Women on Walls AB 16358935 FINAL

Total Page:16

File Type:pdf, Size:1020Kb

Women on Walls AB 16358935 FINAL Women on Walls | Engaging street art through the eyes of female artists Alix Maria Beattie Master of Research Thesis Western Sydney University 2017 ACKNOWLEDGEMENTS First and foremost, I am truly thankful for the support and guidance of my supervisory panel, Dr Rachel Bentley and Professor Lynette Sheridan-Burns. In particular, my primary supervisor Rachel, who not only guided me through my research but offered an endless amount of support, critical engagement and general brainstorming driven by a love of street art. Lynette’s experience, words of encouragement and sharp red pen provided me with the right advice at the right time. I am also thankful to my artists: Mini Graff, Kaff-eine, Buttons, Vexta and Baby Guerrilla. They were generous in their time, thoughts, art, and passion. This work is only possible because of them. To all my lecturers throughout my Master of Research journey – particular Dr Jack Tsonis and Dr Alex Norman – who were tireless in their efforts, helping me become the writer and researcher I am today. Likewise, I want to thank Dominique Spice for creating such a supportive environment for all of us MRes students. To my fellow MRes students - Toshi and in particular Lucie and Beth (aka the awesome clams) – you are all, without doubt the best part of completing this research. Awesome clams, you provided continuous support and good humour –I truly thank you both. Finally, to my friends and family who have been relentless in their support via texts and calls – you know who you are and I am eternally grateful. A special mention and thank you to my wonderful sister Clasina and great friend Tanya, who did a final read through of my thesis. To my husband James – thank you for everything – your love and support through this thesis has meant the world to me. Image on Title Page - Alice Pasquini – Madrid, Spain – Photograph by Author, 2017 STATEMENT OF AUTHENTICATION The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledge in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or at any other institution. …………………………….. Alix Maria Beattie CONTENTS TABLE OF FIGURES I ABSTRACT II CHAPTER 1 | INTRODUCTION 1 RESEARCH QUESTIONS 2 BACKGROUND TO THE STUDY 3 GRAFFITI 4 STREET ART CLASSIFICATION 8 SUBCULTURE 13 STREET ART DEFINITION 14 FRAMEWORKS 16 CULTURAL AND SOCIAL DIMENSION 16 INTERNET & SOCIAL MEDIA 18 GENDER 19 CHAPTER SUMMARY 20 CHAPTER 2 | METHODOLOGY 21 MIXED METHOD APPROACH 22 ARTISTS 24 MINI GRAFF 25 BUTTONS (CHERIE LYNCH) 26 BABY GUERRILLA 27 KAFF-EINE 28 VEXTA 30 INTERVIEWING 31 IN-DEPTH INTERVIEWING 32 INTERVIEW QUESTIONS 33 ARTS-BASED RESEARCH 34 DATA ANALYSIS 35 PRACTICE-LED RESEARCH 38 PRACTICE LED RESEARCH | @BEATSTREETART 39 CHAPTER 3 | CULTURAL AND SOCIAL FRAMEWORK 41 CONVERSATIONS 42 WHO IS THE AUDIENCE? 42 COMMUNICATION AND THE AUDIENCE 43 TRANSLATIONS 43 DIALOGUES AND INTERPRETATIONS 44 CREATION OF MEANING 47 LAWS & REGULATIONS 49 RE-SHAPING OF NEIGHBOURHOODS AND COMMUNITIES 51 COMMUNITIES CREATED 52 CASE STUDY | MINI GRAFF 54 CHAPTER SUMMARY 55 CHAPTER 4 | INTERNET & SOCIAL MEDIA 56 SOCIAL MEDIA 57 DOCUMENTATION OF ARTWORKS 58 SPACE 60 VIRTUAL SPACE 60 URBAN SPACE AS THE VIRTUAL SPACE 62 NETWORKS 62 NETWORKED INDIVIDUALISM 64 NETWORKED SYSTEMS 65 NETWORKS CREATED 67 CONNECTIONS 68 CASE STUDY | BUTTONS & MAID 69 CHAPTER SUMMARY 71 CHAPTER 5 | GENDER ANALYSIS 72 GENDER ROLES AND STEREOTYPING 73 THE FEMINIST LENS 74 RISE OF FEMALE ARTISTS 76 ‘I HAVE TO GO ABOVE AND BEYOND’ 79 AUTONOMOUS ARTIST 80 SAFETY 82 DOCUMENTATION 83 CHAPTER SUMMARY 84 CHAPTER 6 | KEY FINDINGS 85 ADVERTISING 85 AUDIENCE INTERACTION 87 NETWORKS 89 SAFETY: THE CITY IS ‘OURS’ 91 GENDER 91 CHAPTER 7 | CONCLUSION 93 IDENTIFY 93 INTERACT 94 INTERPRET 94 FINAL SUMMARY 95 REFERENCES 96 APPENDICES 100 APPENDIX A – INTERVIEW QUESTIONS 100 TABLE OF FIGURES FIGURE 1 - ‘TAGS’ - ARTISTS UNKNOWN – NEWTOWN, SYDNEY 5 FIGURE 2 - ‘THROWIES’ - MAID & RETRO – NEWTOWN, SYDNEY 6 FIGURE 3 - ‘MASTERPIECES’ OR ‘PIECES’ - ATOME, TEAZER & SPICE – PARRAMATTA, SYDNEY 6 FIGURE 4 - ‘MURAL’ - KAFF-EINE - BONDI JUNCTION, SYDNEY 9 FIGURE 5 - ‘STENCIL’ - E.L.K – BRUNSWICK, MELBOURNE 10 FIGURE 6 - ‘SCULPTURE’ - WILL COLES – NEWTOWN, SYDNEY 11 FIGURE 7 - ‘PASTE-UP’ – BE-FREE - REDFERN, SYDNEY 11 FIGURE 8 - MINI GRAFF – SURRY HILLS, SYDNEY 25 FIGURE 9 - MINI GRAFF – SURRY HILLS, SYDNEY 25 FIGURE 10 - BUTTONS – CBD, WOLLONGONG 26 FIGURE 11- BUTTONS, CHAIGO & CHOQ – FITZROY, MELBOURNE 26 FIGURE 12 - BABY GUERRILLA - FOOTSCRAY, MELBOURNE 27 FIGURE 13 - BABY GUERRILLA - CBD, MELBOURNE 27 FIGURE 14 - KAFF-EINE - CBD, MELBOURNE 28 FIGURE 15 - KAFF-EINE - BRUNSWICK, MELBOURNE 29 FIGURE 16 - KAFF-EINE - FITZROY, MELBOURNE 29 FIGURE 17 - VEXTA & ELLE - CBD, MELBOURNE 30 FIGURE 18 - VEXTA - CBD, MELBOURNE 30 FIGURE 19 - @BEATSTREETART INSTAGRAM ACCOUNT 40 FIGURE 20 - MINI GRAFF - SURRY HILLS, SYDNEY 48 FIGURE 21 - MINI GRAFF – UNCLE MIKE 55 FIGURE 22 - BUTTONS AND MAID - NEWTOWN SYDNEY 70 FIGURE 23 - KAFF-EINE – BENALLA, VIC 88 i ABSTRACT Street art has become increasingly common in urban landscapes around the world. As an outgrowth of the modern graffiti movement, and fuelled today by social media, street art has moved from subversive origins to become a highly prized art form, including the commissioning of new works, and gallery representation. However, like the subculture from which it stems, street art remains a masculine domain, despite increasing numbers of female artists being recognised in the field. This research focuses on five artists who identified as female and contribute to street art practices. It specifically investigates how these female artists identify, interact and interpret the subculture of street art. As such, the current literature is expanded by exploring the cultural and social frameworks of street art, the impact of the internet and social media, the role of gender and bringing the contribution of women into focus. ii Chapter 1 | INTRODUCTION “I like the anonymity and freedom this form of art poses” Baby Guerrilla, 2017 Over the last decade, working within a small, independent art gallery, I have witnessed a number of changes in the Australian art industry including the rise of street art in popularity. My personal experience has highlighted how this art form has come to challenge the viewer. The audience faced a new art form that broke free from the “white cubes” of gallery spaces (Austin, 2010). Artworks were location specific, utilising the physical walls of the street as the canvas replacement. Due to the historical nature of the origins of street art in the graffiti movement, with its gang affiliations and illegal aspects of marking the city undercover at night, a masculine culture has come to dominate this subculture (Macdonald, 2001). As I will discuss in this research, this masculine culture has transferred to the street art subculture, despite the context of production being different for graffiti artists and street artists. There are relatively few female street artists in comparison to the male artists, arguably because the subculture’s historical strong links to the graffiti culture are still remnant (Macdonald, 2016). This exegesis explores the subculture from a female artist perspective, through a mixed method approach including qualitative interviews and practice–led research. Street art continues to reveal and establish new research areas due to the multiple frameworks of the subculture. In contemporary Australian contexts, the following dimensions have emerged: legal aspects, which incorporate the ownership of the streets with the concept of the ‘public city’ (Young, 2014); social and cultural frameworks including the networking and collaborations between artists (MacDowall, 2015); the influence of technology, such as the internet (Drew, 