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Street Art at MOCA
How Jeffrey Deitch convinced an outlaw art movement to show itself for the landmark retrospective “Art in the Streets”
Although it had some of the same talent as “Art in the Streets,” the “Beautiful Losers” show was on a much smaller scale, didn’t include graffiti and sacrificed historical perspective. “‘Beautiful Losers’ was an important exhibition at the time, and it marked a very fertile period in those artists’ lives, but everything has grown tenfold since then,” Rose says. “Street art was really still pretty underground at that time. It’s hard to say that about it now. Plus the artists have matured quite a bit since then.”
“Beautiful Losers” looked at street culture in a global, commercial sense, incorporating painting, sculpture, photography, graphics and toys. But now that street-art visuals have been incorporated into the mainstream via images in advertising, “Art in the Streets” can stick to discoveries within the form. “We’ve decided to keep the ‘street’ element defined pretty literally for MOCA, which makes sense and perhaps creates a more focused exhibition,” Rose says.
ART IN THE STREETS, THE GEFFEN CONTEMPORARY AT MOCA, PHOTOS BY GREGORY BOJORQUEZ, COURTESY OF MOCA
Stelios, from Cyprus
ART IN THE STREETS, THE GEFFEN CONTEMPORARY AT MOCA, PHOTOS BY GREGORY BOJORQUEZ, COURTESY OF MOCA
ROA, from Belgium
A bigger art show at a bigger art venue requires more money, of course. Even the basics need to be paid for: paint, framing, security and, in this case, possibly fines, Mean Streak markers and bail.
Typically, a museum exhibit has corporate sponsorships that underwrite its costs. Deitch acknowledges that he had difficulty presenting this idea of sponsorships to these artists as many of them, like Banksy and JR, refuse to work with corporations.
“We had dialogues to explain what we were doing with the artists, and made the sponsors also understand that they are not sponsoring the artists — they’re simply helping the museum to make this happen,” Deitch says.
Nike’s donation isn’t technically for the artwork — it’s paying for a skate ramp and bringing in skate teams. Levi’s is running an interactive film production workshop for attendees. “It’s not a logo pasted everywhere — they’re actually creating something to add to the experience,” Deitch says.
“We are working with brands that are already a huge part of this world,” Rose adds. “It is a very organic fit. They are companies who have invested heavily in street culture for years.”
Another stumbling block in a street-art exhibit is the medium’s impermanence. Many of these works were never meant to last and, consequently, the historic pieces are lost to the ages. This is an urban culture with a mostly oral history, tales of elaborate masterpieces created in unconventional places in the middle of the night only to be removed at daybreak. The stories and occasional photos are passed down through friends and crews.
As a contrary example, Deitch cites Jeff Koons, one of the world’s most visible living pop artists. He “understands what building an art career is about,” Deitch says. “He kept everything. He kept all his drawings, his old photographs, his old work. Very meticulous about when he sold things, he kept records of where they went. So if you wanted to do a book or an exhibition with Jeff Koons, you could walk into his studio and go through the archives.”
Deitch recalls the struggle of getting a record of the work from other artists. “Futura, who’s a great artist: ‘Do you have photos of your old work?’ ‘Ah, no. But we found that some other people had the photos.’ ‘Did you keep some of your old works?’ ‘No.’ ‘Do you know where the early works went?’ ‘No, I never did that.’ ”
Fortunately, there are a few diligent documentarians who kept track of the history, like Henry Chalfant, Martha Cooper, Gusmano Cesaretti, Steve Grody and C.R. Stecyk III. Consequently, the show gives vintage photography a fair amount of real estate.
Futura, a giant of the early New York graf scene, admits he resists career calculation on the level of Koons. He is a man of many talents, beginning with his textural, abstract style of subway train painting and branching out to early musical collaborations with The Clash. His new paint-splattered shoe designs for Clarks’ Wallabee line are hipster collectibles and his limited-edition vinyl toys are eBay gold mines.
“The new kids know about me because I designed a sneaker, a toy, whatever,” Futura concedes. “But I abandon the art world for the most part, because I just wanted to be me. It wasn’t about money, I was not going to be manipulated or defined by someone else. I want to feel something.
“I had a family, worked other jobs, but I never forgot how to paint. One part of me is like, ‘Now, really, you want to give me my shine?’ I don’t need approval. But I’m grateful. This show will put in people’s minds who did what, and it’s amazing — even if it did take 30 years for our country to embrace it.”
