Be ready for what should be another good show by the folks at Hang-Up in Shoreditch. They are presenting again Alex Daw whose last year show sold out. This year the second solo entitled Proper-Gander in a rather unusual subterranean members club in the city called Eight in a show opening on the 6th December. Continue reading Alex Daw at Eight club by Hang-up→
I knew I would not be disappointed when I heard about the Lock Up exhibition and disappointed I wasn’t, oh no, I was overwhelmed.
By the way, that event happened last year (20th Nov till 10th Dec 2009), yes I know it is a bit late to report on it but I never got round to do it before today… But keep reading, those artists are just phenomenal. Continue reading The Lock Up exhibition: just what I like→
Coinciding with Frieze Art Fair in what is undoubtedly the most important week in the London Contemporary Art scene calendar, Multiplied Art Fair presents the perfect forum to scope out emerging artistic talent.
In collaboration with over thirty London galleries the art fair will be hosted by Christie’s and will offer contemporary art editions in all its manifestations, from prints and photographs, to artist’s books and 3-D multiples. Continue reading Multiplied fair at Christie’s→
He was behind a famous hoax in 2004, where Photoshopped copies of Paris Hilton’s album were distributed in HMV shops.
The same year, he created and distributed fake £10 notes.
This piece was commissioned by Bono when it was a guest editor at The Independent
He has had 6 exhibitions since 2002. These are Existencilism, 2002, LA. Turf War, 2003, London. Barely Legal, LA, 2006. Village Pet Store And Charcoal Grill, 2008, New York. The Cans Festival, 2008 London. Banksy vs Bristol Museum, 2009, Bristol.
The highest ever price for a Banksy work at auction was over £102,000 for his piece “Bombing Middle England”.
He visited New Orleans in August 2008, marking the third anniversary of Hurricane Katrina. But some of the pieces are now gone. Banksy told Time Out: “In New Orleans I painted on a dilapidated shop in a street littered with abandoned cars and rotting mattresses, then two hours later the piece was gone. It turned out I’d picked the side of a crack house and the proprietor didn’t like the attention.”
He designed the cover of Blur’s Think Tank.
He was nominated for an Oscar for his 2010 documentary Exit Through The Gift Shop.
He illustrated the opening credits to The Simpsons in 2010.
In 2007, a photo purporting to be of Banksy was released.
Guggenheim, modern and contemporary international art museum located in Manhattan, New York has recently made available online the publications they have been producing for the numerous shows and exhibitions that have been happening there.
Browse through the collection going as far back as 1937 and let you be transport through times. Here below are our top 5 most visually appealing with a direct link to the actual publication. Do you agree with out choice?
1. SIX PAINTERS AND THE OBJECT
Lawrence Alloway
Published in 1963
28 pages, fully illustrated
Softcover
The Berlin Wall came down 25 years ago. I remember it like yesterday, although at the time I did not understand the full meaning of what was unfolding in front of my eyes.
Looking back at it now as an adult, I can see the importance of what this event meant – the cold war was on its way out. Tyranny and freedom denials were starting to become something the West Berliners could dream of getting rid of.
Berliners at the time of the fall of the Berlin Wall
Such dark times and oppression naturally led to various acts of rebellion, from President Kennedy standing by the Wall in 1963 and declaring: “Ich bin ein Berliner.”, to artists braving the Grepos (or border police) to express their disapproval of the tyranny that was in place in West Germany.
And it is the latter that I want to talk about here. I want to pay tribute to all these artists who defied the ‘death strip’ as it was called, a no man’s land between the two walls, the border of East and West Berlin, and Thierry Noir, a French artist, knows it all too well.
Thierry Noir is thought to be the first street artist to paint the Berlin Wall. Born in 1958 in Lyon, France, he moved to Berlin in January 1982 with two small suitcases, and lived in a squat at Mariannenplatz, near the Berlin Wall.
His first attraction to the city was the fact that David Bowie and Iggy Pop lived there at the time, and Thierry Noir was a big fan on their music.
“Nothing really happened at the Berlin Wall. There were no cars, no shops, no noises. I never saw any ‘actions’ with the Grepos, never saw any soldiers shooting at anybody.” – Thierry Noir
One of the first things he painted on the Wall was this elephant (see photo below). “I started painting outside because I wanted to say that it’s good to put art in the streets and not solely in museums and galleries.”
