Trespass Part III

Like what my dear professor Curtis said, “Much in the same way that genres of popular music can only be intelligently read by an intimate few, graffiti art’s strength lies in its ability to communicate with itself in plain sight of a mass audience that could not or would not hope to decipher it.” (84)

When does this work stop being public art?

Dan Witz, 1994 Hoodies 75 silkscreen hoodies in NYC

Commenting on gentrification and urban struggles of black people.

Paul Harfleet, The Pansy Project

Paul Harfleet plants pansies at the site of homophobic abuse; he finds the nearest source of soil to where the incident occurred and generally without civic permission plants one unmarked pansy.

“Graffiti is scrutinizing the way everything from ideas to feelings, to property, space, material objects are bought, sold and controlled.” (131)

These acts are not always simple and creative, but can be destructive too.

The question of worth as an artist is brought up in may ways throughout the book. Have you paid your dues? Do you know what its means to get beat up, robbed, chased, jailed, for your art?

“There is an ebb and flow between those who see themselves beautifying their environment and those whose rebellious anger provokes them to fuck things up.” (132)

Both reactions are the widespread commercialization and commodification of public space.” (132)

David Hammons, Bliz-aard Ball Sale 1983 – comments on the capitalist system

He sold snowballs priced according to size.

Laura Keeble, Idol Worship

Brand Tombstones.

Vinchen, 2005 Mind the Income Gap

Amanda Eicher and Steve Lambert with the anti-advertising agency Peoplesproducts123 “Shopdropping” – items left clandestinely in retail environments. This action reconnects labor and products through improved packaging which features images and stories about the workers who make them.