READING ANALYSIS

Anna Waclawek, excerpt from Chapter 5: “Urban Visual Culture” in Graffiti and Street Art, 2011 (pp. 157-195).

The purpose of these questions is to evaluate your ability to comprehend and offer analysis of a targeted text, and then to apply that analysis to a work of street art not directly discussed in the text that you choose to work with.

To complete this part of the assignment, please choose FOUR QUESTIONS from those listed below to answer. Use ONLY the reading and your own opinions / observations to help you answer the first part of each chosen question, and then feel free to research the Internet for the artwork you will choose and analyze in the second part of each chosen question.

1. Visual Culture/Art History 1 (p. 157-161): What is the difference between art history and visual culture studies? How does the artist Psalm play both sides of this divide? Find a Psalm work not cited in the reading—add it to your PebblePad page—and offer an analysis that furthers the argument offered in this reading.

Waclawek defines art history as traditionally representing “…a focus on visual production that is first and foremost ‘art.’… whereas art-historical research tends to emphasize form, content, and the function of art within historical contexts” (159). By contrast, Waclawek describes visual culture studies as placing focus on the “…contemporary, everyday experiences of visual consumption” (159). Specifically, it seems fair to suggest that Waclawek is arguing that the difference between art history and visual culture studies lies in a question of scope. Whereas in art history considers a more micro view, looking at specific movements in art, as well as the art and artists being created; whereas visual culture studies approaches the world around us by taking a broader (or macro) look at the plethora of rich visuals that people can choose to interact with on a day to day basis. Art is art, but visual culture is art plus advertising, movies, television shows, and, as Waclawek explains: “…the images disseminated in our cities are bound to our reality – whether the reality is that we are consumers (advertisements), we have laws (road signs), or that we rebel (graffiti)… studying visual culture is thus a way of tapping into the images that circulate within a particular society, what they tell us about ourselves, and whom they represent” (158).

For Waclawek, the street artist PSALM represents a street artist who plays both sides of this divide, because he has been inspired by both “…iconic images from the history of art” as well as by images from visual pop culture (161).

ARTIFACT 1 - Photo: Shellie Lewis. “PSALM: Australian stencil graffiti artist.” WordPress Blog, 16 Jul 2010.

ARTIFACT 1 highlights how PSALM plays with both art historical and pop culture imagery. With this stencil, PSALM features a stereotypical, Hollywoodesque image of a First Nations individual, in this case, a Native American man. This kind of image is rooted in European representations of First Nations in paintings and in photography. This ties into the stereotypical elements in PSALM’s stencil, including the presentation of the kind of headdress that many assume is worn by many First Nations, when in reality it is only worn by a few Indigenous peoples in North America, such as the Sioux Nation.

In many ways, PSALM’s simple black lined image, sitting in its circular frame, feels as though it could serve as the logo of a sports team, which, at the time of PSALM’s production could be seen in the kinds of logos presented in ARTIFACT 2, including: A. the NHL’s Chicago Blackhawks; B. the MLB’s Cleveland Indians; C. the University of Illinois intercollegiate athletic program; or D. the NFL’s Washington Redskins. ARTIFACT 3 shows the logo of E. the Bendigo Braves, a Southeast Australian Basketball team. As seen by these logos being used by sports teams, PSALM is likely commenting on the ways in which global populations portray their unhealthy fascination with American First Nations through the appropriation and generalization of First Nations imagery.

3. Street Art Off the Streets (p. 169-173): How does graffiti and street art shape, influence, and impact the world of video, gaming, street wear, cosmetics, design as seen in the the work of Blu, Fafi and/or Buff Monster. Find a Blu, Fafi and/or Buff Monster work not cited in the reading—add it to your PebblePad page—and offer an analysis that furthers the argument offered in this reading.

Graffiti and street are shapes, influences, and impacts the worlds of video, gaming, street wear, cosmetics and design by helping to primarily transform the street art into new forms of visual representations where Waclawek describes how the works are “…heavily mediated and rendered… whereby choices were made in terms of how the work would be viewed, (and) the audience itself has a great deal more control over their experience of the work” (169).