This painting symbolises the key to success – heavy work every day. In other words, get your ass out there and grasp opportunity, do not stay at home waiting for something to happen – that is what the artist’s message was all about.
Thierry Noir in 86 painting the Berlin Wall
“We used to collect leftover paint and materials from the renovation of houses in Kreuzberg. We made do with whatever we could find. We had no money to buy materials.” Thierry Noir
Thierry Noir’s cartoon-like profiles
Thierry Noir’s style quickly changed to become what he is famous for – brightly coloured paintings depicting cartoon-like profiles (see below). The artist called this transformation – his Fast Form Manfesto, which is in fact the result of a need to adapt his style. It was in an effort to cope with the hundreds of people who approached him to talk while he was painting, at risk for being caught by the German authorities.
One famous incident is when Keith Haring was invited to come and paint the Berlin Wall at Checkpoint Charlie in October 1986. Thierry Noir, with the help of Christophe Bouchet, an artist he’d met a few years earlier, painted a series of 2-meter Statues of Liberty at this precise location. Unfortunately the wall got painted over in yellow, in preparation for Keith Haring. Haring however was not aware of this, so after apologies and embarrassment from Keith and annoyance from Thierry Noir, both artists were fine in the end.
What else to say about Thierry Noir? A great artist with a great story, his brightly coloured paintings are now seen as iconic and are still visible on the wall’s East Side Gallery.
James Bullough and Addison Karl are JBAK ans is a creative collaboration between two artists originally from Baltimore and Seattle respectively and hitting the walls of Berlin.
I could not describe better than Jennifer Weitman what JBAK is and is all about so here are her words. We particularly like the “Paintin Meryt’ piece which you can watch below
“Each artist brings his unique vision and style to their combined body of work. Bullough’s main focus is photo-realism, with attention to ambient and deep space, layers, and geometric forms. He combines contemporary street art techniques and materials with those of realist oil painters, creating pieces of vivid color and masterful detail. Conversely, Addison’s work is produced using a hatch drawing style, which utilizes fine lines and details to create fantastic illustrations of both diminutive and immense images and proportions.”
“JBAK have blended their contrasting styles into a mashup of antonyms: realism vs. illustrative, expressive vs. precise, hard vs. soft, black vs. a spectrum. The pair seeks desirable locations paying close attention to the space and the people that live and work within it. Their intent is not to disrupt but rather, to integrate their art into the existing environment, creating harmony, balance, and adding life to an otherwise colorless wall. Together, JBAK create large-scale murals, which highlight their differing design aesthetics while at the same time, reaching a common goal—to give people a reason to look up, around, and beyond themselves.”
Death To Me, Death To Everyone, (c)2008 Edd Pearman
“The concept of ‘the spectacle’ interrelates and explains a wide range of seemingly unconnected phenomena. The apparent diversities and contrasts of the phenomena stem from the social organisation of appearances, whose essential nature must itself be recognised. Considered in its own terms, the spectacle is an affirmation of appearances and an identification of all human social life with appearances. But a critique that grasps the spectacle’s essential character reveals it to be a visible negation of life – a negation that has taken on a visible form.”[1]
Guy Debord from Society of the Spectacle
Whilst I Breathe, I Hope, (c)2011 Edd Pearman
I didn’t have to delve far into Guy Debord’s Society of the Spectacle to find what I was hoping to find. This quote by Debord states the nature of the spectacle as an affirmation of ‘appearance’, while a critical look at spectacle reveals the spectacle to be a ‘negation of life’. This is the very essence of what Edd Pearman explores in his work. “Duality has a strong influence throughout my work, each work maintains a two-fold characteristic in its content i.e. Humour and horror, life and death, hope and despair. All initially appear to embody one intention, yet possess in equal measure, opposite qualities,” says Edd.
Appearance is seductive – and deadly. Is that a hyperbolic statement for effect? Possibly, but think of all the little deaths you’ve experienced for the sake of appearance and you may find you agree with me.
Read more of our interview, False Together, for This ‘Me’ of Mine.
[1] Debord, Guy, Society of the Spectacle, trans. Ken Knabb, Rebel Press, London, pg.9