Tag Archives: la street art

PINKISH: PORTRAIT OF ROBED ELEPHANT-HUMAN STREET ART BEFUDDLES PASSERSBY

Street art often provides many unanswered questions, not only about the artwork itself, but also who created it. There’s seldom clear authorship for most street art and usually no contextual information about the artwork or artist in the way there is for in a museum of gallery. That can make it difficult to attribute the artist or read the artwork, though that’s also part of the allure of street art.

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TECHNOLOGY: STREET ARTWORK LITERALLY “PHONY”

An electric utility box along Sunset Blvd. in Silver Lake, in Los Angeles, has been painted as an old-school public pay telephone. See pic below.

From a distance you might be fooled into thinking you were spying a real pay phone, albeit a questionably larger-than-life-size one. But, of course, it’s fake, a phony — literally a “phony” in the original sense of the word.

The painting is cartoon-like, but accurate in its rendering of the design and details of the phone. The real public pay phones were once common in cities around the United States, but have all but completely disappeared from American life.

The artwork is a cute and clever reminder of how quickly technology has changed and how physically pervasive and visible it can be in our lives.

As by-product of the explosive growth and adoption of cellphones, and later smartphones, over the past two decades is the erasure of pay phones from the urban landscape.

CULT OF KAWAII: WHEN STREET ART “GETS CUTE” WE ALL SUFFER

 

Look, savvy reader! Look at the photo above!

See that tiny wheat-pasted street artwork of a poodle-like canine waltzing down the pavement seeming to give zero fucks but in a totally oblivious, entitled way?

Ahhhhh …. cuuuuuuuuute, right?!?!? 

Look again, look carefully. Is that a dollop of poop nonchalantly emanating from the butt of this kawaii canine? It is! It must be! Wow, this cartoon pup really does give zero fucks.

Ahhhhh …. cuuuuuuuuute, right?

Well, we’re not buying it. This is just a little too cute (or as Japanese high-school girls love to squeal: Kawaiiiiiiiiiiiiiiii”). And frankly this is even a little too cute for the Los Angeles Arts District where this pic was snapped.

Sure, the poop is a touch of insouciance and whimsy we can appreciate here at Global Graphica. Clearly this artwork was something not executed without thought. (Notice how that dollop of poop has its own shadow!!!!)

And we like how the artwork was posted at the eye level of a small rodent. (The artwork actually is the size of a small rodent — less than a foot long. It shows that the artist is, as corporate HR specialists like to say, “detail oriented.”

That aside, this kind of cuteness is too easy and a kind of artistic crutch. We want our street art to be bolder, grittier, heavier, more epic, aesthetically nuanced and more serious about message.

What is this artwork trying to say? Pick up your dog’s shit? That everybody has to poop, even the most beautiful and haughty little bitches? (For the record, the word “bitches” is used here in the scientific sense to mean “gender-female dog,” and not used in the often misogynistic hip-hop sense).

With this kind of cute, we suffer. You, us, everybody — even the artist — suffers. Yes, the struggle is real.

 

PASSIVE AGGRESSIVE: STENCIL STREET ART ATTEMPTS WRY SOCIAL COMMENTARY ON SMARTPHONE USE

 

We were were recently walking down the street in the Arts District near Downtown Los Angeles (a.k.a., DTLA).

We were upbeat, bright-eyed, walking with a spring in our step, as one might say, practically skipping along the pavement and doing this all while scrolling through the email inbox on our battered iPhone, firmly en-gripped in our right hand. (BTW, we just made up that word “en-gripped,” which we think perfectly captures the idea of holding a phone while walking.)

That’s when we almost didn’t notice the nearly life-size stenciled silhouette of a lean, badly-postured man on the sidewalk ahead of us. See pic above.

This figure was staring down at his smartphone (sure, probably an iPhone, but, you never know, it could be a Droid — you’d be surprised sometimes that there are actually some non-iPhone smartphone users out there — Yes, even in the Arts District! Amazing, we know).

He seemed so engaged with his smartphone that he was missing out on all the stuff going on around him on the street. He was missing out on life, on living, and stuff that didn’t involve touch-screens and apps icons and likes and getting things done and working remotely and sending important work-related messages and viewing urgent texts about deadlines and budgets.

He was missing out on important non-important stuff, like missing out on all the awesome street art all around.

We took a pic of this.

Then we went back to scrolling through the email inbox on our battered iPhone and went on our merry way.