Graffiti and street art shapes and influences the world of video art as seen in the work of Italian street artist Blu, wherein Blu uses technology to create video art in the form of stop motion animations that navigate the surfaces of outdoor spaces in a parkour like fashion, surfaces which serve as the canvas upon which he creates his animations, in a style that isn’t that different from the work of artists like William Kentridge (the key difference is that the works of Kentridge are created on paper in studio, as opposed to on the streets). Marks, lines and smudges are made, photographed, altered, erased, painted over, and photographed again with each change that is made. The images are then assembled into an animation, and distributed online through sites such as YouTube, as seen in ARTIFACT 4 - COMBO. COMBO is a collaboration which sees Blu work with several other artists in the creation of a work that also sees the addition of objects being manipulated to form part of the stop motion animation. Waclawek describes how Blu transforms his street art by bringing it to life in his animations, thereby creating an entirely new piece of art, and he also allows it to have a wider range of distribution online. And with his animations, Blu is bringing his urban street art works from the streets to computers, smartphones, tablets, televisions and even theatre screens around the world.

ARTIFACT 4 - Video: notblu. “COMBO: a collaborative animation by Blu and David Ellis (2 times loop).” YouTube. 13 Sept 2009.

Waclawek also describes how many street artists are working with consumer products “…to infuse merchandise with their creations” (170). Waclawek introduces the artist Fafi, who has a history of producing playful street art murals, with a variety of colourful characters which she has been able to use as the basis for a commercial line of dolls, “…in the vein of Barbi” (170), wherein an entire world has been crafted by Fafi. Fafi has also served as the spokesperson for major multinational corporations like MAC cosmetics, which Waclawek explains has provided an example of how street art has been transfigured into merchandising opportunities.

One of the artists I am considering for my street art exhibition, Ryan Brunty, created a yeti like monster named Yerman, who is the focus of a lot of Brunty’s mural work which explores mental health issues. The character also serves as the subject for a wide range of apparel, pins, keychains, toys, and other products which are sold through his website as promoted by his wide social media presence. Brunty also notes on his website how “…a portion of all proceeds is donated to top mental health agencies to help fight the stigma around the conversation of mental health awareness.” Like Fafi, Brunty is bringing his work from the streets to a wider audience than would otherwise exist for his artwork.

4. In the Gallery (p. 174-178): What are the pros and cons of moving street art into the gallery space? What are some strategies for display and curation connected to the examples of Miss Van and/or Swoon. Find a Miss Van and/or Swoon work not cited in the reading—add it to your PebblePad page—and offer an analysis that furthers the argument offered in this reading.

Waclawek notes how a street artist’s practice changes in terms of its form, content, and context, which she describes as “…materially, spatially, and visually when performed indoors” (174).

Specifically, Waclawek describes some of the pros of moving street art into the gallery space as being what street artist Swoon highlights as opportunities “…to create a small world” or “…a whole environment” (174). Waclawek also quotes street artist Vexta, who says gallery exhibits “…give her a chance ‘to create things that are more complex and intricate’” (174), and which moves “…beyond the scope of their street practices” (174). This sentiment is echoed by Miss Van who Waclawek says uses “…the gallery to create more detailed pieces, which push(es) her practice forward both conceptually and technically” (175). And to this end she also quotes Roadsworth, who describes how “I find any and every space and / or situation has different possibilities and challenges” (174) for creating work. Many artists such as Swoon are able to create work that straddle the divide between the gallery space and the street, with works that have the ability to disrupt the mainstream gallery system (175). Waclawek also lists how gallery spaces are safe spaces to create work, where the illegality of creating work is wiped away (174). Galleries also provide new opportunities to be seen that street artists wouldn’t otherwise be able to access (174). And finally, Waclawek notes how artworks created for the gallery can often find “…their way onto the streets and into other exhibitions” (178).

In terms of the cons surrounding moving street art into the gallery, Waclawek explores how most graffiti writers are against the practice of formally exhibiting their work (174). Many writers feel that work developed for the street loses its impact when moved into the gallery, and that the illegality of the work is an important aspect of their subculture, and to move away from that is seen by some as disrespectful (174).

