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décembre 26, 2007

They Don't Like Graffiti



They don’t like graffiti in the ‘Sco’ no more – but I do.




The first time I visited San Francisco was in around 2000. Not much had changed in the seven years prior to my next visit. There were still pieces running that I remembered knocking me on my ass from the first trip.

Sabers Rest in Peace Tie mural south of Market still had crack heads and junkies posted up out front of it like 20 deep. They were lined up covered in abscesses doing dope in the streets freely like it was the thing to do. The streets were smashed and I still felt like a miniscule toy amongst the momentous destruction. I had upgraded my supplies a little at least though. I had pockets full of nice drippy mops and squeezer markers where before I only had only sorry little china markers and Marks-a-Lots. The graffiti bug was still in me but I found myself a little shook to freely tag in the streets openly in front of crowds of people. I’d lost a little nerve since the age of 18.











The worst change was that I now had faces to go along with the names which I once revered so mightily. Almost without exception when I meet a writer I instantly stop liking their shit. A shitty personality will almost always trump even the best artists’ work. The scene in SF is pretty corny. The entire toy to mid level writers were goony scenester kids that looked like vegan-bum-homo hybrids. And without exception all the savages were sad looking dudes who enjoyed smoking crack. I’ve never really been a dick rider so it wasn’t too hard to become disillusioned upon meeting the motley crew of fucked up graffiti writers. Luckily, I didn’t have any famous three letters after my name so they pretty much ignored me or engaged me in somewhat normal conversations.








Our bus rolled into town just before sunrise and we made it to the homies apartment in the Fillmore just as the sun was coming up. We debated grabbing some sleep and instead hit the streets at daybreak to check out the graff and do a little tagging. Unfortunately, I was born with a second toe larger than my big toe and I royally hurt it standing up on my tip toes to put up a sticker. My weight came down on my mutant second toe and I was instantly a cripple for the rest of the trip. I hobbled around for seven or eight hours checking out the streets. I was bummed. I reneged on many missions due to my little pussy injury. I was still down to hang out at Delores Park and drink Tecate tall cans and smoke blunts though. The homies that I was with in the ‘Sco’ were much more into the graffiti “scene” than I was. It seemed that everywhere we went they would introduce me to such and such dude who was a writer. They would share their little gossip and be on their way. The first “superstar” that I met reminded me of this really weird Canadian dude I used to be in rehab with. If you looked at him you would never think that this Birkenstock wearing kid would have his name absolutely fucking everywhere. He did though; there was no doubt about that. The funny thing about most writers, most decent writers at least, are that they really aren’t psyched on graff that isn’t done by themselves or their homies. I guess this holier than thou attitude is at the heart of the graffiti game – the ego constantly pushing you to do more and more than the next guy.








The coolest writer that I met was a little seventeen year old street kid who had more tags and throw ups in the streets than I could even comprehend doing in my lifetime. He partied with us late into the night eating my whole tin of Altoids and some day old Burger King fries tainted with cigarette and blunt ash. He was one of the only humble dudes that I met who was actually slaying shit ruthlessly. The other was an older dude who looked fried out on some heavy acid. He’d been grilling shit for decades and had even passed through my tiny little home town years ago. It was strange to all of a sudden have faces to go along with all these names. It was also weird to meet someone and then suddenly notice their shit in the streets where I hadn’t before. One of the dudes looking out for us and showing us around was a writer but I really liked him because he didn’t seem to give two shits about graffiti or the scene and he always had a cynical or asshole comment to lay on you.





I realized that the people in the streets were looking at me funny when they would see me taggin’. Perhaps the same people who expected it from my young self were disgusted by seeing a full grown man fucking shit up. The denizens seemed to be fed up with the constant proliferation of graffiti. How was it that all us kids were never able to find a useful hobby and continue to roam the streets littering the town with incomprehensible scrawls? The locals seemed to have a genuine disdain for out of towners coming through their city and killing hard for a while and then moving on. It seemed that every writer had something to say about such and such homie who had been killing shit for years but was under recognized or appreciated. One thing I will say about the locals is that they certainly have their own unique handstyles. It’s called bus hopper style and their tags are really beautifully gritty and in one continuous flow. Handstyle wise they are only rivaled by Philly cats (who have the most amazing tags imaginable). It seemed like the novelty of graffiti had worn off to the average square citizen. Where graffiti once was something iconic and admirable about their city they now just seemed annoyed by it.