Deitch acknowledges MOCA may not be completely prepared for what it’s in for with an exhibit like “Art in the Streets. “This is going to be a challenge to the museum to administer, and I expect issues to come up, and we want to be sensitive to the way we deal with them,” he says.
36 comments
I wonder how you were able to post a comment without using the coroorate whores who made every little thing you use daily, you punk poser. If you like art then look and admire, if you dont than say so...life is not about hating corporations all the time. Pick your battles man, we all need a nickle to live on.
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BLU Why is it not in this exhibition?The art of the street would there be limits to freedom of expression?The art market would he hard to integrate the work of producing meaning, beyond the agreed upon?
The episode in December 2010 at MOCA is quickly evacuated, I think …http://next.liberation.fr/cult...
I’ll go see the work of BLU in the streets, keep your tools speculation museumFor more news, soon: http://ecritique-revue.over-bl...
A +Sabine
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[incorrect event name listed dept.] APRIL IS JAZZ APPRECIATION MONTH!
Thurs. Apr. 28th - Special TRIPLE signature "Companion Events" Jammin Foundation & Linda Morgan, Ms. SmoothAhead Jazz Presents: HONORING -6PM CHARLES OWENS "Sensei Maestro" & DOLORES PETERSEN - A.Pro-Advocate Rep.
SHOWCASE: And OPEN MIC / JAM: "Welcome Home" And JAM w/ D'z "Lady & Gentlemen" In-House Live Jazz Trio "redoubtable jazz vets" Karen HERNANDEZ & Tony DUMAS · Ralph PENLAND
7PM SHOWCASE: feat. "Woodwindist" FUASI ABDUL-KHALIQ visiting from Germany, "Special" Guest Co-Host JEFFREY WINSTON - Jazz Historian, Philantropist, writer8PM (sign-up 7:30PM) OPEN MIC / JAM: "heavy surprise guests" "stellar assortment of top-flight jazz musicians" Guest Co-Host "Young Lion" RANDAL FISHER - Intern/s DOLORES PETERSEN Presents: @ HSB&G 6122-6124 Sunset Blvd., Hollywood
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"If you choose to do art paid for by an institution, you have to play nice."
That pretty much sums up why there's a Nike skateramp, but no Blu anti-war mural at the MOCA show. Exit through the gift shop, indeed.
[unlisted dept.] SHOWCASE: And OPEN MIC / JAM: Thurs. Apr. 21st, 7:00pm And 8:00pm (sign-up 7:30pm) "Companion Events" (entertainment/music - instrumentalists/vocalists)SHOWCASE: Fundraiser - SOCIETY OF SINGERS - Deborah ASH, Synthia HARDY, Cara Lee PENDLEBURY, Polly PODEWELL, Sherwood SLEDGE, Chris SMITH "Sing SOS And JAM..."OPEN MIC / JAM: D'z "Lady & Gentlemen" In-House Live Jazz Trio "Master" accompanist/improv-musicians Karen HERNANDEZ - Music Director/p & Tony DUMAS - b • Ralph PENLAND - d, (multi-genre - Blues, Jazz, Latin, Pop...) DOLORES PETERSEN Presents: @ HSB&G 6122-6124 Sunset Blvd., Hollywood
[completely related listing dept.] APRIL IS JAZZ APPRECIATION MONTH! SHOWCASE: And OPEN MIC / JAM: Thurs. Apr. 21st, 7:00pm And 8:00pm (sign-up 7:30pm) "Companion Events" (entertainment/music - instrumentalists/vocalists)SHOWCASE: Fundraiser - SOCIETY OF SINGERS - Deborah ASH, Synthia HARDY, Cara Lee PENDLEBURY, Polly PODEWELL, Sherwood SLEDGE, Chris SMITH "Sing SOS And JAM..."OPEN MIC / JAM: D'z "Lady & Gentlemen" In-House Live Jazz Trio "Master" accompanist/improv-musicians Karen HERNANDEZ - Music Director/p & Tony DUMAS - b • Ralph PENLAND - d, (multi-genre - Blues, Jazz, Latin, Pop...) DOLORES PETERSEN Presents: @ HSB&G 6122-6124 Sunset Blvd., Hollywood
HAHAHAHAHAHAHAHAHAHAH1111...Outlaws?..........HAHAHAHAHAHAH......more like corporate faggots ...
This is right up L.A's whitewashed alley. Fucking street artists? More like commercial prostitutes...
Revok expressed "disdain" for indoor shows...But this one's cool...Different...it's cool... This hack, like the rest of his cronies with their redundant hit ups. Grey village grey walls..same shit over and over...