Miss Van’s website contains has many pages that feature both her street work murals as well as her gallery work. She has a page dedicated to murals. another to paintings, and another to exhibitions. The exhibitions page features links to pages that feature photos to different shows she’s been a part of - both solo and group exhibitions. Hairy Nest 1, as seen in ARTIFACT 5, was one work featured in a 2011 solo show called MUSES, held at the Inoperable Gallery in Vienna, Austria. It’s an acrylic on wood piece, which has been framed for display in the gallery. Other photos show how most of her work is fairly small, and each one framed, and hung on the wall in a salon style, which would be a more traditional way of displaying artwork in a gallery, as seen in ARTIFACT 6. It’s a far cry from the kind of very large scale murals that she has done, as seen in ARTIFACT 7.

ARTIFACT 7 - Photo: “'Guerreras' Mural.” Mural Festival, Montreal, June 2019

5. On the Internet (p. 178-185): What changes with street and graffiti art when it is circulated via the Internet in photographic form? What are the pros and cons of encountering graffiti on the Internet? See examples related to Jace, M-City, Swoon, and/or Invader. Find a Jace, M-City, Swoon, and/or Invader work not cited in the reading—add it to your PebblePad page—and offer an analysis that furthers the argument offered in this reading.

ARTIFACT 8 - Swoon. “Philadelphia, Pennsylvania.” 2010.

For Waclawek, the most significant change that occurs when graffiti and street art is circulated via the Internet in photographic form is the context of where a work is located becomes lost. Specifically, “…the piece’s material presence in a particular site is obscured” (178). It also distances a viewer from the immediacy that’s felt when one encounters a piece on the street. For example, seeing a photo of a shadowman figure by Richard Hambleton is much different than encountering a life size shadow figure on the streets in a back ally late at night. Specifically, “…the Internet dilutes the viewing experience” (179). And yet, Waclawek also noted how, in spite of this, photographs still serve as a means for allowing this culture to be remembered, as well as to thrive and evolve on a formal level - all of which can be held up as a pro regarding the distribution of graffiti online (178). It also promotes inclusivity, allowing artists with equal opportunity for exposure.

ARTIFACT 8 is a photograph titled PHILADELPHIA, PENNSYLVANIA, 2010 and it’s of a wheatpaste figure featured on street artist Swoon’s website swoonstudio.org. Several of the photos on Swoon’s website do give a slight indication of the context of where the work is located, as seen by the derelict building it’s painted on. A window frame is visible in the left hand corner of the photo, through which one can see the building has fallen in on itself. But, without the name of the work, it’s largely unclear as to where the work was done. There’s nothing distinct in the photo that screams out, Philadelphia on its own.

*CREATIVE ACTIVITY**: Preparing For Your Curatorial Project Zoom Pitch*

In the last two weeks creative activities, I have asked you to brainstorm ideas for your curatorial project and then create three potential exhibition ideas. For next week, I want you to actively prepare for the Zoom pitch meeting that you will schedule with me on June 13-14th.

Please be prepared with the following when you speak with me at our Zoom meeting:

1) Describe to me what topic and theme you have decided upon in a few clear sentences along with indicating the location of your exhibition (city, institution, or other specific locale). Tell me why this topic is of interest to you and why this kind of street art exhibition would be of interest to your target audience. You want to speak with some level of interest and enthusiasm just as if you were pitching this idea to someone you were asking for a grant or investment in the event.

WHAT LIES BENEATH is envisioned as different kind of street art exhibit that explores the difficult topic of mental health, including addictions, bipolar disorder, depression, and even suicide.

The exhibit would present artwork in two locations: the first would be a large mural placed in a yet to be determined part of the city; and the second would be several works created in the generally inaccessible and hidden spaces of the Burrard Street Bridge in Vancouver. I chose the Burrard Street Bridge because it has a history as being a place from which people have taken their own lives. On July 22, 2015, CBC News reported that suicide barriers were being recommended for installation on the Burrard Street bridge because, “…on average, one person per year dies by suicide, jumping off Burrard Bridge — compared to more than four each year on the Lions Gate Bridge.” In 2016, Paula Baker and Tanja Beja of Global News reported, in a May 24 article called “Controversy flares over suicide barriers on iconic Burrard Street Bridge,” how “…according to the Suicide Prevention Centre of BC, there are about 17 suicide attempts a year on the Burrard Street Bridge.” More specifically, Kenneth Chan, writing for The Daily Hive on January 3, 2017, noted how there “…have been seven known suicides from the bridge from 2006 to 2015, an average of approximately one death per year.” Another reason why I chose the Burrard Street Bridge is because of the hidden stairwells and walkways within the structure that makes up the Burrard Bridge. When the bridge was renovated, the architectural firm in charge of the renovations, as well as two local artists, looked at the possibility of opening up these hidden spaces to the public, as explored in this December 13, 2019 article for MonteCristo Magazine, but nothing came to fruition. The artists did shoot video footage of one of the bridge’s stairwells which can be found on Vimeo. As these hidden spaces are currently inaccessible to the public, the finished artworks would be shared and discussed across social media, as was done with the Underbelly Project in New York City.