We would hit the streets nightly (well, I stayed home for most of the super gnarly missions honestly) and walk through the hood into the Tenderloin to hang out with the crack heads and trannys – the only place in America where it was still kosher to fight in the streets. We even befriended a local drug dealer named E and would occasionally stop to share a blunt with him in his staircase while passing through the Fillmo’. One time I had somehow been elected to carry three paint bags through a particularly gnarly looking hood at three in the morning. A SFPD cruiser slowly rolled by but didn’t stop to sweat me. They probably felt like I had enough trouble being a skinny white boy schlepping shit through the ghetto.





On Saint Patty’s day we decided to get shitty and hit up the ‘Loin’ for some good old fashion debauchery. I drank a shit load of Guinness as my buddies tried to talk up the haggard artsy females. The bathroom of the spot was grilled with tags and I added to it every time I had to piss. Unfortunately the liquor worked through me something nasty (as it always does) and as the night wore on and the beers and shots piled up I had a strong desire to start tagging the rest of the bar (not the first time this impulse has come over me) and whipped out my trusty Woodcraft. I started nonchalantly at first just hitting little corner spots on the sly. My big homie (and when I say big I mean massive like six foot six three hundred plus pounds) got in good with the bartenders by picking up a little Mexican dude causing trouble and throwing him out and they started feeding us all shots in celebration. My other homie was busy sucking face so I got bored and started tagging more. Probably not a good idea right? I started getting more and more obvious hitting the windows surrounding the bar and the raw wood paneling. I thought the drunk crowd was none the wiser until some big burly John Candy look-a-like tried to tackle me. Soon chaos erupted and the whole fucking place was out for my blood. My huge homie was nowhere to be seen – asshole – so I dipped and dived my way to the door.



















Being a pacifist at heart and never ashamed to run from a lynching I barreled out onto the streets quick. When John Candy tried to tackle me my head smashed into my fresh tags covering my hoodie and hands in white ink. I thought I would be able to walk away from the situation cool as a fan, but damn was I wrong. My little homie saw what happened and was able to break away long enough from the chick to say: “KAI – RUN”. Shit he didn’t have to tell me twice. I hit the first block I came to but much to my chagrin it was uphill (goddamn you San Francisco). I ran hard as the yeast from the beer uprooted in my stomach. The big homie was still nowhere to be seen but luckily my other little homie is a full fledged maniac and probably the fastest sprinter that I know (he’s passed me many a times when we were being chased). He was able to navigate to the front of the angry mob; I looked behind as he ran backwards and fended them all off while shouting me encouragement. Being as inebriated as most everyone else, I kept pushing myself to keep going while the others ran out of gas. The Guinness started coming back up and I just kept hitting corners. Finally, I was so exhausted I hit one last corner and took a chance by hiding in the front of an office area. I expected to see the whole angry mob pass by cartoon style but only one dude was left at this point, the bartender. He quickly saw me ducking down and approached me. I stood up and tightened my jaw preparing to get hit. All he said was: “Dude, just please don’t tag in the bar. I have a lot of friends who are writers and I love graffiti. Just respect the bar.” I’m sure he would have sung a different tune with his angry mob of locals behind him. I just laughed and continued puking while walking away. It wasn’t enough to stop me from tagging but it was certainly enough to stop me from tagging inside crowed establishments where everyone is sauced up. Not without a car waiting at least.


KAI1

























































décembre 24, 2007

Brad Streeper @ Keller Gallery

Brad Streeper @ Keller Gallery


Brad Streeper @ Keller Gallery

décembre 19, 2007

How I Became Charming Likable and Delightful
- Tristan Tzara

SEVEN DADA MANIFESTOS and LAMPISTERIES - Tristan Tzara
Calder Publications - Riverrun Press - London Paris New York - Fourth Impression, 1992, p. 49.
www.calderpublications.com



I sleep very late. I commit suicide at 65%. My life is very cheap, it's
only 30% of life for me. My life has 30% of life. It lacks arms,
strings and a few buttons. 5% is devoted to a state of semi-lucid
stupor accompanied by anaemic crackling. This 5% is called
DADA. So life is cheap. Death is a bit more expensive. But life is
charming and death is equally charming.
A few days ago I was at a meeting of imbeciles. There were a lot of
people there. Everyone was charming. Tristan Tzara, a small,
absurd and insignificant individual was giving a lecture on the art of
becoming charming. He was charming, at that. Everyone is
charming. And witty. It's delightful, isn't it? Everyone is delightful,
at that. 9 degrees below zero. It's charming, isn't it? No, it isn't
charming. God isn't up to it. He isn't even in the directory. But
even so he's charming.
Ambassadors, poets, counts, princes, musicians, journalists, actors,
writers, diplomats, directors, dressmakers, socialists, princesses
and baronesses are charming.
You're all of you charming, very subtle, witty and delightful.
Tristan Tzara says to you: he's quite willing to do something else,
but he prefers to remain an idiot, a practical joker and a hoaxer. Be
sincere for a moment: what I've just said to you - is it charming
or idiotic?