Lets talk Slick..handed his ass by HEX in 91"...this BITER is a joke....his plagerism and straight up intellectual property theft is as bad as..
Scene 1 OBEY (downloading internet image)
...it's an experiment in redundancy...did you buy a shirt..."
BANKSY (doing online banking)
...no, but these sheep will buy anything...lets sell them an "aerosoul outlaw"...in stores now!!!
Regurgitated images screaming no talent. Screaming capitalism...
Lets hope to cash whores that SEEN is somewhere to be found.
this is completely incoherent. evidence that people who are up on this stuff tend to be well, idiots.
I am so excited to travel from the east coast to west coast to see this show! I as a artist working with street art want to know more about the history of the exciting work I see on the streets. Congrats on your institution for supporting this great art movement and putting in the spotlight. Joycehillstudio.com
Play Deitch for a day by 'approving' or 'disapproving' the street art of LA for yourself. Learn how at http://moca-latte.org and get a free batch of stickers.
Really...you are the exact sort of ignorant trend whore that this exhibit is geared to.
Graffiti is on the street for the public to see
Only difference is you douche bags that want it painted over when its on your wall.
Send up a shout for Tony Silver's 1982 "breakthrough" documentary, Style Wars, regarded as the best hip hop film ever made. The film will be screened in the Art in the Streets in its entirety as well as favorite scenes.
White washing over BLU's mural was not simply an act of artistic censorship it was an act of political censorship. If BLU had created a pro-war mural there would have been no white washing and no controversy. By meekly accepting the destruction of BLU's work, the LA art community is endorsing the notion that anti-war art must ride in the back of the bus if it is allowed to ride at all.
It wasn't about being pro or anti-war, the reason it was buffed was out of respect for the residents in the neighborhood. Across the way from the mural is the "Go for Broke" monument which commemorates the 442nd Regimental Combat Team, they were Nisei - American-born sons of Japanese immigrants who fought during WWII. Simply put, it was a poor choice in judgement on Blu's part. He didn't bother to research where he was painting.
Did Deitch hold a community meeting and ask anyone if they were offended? How about the fact that MOCA sits on the very spot where Japanese were shipped off to internment camps? How about THAT for censorship? I am positive that blu knew exactly what he was doing, that wall looks directly at the VA where many of the vets there would most likely have agreed with blu's statement and Dept. of Homeland Security where people are deported from - but hey, you can become a US citizen if you join the military!
“We are working with brands that are already a huge part of this world,” Rose adds. “It is a very organic fit. They are companies who have invested heavily in street culture for years.”
Corporate marketing parasites.
This weak show rides on the tail of San Diego and others. It's hardly a first.
http://www.mcasd.org/exhibitio...
Street art is / can be radical explicitly because it stays in the street, defying what's public / private and sanctioned.
Once it moves into a museum / mausoleum, sanitized for quick grab sales in the MOCA gift shop ("Art in the Streets" mouse pads! key chains! ski masks!), it's immediately neutered.
[listing dept.] "April is JAZZ Appreciation Month"
SHOWCASE: And OPEN MIC / JAM: Thurs. Apr. 14th, 7:00pm And 8:00pm (sign-up 7:30pm) "Companion Events" (multi-genre, vocalists/instrumentalists)SHOWCASE: Pro-Vocalist - SHARON STANLEY "She's Bold & Beautiful" And JAMs...OPEN MIC / JAM: D'z "Lady & Gentlemen" In-House Live Jazz Trio - "Master" accompanist/improv-musiciansKaren HERNANDEZ - Music Director/piano & Tony DUMAS - bass • Ralph PENLAND - drums DOLORES PETERSEN Presents: @ HSB&G 6122-6124 Sunset Blvd., Hollywood
How can Deitch characterize BLU's mural as "undermining the whole show" when he approved the design? It makes no sense. Deitch lost his balls or got a call but I guarantee no one else doing art in that show saw that mural as "undermining" anything. Liar and coward.
What a bunch of bullshit. If you are commissioned to do a mural you have to "play nice"? Street art has never been about playing nice. How about we call Deitch's decision to white out Blu's mural what it was? CENSORSHIP.
Just want to mention that in October 2010 the National Gallery of Australia put on a large scale show of Australian street art, especially focusing on the explosion of stencil art and wheatpasting that occurred around 2004-2006. The exhibit has just closed in Canberra, and is currently showing in Brisbane, and opens in Melbourne later in 2011.
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