2012); street art’s ability to ‘activate space’ and aid in the de-criminalisation of graffiti (McAuliffe, 2012, p. 190); the use of planning instead of policy against the ‘war on graffiti’ (Iveson, 1 2010); and photo-documentary practices document these normally ephemeral artworks (Cubrilo, Harvey & Stamer, 2009; Vassallo, 2009). And, as noted, one area that is often ignored is the work of female artists and the gendered dimension of the practice. Research Questions In this research, I focus on five artists who identified as female and contributed to street art practice between January 2016 and August 2017. Through investigating how these female artists identify, interact and interpret the subculture of street art, I will examine the following research questions: 1. Why do female artists select this medium – and how do they identify with the genre? 2. Does gender play a role in the artists’ participation in the street art subculture and does this affect their self-identification? 3. Through the street art medium, what dialogues are created between the female artist and the audience? These research questions are applied and discussed through specifically analysing three identified frameworks: • the subculture of Australian street art; • the influence of the Internet and social media on the practice of street art, and • a gender analysis of the subculture. By engaging with these frameworks in the context of current research, this research is a critical analysis of female street artists and their involvement in this traditionally masculine subculture. It provides further insight into the subculture as a primary analysis of why female artists select this medium as an art form, allowing for greater visibility of female artists in the subculture. Due to the limitations in both scope and time, five female artists were selected to participate. The five artists selected are either Australian-born or currently live in 2 Australia and have conducted artistic practices during 2016 -2017. Each artist has a social media account and the degree to which this is used as a communication tool with their audience varies. The participating artists were: Kaff-eine, Mini Graff, Buttons (Cherie Lynch), Baby Guerrilla and Vexta.
Recommended publications
  • Feature Article} {Profile}
    {PROFILE} {PROFILE} {FEATURE ARTICLE} {PROFILE} 28 {OUTLINE} ISSUE 4, 2013 Photo Credit: Sharon Givoni {FEATURE ARTICLE} Street Art: Another Brick in the Copyright Wall “A visual conversation between many voices”, street art is “colourful, raw, witty” 1 and thought-provoking... however perhaps most importantly, a potential new source of income for illustrators. Here, Melbourne-based copyright lawyer, Sharon Givoni, considers how the laws relating to street art may be relevant to illustrators. She tries to make you “street smart” in an environment where increasingly such creations are not only tolerated, but even celebrated. 1 Street Art Melbourne, Lou Chamberlin, Explore Australia Publishing Pty Ltd, 2013, Comments made on the back cover. It canvasses: 1. copyright issues; 2. moral rights laws; and 3. the conflict between intellectual property and real property. Why this topic? One only needs to drive down the streets of Melbourne to realise that urban art is so ubiquitous that the city has been unofficially dubbed the stencil graffiti capital. Street art has rapidly gained momentum as an art form in its own right. So much so that Melbourne-based street artist Luke Cornish (aka E.L.K.) was an Archibald finalist in 2012 with his street art inspired stencilled portrait.1 The work, according to Bonham’s Auction House, was recently sold at auction for AUD $34,160.00.2 Stencil seen in the London suburb of Shoreditch. Photo Credit: Chris Scott Artist: Unknown It is therefore becoming increasingly important that illustra- tors working within the street art scene understand how the law (particularly copyright law) may apply.