décembre 12, 2007

A curatorial poll

(thanks RG)

Conceived to promote and encourage dialogue, reflection, and social interaction about San Diego ’s artistic and cultural life, the exhibition, Innocence is Questionable, will celebrate the accomplishments of six renowned local artists: Jean Lowe, Ernest Silva, Raul Guererro, Iana Quesnell, May-Ling Martinez, and Yvonne Venegas, all recipients of the 2006/2007 San Diego Art Prize. By bringing awareness to the contemporary landscape and our place within it, each artist struggles with time and its impact on community, place, and the individual. By looking at historical precedents, mapping the physical environment and documenting the interconnectedness of all things, each artist explores one’s own history—how it’s constructed, where it begins and ends. Using the familiar, and sometimes the banal, to draw the viewer in, they make reference to the subtle complexities of an idealized image of the past in the face of the reality of the present. Ultimately, what each of these artists question is whether or not the folly of the world is the responsibility of man? California Center for the Arts, Escondido March 1 - May 31, 2008




folies bergère.bmp



décembre 11, 2007

Introducing Prawech Pranaprom



Prawech Pranaprom
Prawech Pranaprom


I met Prawech Pranaprom at a coffee shop in downtown Manhattan after being fascinated with his recent series of work which he calls his “bubble paintings”. Even amongst the large group of people festering on the city streets I intuitively recognized him instantly. He carried a small portfolio of paintings and drawings under his arm and had his very pregnant wife in tow. Just like his paintings she looked like she might pop at any moment. I was lucky to get to get to chop it up with him for a few minutes about his painstakingly detailed pictures.

The elusively narrative nature of his paintings are conveyed with minimalist pen and acrylic markings. Upon first viewing I struggled to come to grips with his fleeting ephemeral world. When asked about his new paintings an extremely humble Prawech indicates that the themes of his paintings are about bringing happiness into peoples lives. This seems like a very simplistic explanation for pictures that are able to convey so much with so little. His paintings remind me of the fleeting nature of our existence and the cerebral tricks that the world plays in order for us to imagine that we are anything more than colorless atoms. Perhaps Prawech intuitively understands this or perhaps it is an unintended consequence of his particular artistic/scientific endeavor.


Prawech Pranaprom
Prawech Pranaprom


Before meeting Prawech I was really hoping that he would be an untrained, dirty psychopath. His bubble paintings have a very beautiful folk art quality and I was actually somewhat surprised that he had both Bachelor of Fine arts from the Kasem Bundit University in Bangkok (which is where he is from originally) and a Master of Science in Interior Design degree from Pratt. The fact that I originally thought that he had no formal education is not meant as an insult at all. The opposite is actually is true as my aesthetic palette usually prefers that which is untainted by academia and is instead infused with raw emotion and intuition.

I was greeted with a look of surprise upon greeting Prawech and his wife. They probably were not expecting a dude half their age but I was able to convince them into a sit down at a sausage restaurant that claimed to have 11 inch sausages. His wife did most of the talking in the impromptu role of an extremely pregnant agent. She was very sweet and personable albeit looking somewhat confused as I explained my checkered past that led me to the role of freelance art journalist. I tried to explain the connection that I saw stylistically in Prawech’s work with Art Brut and Lowbrow/ Pop Surrealism (for lack of a better term). They graciously accepted my comments and showed me 10 or 20 drawings and paintings (my favorites which I’ve included here).


Prawech Pranaprom
Prawech Pranaprom


Prawech Pranaprom
Prawech Pranaprom


When asked to describe the impetus behind his art Prawech maintained astute yet simplistic responses. His artist statement simply states (his original somewhat broken English intact): “The circular forms I use to create figures give ones the impression of continuity of life, which has no beginning or end. I depict our daily life experience as positive energy that brings endless possibility into the world.” To me his pictures are much deeper than that though. They seem to depict seemingly asinine life circumstances with a hint of malaise and horror. They laughed at this observation not knowing quite what to think of my oddball criticisms. Not wanting to be thought of as a total shmuck I had to bite my tongue when wanting to tell him this seedy disconnected quality about his pictures was what intrigued me the most about them. The red painting of a man pouring another drink for an inebriated looking woman especially seemed a sharp commentary of urban life and its proclivity for alcoholism and hysteria. The portrait of a pregnant woman pushing a granny cart full of parcels trailed by two scary looking wiener dogs reminds me of many sad eyed women who I pass daily the smell of heartbreak and despair fresh in the air. We all each interpret the world differently, the colorless atoms fusing into retinal images the same way that Prawech’s singular bubbles come together to for a full composition.