This topic is of interest to me from both a personal perspective and an art historical perspective. Personally, I am someone who has had his own struggles. Mental Health issues also go unreported and remained unresolved for those who are suffering, and society has a terrible history in maturely discussing them, despite initiatives such as Bell Canada’s Let’s Talk Day. With respect to WHAT LIES BENEATH, in order to bring the work to the world, artists would document and distribute imagery of their artworks over various social media networks. Finally, in terms of art history, I’ve found that there are far too many creative individuals who have suffered from, and even lost their lives to mental health issues.

2) Clearly communicate to me WHAT IS AT STAKE in your exhibition. In other words, describe what is important/significant about the exhibition, and how it could open someone’s eyes who visits your show. Write out and provide this statement in no more than two sentences. I will ask you to copy and paste it into the chat box so that I can evaluate and help guide you with any refinements or revisions.

WHAT LIES BENEATH is important in helping to further shine a light on creating a discourse about the stigma that’s long been attached to the issues of mental health and wellness.

3) Provide me with links to 2 artworks at the meeting (and/or share images via screen at our meeting) for me to review that you are considering for inclusion in your exhibition, and be prepared to discuss with me why you are thinking these works would fit the framework of your exhibition.

ARTIFACT 9 - The Postman / TrustyScribe. “Just Because I’m Smiling, Doesn’t Mean I’m happy.” Instagram, 13 May 2019.

One artwork that I think would serve as inspiration for the commissioned mural, as shown in ARTIFACT 9, is “Just Because I’m Smiling, Doesn’t Mean I’m Happy,” which was a 2019 collaboration between American street artist TRUSTYSCRIBE and London street artist THE POSTMAN. It features a portrait of Robin Williams, who suffered from his own demons for many decades, including a severe addiction to alcohol and drugs, as well as bouts with depression. He would ultimately take his own life out of fear of being diagnosed with Parkinson’s Disease, as documented in this May 2018 article from The Toronto Sun, titled “'I can't imagine living like that': Inside Robin Williams' final months.”

ARTIFACT 10 - chopfire / Ryan Brunty. “Depressed Monsters.” Instagram, 6 Nov 2021.

A second artist I’d like to feature is Ryan Brunty, who created the character of YERMAN, a yetti creature that Brunty uses to explore issues related to mental health and wellness. Brunty was interviewed in 2016 for an article called Mental Health Awareness Through Street Art: Depressed Monsters (graffitikings.co.uk) and he described his inspiration for creating depressed monsters as laying in the ashes of his own depression, as well as in the do it yourself asethetic related to punk rock:

“I’ve always been influenced by punk music and punk culture. Growing up, I was really into the DIY aspect of skate punk; making zines, writing on t-shirts with sharpies, self-producing music. I was playing drums in the garage on the weekends with my friends, skating at night and drawing whenever I could; monsters were always the constant. So, Depressed Monsters has always had a DIY approach because of this.”

This piece, is a play on the saying - “See no evil, hear no evil, speak no evil,” and it really helps to shine a light on the hidden aspects of mental health issues, where people struggle on the inside, but don’t always share or get help for their struggles. In the Graffiti Kings article, it’s noted how: “In countries where data is available, it’s noted that 1 in 4 people suffer from some kind of mental illness. 2 out of 3 never receive professional help due to stigma, discrimination and neglect.”

Header Photo: Steven Lee. “Gastown 12.” Flickr, 5 Aug 2013.