Pg. 71). They see Banksy as part of the establishment now, another illegal wall that they want to put their mark on. 

Blogging the Book: Chapter Three- Graffiti Decoded

David Samuel, the author’s guide into the world of graffiti, says that graffiti is “A lawless activity with a million and one laws” (Pg. 37). It is a way of life that is meant only for the initiated, and only if they follow and respect the rules of those who came before them while breaking the rules of society. 

This unity of thought might have saved kids from going into worse, more dangerous after school activities. Gangs, theft, drugs…many artists credit graffiti art with giving them a way out of that lifestyle. It begs the question, is graffiti vandalism or a way out of vandalism? 

Graffiti as an art form is used as a way to promote one’s ego, which is why tags are comprised mostly of names of the artists. It is an ego trip, the bigger and more elaborate (and, yes, more illegal) the tag is, the more credit the artist receives. It is a society of peers, not an international audience. 

David Samuel said something that confused me at first, but as the chapter progressed I began to understand: Banksy is not a a graffiti artist. Going to to bomb a wall in the heat of the moment is graffiti, but stenciling out a design and planning beforehand does not qualify according to Samuel. 

Because of this, there has been some discrimination against Banksy among “true” graffiti artists. Graffiti is a craft that takes time to create in a dangerous situation, but in their eyes quick in-and-out stencil jobs are cheating the system.

Banksy further upset the status quo when painting over King Robbo’s legendary tag with his own artwork. This battle (outlined in our previous post) showed that Banksy not only disrespected the “craft” of graffiti art but also the hierarchy of elders associated with it. 

So, maybe graffiti is a way to get at risk kids out of bigger trouble. But I think that Banksy’s street art could also qualify as such. Banksy gets painted over and defaced just as much as traditional graffiti artists, but because of his style and medium he will never be truly accepted as a graffiti artist and will have to remain under the all encompassing label “street art.” 

The Banksy vs Robbo War in Pictures

TwistedSifter

Back in 1985, graffiti artist King Robbo painted one of London’s earliest pieces in a well known tunnel in Camden. You can see the piece above in all of its original glory.

By 2006, the piece had been heavily abused. Scrawled, sprayed, tagged, the original was barely visible.

December 2009: Enter Banksy stage right. Suddenly there’s a worker spotted ‘wallpapering’ up the graffiti. Robbo is outraged and the battle begins. Reminiscent of the ridiculous East/West coast rap battles of yore, the move stirs up conflict between street art vs graffiti.

December 25, 2009: After a multi-decade hiatus, King Robbo strikes back on Christmas Day. Insulted and rejuvenated, the King is back and he’s pissed. The media machine starts to salivate. Graffiti folklore about an encounter in the late 90’s between King Robbo and Banksy emerges. The details are hazy but apparently when Banksy was introduced to Robbo, he claimed he…

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Blogging the Book: Chapter Two- Once Upon a Time

This chapter talks mainly about the backstory of Banksy, the history of the area where he got his start in graffiti art, and a little bit about street art itself in Bristol.

“Banksy” is a persona, not a person. The world knows only what Banksy wants it to know about himself, his past, and his motives. Most of his interviews are conducted by e-mail, with the interviewing party having to trust that they are speaking to the actual Banksy and not an impersonator. By remaining anonymous Banksy is able to present himself as an “everyman” that anyone can identify with. But he also paints his own picture of “Banksy” by dropping clues as to who he really is, or who he wants us to think he is. 

Banksy once said that he comes from a working class background, but this proves to be a fabricated lie in order to help maintain his image. Banksy actually attended a well-to-do school and received a top level education. So, why does Banksy feel the need to alter his background? Could it have anything to do with the stereotypical portrayal of graffiti artists as lower income thug types? I think it is apparent that in order to fit in with the crowd at Bristol, which was a rather rough crowd at the time, he would had to lie about his background. But also, this persona that he created might have helped shape a public image of graffiti artists that is not necessarily honest or true. 

When John Nation started his “aerosol art” movement at Barton Hill, he gave birth to a place that made street art legal in this one area of Bristol. Youths from bad neighborhoods (again, reinforcing the stereotype) could come together and legally paint during the day and then would go out and tag illegally at night. 

Arrests were eventually made at Barton Hill, and many artists were fined for damaging property. Banksy was too young and not yet involved in this scene to get into trouble, and this was lucky. He became a part of a second wave of graffiti artists who came after this first cycle of arrests. It was at this point that he started crafting his persona; experimenting with different pseudonyms such as Robin Banx until settling on his infamous choice.

 

 

Did he feel it was necessary to make an alias because his background did not correspond with that of his contemporaries? It is interesting to consider that maybe graffiti culture is not inherent in Banksy’s life. He said himself that he was scared and intimidated of the area because of stories his father used to tell him, maybe he created a false past in order to fit in.

But does this make him not a legitimate street artist? Does where you came from direct what kind of art you are allowed to do, and anything else is just impersonation or appropriation? An old friend of Banksy was quoted saying “He was never a graffiti artist who sold out, because he was never a graffiti artist to start with” (pg. 36). 

What do you think? Does Banksy lying about his past influence your opinion of him and his artwork in any way? Does it make his artwork any less legitimate, or does it not matter where he came from so long as he has talent? Since Banksy lied about his background does that inherently mean that he believes the answer is yes?