BRAZEN: CELEBRITY STREET ARTIST DEFIES NATURE AND PCH TRAFFIC TO PUT UP ARTWORK

We spent last weekend on a surf trip in Ventura and Santa Barbara counties north of Los Angeles. On the way back to LA, as we drove sun-kissed and exhausted along Pacific Coast Highway (a.k.a., PCH) and we neared scenic Santa Monica, we spotted the mysterious, blank gaze of Andre the Giant on a busted-up retaining wall built into the side of the cliffs.

Artist Shepard Fairey and/or his minions/interns/assistants had struck this beautiful stretch of beachside paradise with his classic and iconic street artwork, a poster often called “Obey” or “Obey the Giant,” but originally called “Giant Has a Posse.”

This is the meme-marketing experiment-as-design-turned-art that launched the career of Shepard Fairey back in the early 1990s. For a few years, the extreme close-up face of late professional wrestler Andre the Giant, as he was known, was everywhere in the form of this artwork put up on walls as wheat-pasted posters and stickers. That visage of Andre has found it’s way woven into many other pieces of artwork by Fairey since then.

But since the mid-2000s, it seem Andre’s face has been seen less and less, as the subject matter and focus of Fairey’s work has gradually shifted toward more politically-tinged realistic representations of people in his own distinct and adorned graphical style.

So this poster on PCH was a bit of a surprise for its being the original, classic “Obey” design and its scale, as well as its unusual location. Santa Monica doesn’t have a lot of illicit street art, and along this part of PCH there are few potential blank canvases for such artwork to be put.

The retaining wall is perfect, but it’s hard to reach given its situation on the side of a cliff on a side of PCH that has no easy pedestrian access. Plus there’s the neverending stream of speeding highway traffic to contend with. There was a chainlink fence blocking access to the spot too, but the fence has been mangled down freeing up a path. Putting up such a large piece of artwork here isn’t easy.

The context of Fairey’s artwork is unusual too. It’s not the usual cityscape setting. Aside from the dilapidated wall, the artwork is on the outward appearance, set in an un-urbanized environment — tucked into a beautiful coastal bluff flanked by palm trees, plants, dried brush and multi-million-dollar beachfront mansions. On viewing, there’s a brief moment of cognitive dissonance.

Soooooooo … full marks to Mr. Fairey!

KNOWLEDGE: STREET ART EXPLAINS RELATIONSHIP BETWEEN FINANCE AND LOVE

Art can do many things. It can provoke, teach, offend, inform, comfort, inspire, scare, stimulate and bond us.

Street art, can possibly do even more things. Its public nature — in “the streets” —  gives it more reach and exposure to a much larger, broader audience than most of the art confined to the indoors of a museum or gallery. That said, most of the audience exposed to street art do not care for street art.

That public may not “get it” nor like it nor think of it as “art,” but as they drive by or walk by street art, they cannot unsee it (at least not without some kind of head-trauma induced amnesia or decades of expensive professional psychological counseling).

In this way, street art is like a billboard, or what people in the ad agency business called “OOH” for “out of home” advertising.

So any explicit message contained in the street artwork has as much power or influence as a billboard, which itself may be inconsequential or great depending on the content, images and message. In any case, while that influence can be hard to precisely measure, nobody is in doubt, however, about its visibility and potential.

Occasionally street art, or art in general, imparts some gem of wisdom and understanding in the viewer. Often, depending on the media, it’s nuanced, subject to interpretation and open to speculation. But sometimes it’s clearly stated, expressed using the power and clarity of the written word, relying more on text than image.

No money, No honey” (our comma) is the message in the stencil street art pictured here on a stretch of pavement in the Downtown Los Angeles Arts District. The stenciled art provides a pithy, hyper-concise breakdown of the relationship between purchase power and sex (preferably of the hot kind).

The statement is a generally understood observation, and an unethical and shameful popular notion, that has existed since the beginning of time. To put it another way, it’s saying there’s a relationship between money and love, or the facsimile of love.

Is there a real-world example that might illustrate this relationship? Why, yes, there is, savvy reader! Yes, there is!

Take the case of Melania and Donald Trump. Melania here is the “honey” in the equation. The Donald has the “money.” If Donald does not have the money, it’s quite likely he wouldn’t have the “honey” (that’s Melania — c’mon folks follow along!). Because, really … Melania would give up the honey for this without the money?

Under any circumstances, the image of Melania giving up the honey for Donald Money is something we can’t unsee. It’s like street art. Or a billboard. Or street art ON a billboard. A really frightening billboard. 

Mysterious: Why “Judith” is Painted on an LA Warehouse Door

The “Judith” in question here is artist Judith Bernstein. The roller shutter with her name painted on it in a rough handwritten style is at the influential art gallery the Box in the Art District of Los Angeles, where Bernstein has had many exhibitions.