KAI1




Prawech Pranaprom
Prawech Pranaprom


Prawech Pranaprom
Prawech Pranaprom

décembre 09, 2007

"Pisser de l'oeil" - Art as Authority's
NEW artist project space



Pisser de l'oeil


Pisser de l'oeil or literally "Piss from the eye" in english, is rather vulgar slang (argot) that is meant to capture an emotion of looking at something visually that causes your eye to erupt in a stream of optical ecstasy in an almost involuntary reaction to something that is really really good. Pisser de l'oeil is very different in meaning from our colloquial expression here in the US of "seeing red" or being so angry our eyes become gorged with blood - Pisser de l'oeil has nothing to do with anger and is only concerned with beauty. What else would you expect from the French other than amour and passion when their language and culture, their art and poetry is awash in it? The French have many more colorful expressions that utilize the eye, a favorite being, Rincer l'oeil or "rinse (wash) the eye" when a beautiful woman passes in front of you.

Helas, on to more important things such as a new section to the Art as Authority blog, an artist project space where you can test drive your latest ideas, experiments and expressions. I invite you to submit your latest project(s) in the form of images, video, text, flash, sound or any other web based media to be included on the new blog devoted exclusively to experimental ideas. The goal is to offer the public some insight into the creative process and to witness some of the most contemporary of contemporary works being produced at this moment. This will also hopefully establish a dialogue and incite commentary from peers and readers alike.

Art as Authority is proud to present work by Lisa Ann Wilson, local San Diego artist who has exhibited in many galleries here and abroad and is currently working on a series of "cut-outs" collaged on to graph paper. They are exquisite little drawings that are simple, direct, and joyful laced with a twinge of bittersweet. I hope you will enjoy them as much as we do and leave your comments of encouragement or construtive criticism.

You'll find our new section here by linking to: www.artasauthority.com/pisserloeil

To see work by Lisa or to learn more, please go to: www.myspace.com/artoflisaannwilson

Please send your projects for possible inclusion on the blog to: artasauthority@artasauthority.com
There's more to it than meets the eye. Thank you.

décembre 06, 2007

Art Rocks! Bites: A Critic at Large dines and wines on art and avoids the snails.



Art Rocks!


"L'addition s'il vous plait Monsieur!"
Ah yes, fine dining and good wine at the Bleu Boheme restaurant (Kensington) the other night, having been invited by the Art Rocks! dynamic duo of talk show internet radio fame: Philly Joe Swendoza and Ally Bling Bling aka "The Fashion Pirate" and friend Joan Seifried, to test drive the restaurant's French cuisine and European charm. Except for the extremely small portions of fromage and charcuterie and a waitress much to eager to serve - a crash course in respectfully ignoring the client à la the bistro style in France could be of great use here - it was a pleasurable dining experience of food and conversation.

The Art Rocks! Bites portion of the one half hour live broadcast (worldwide) was conducted here in San Diego at the ws radio station under the auspices of Philly and Ally. Future bites or chewing will feature weekly culinary reviews of local and out of town eating establishments by Philly, Ally and their subsequent invited dinner guests, and later recorded as was our experience at the Bleu Boheme for future prosperity. Our largely unanimous "thumbs up" review can be heard by clicking on the link below. A link for our mobile podcasters is also available for download. Other than one or two extra "uhh's and err's" in my debut radio appearance and the annoying habit of "The Pirate" cutting me off in mid-sentence, I had a great time. I hope you'll have as much by taking a listen. KF

Direct link:
http://www.wsradio.com/wsradio-player.cfm/type/windows/show/Art-Rocks!/segment/14499.html

Podcast:
http://www.wsradio.com/podcasts/talk-radio-podcasts.cfm

décembre 04, 2007

Andy Howell @ X-LARGE L.A.

Andy Howell


XLARGE Los Angeles presents:

Andy Howell
Monkeym@n, Octopu$$y, and The Bad Hands
an Exhibition of New Works and Prints

Opening Reception: Thursday Dec 6th, 2007
7-10pm

X-LARGE Upstairs Gallery
1768 N. Vermont Ave
Los Angeles, CA 90027
323.666.3843
www.xlarge.com
www.andyhowell.com
info@artsprojekt.com

Andy Howell