    [Show full text]
  • Alison Young Art and Belonging: on Place, Displacement And
    10 NUART JOURNAL 2019 VOLUME 1 NUMBER 2 10–19 ART AND BELONGING: ON PLACE, DISPLACEMENT AND PLACELESSNESS Alison Young University of Melbourne Street art is often talked about as contributing to a sense of place. Mural projects, festivals, and street artworks are said to foster feelings of belonging, recognition, and connection to a place. More than this, street art is increasingly used in place-branding and in commercial transactions. This article poses some questions about the implications of the way that street art relates to place and both makes and unmakes spaces of connection and disconnection. It will begin with the use of street artwork to sell property development, identifying this as a contemporary characteristic of the now well-known relationship between art and gentrification. As a counterpoint to the commercialisation of the sense of place generated by street art, it examines the work of artists such as Ian Strange, Francis Alÿs, and Stanislava Pinchuk, who make art located in displacement, dislocation, and dispossession. ART AND BELONGING 11 INTRODUCTION time, it did not take long for this apparent correlation to be Where does street art take place? Found in train converted into a belief that commissioned art interventions tunnels, abandoned buildings, warehouses, train carriages would have the same effect on markets. Mural projects, in railyards, alleyways, and on rooftops, street art has usually involving large-scale gable end murals painted with never been found only in the street. The qualifying adjective the consent of residents or city authorities, can now be in the art form’s name provides an indication of simply one found in innumerable cities and towns.
    [Show full text]
  • The Role of Political Art in the 2011 Egyptian Revolution
    Resistance Graffiti: The Role of Political Art in the 2011 Egyptian Revolution Hayley Tubbs Submitted to the Department of Political Science Haverford College In partial fulfillment of requirements for the degree of Bachelor of Arts Professor Susanna Wing, Ph.D., Advisor 1 Acknowledgments I would like to extend my heartfelt gratitude to Susanna Wing for being a constant source of encouragement, support, and positivity. Thank you for pushing me to write about a topic that simultaneously scared and excited me. I could not have done this thesis without you. Your advice, patience, and guidance during the past four years have been immeasurable, and I cannot adequately express how much I appreciate that. Thank you, Taieb Belghazi, for first introducing me to the importance of art in the Arab Spring. This project only came about because you encouraged and inspired me to write about political art in Morocco two years ago. Your courses had great influence over what I am most passionate about today. Shukran bzaf. Thank you to my family, especially my mom, for always supporting me and my academic endeavors. I am forever grateful for your laughter, love, and commitment to keeping me humble. 2 Table of Contents Acknowledgements……………………………………………………....…………. 1 Introduction…………………………………………………………………….……..3 The Egyptian Revolution……………………………………………………....6 Limited Spaces for Political Discourse………………………………………...9 Political Art………………………………………………………………..…..10 Political Art in Action……………………………………………………..…..13 Graffiti………………………………………………………………………....14 Conclusion…………………………………………………………………......19
    [Show full text]
  • A Critical Analysis of 34Th Street Murals, Gainesville, Florida
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 A Critical Analysis of the 34th Street Wall, Gainesville, Florida Lilly Katherine Lane Follow this and additional works at the FSU Digital Library. For more information, please contact lib-ir@fsu.edu THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE A CRITICAL ANALYSIS OF THE 34TH STREET WALL, GAINESVILLE, FLORIDA By LILLY KATHERINE LANE A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2005 Copyright © 2005 All Rights Reserved The members of the Committee approve the dissertation of Lilly Katherine Lane defended on July 11, 2005 ________________________________ Tom L. Anderson Professor Directing Dissertation ________________________________ Gary W. Peterson Outside Committee Member _______________________________ Dave Gussak Committee Member ________________________________ Penelope Orr Committee Member Approved: ____________________________________ Marcia Rosal Chairperson, Department of Art Education ___________________________________ Sally McRorie Dean, Department of Art Education The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables ..…………........................................................................................................ v List of Figures ..................................................................
    [Show full text]
  • Diorama, Vera Cortês Art Agency, 2012
    Opening— Friday, June 1, 10 pm Diorama Alexandre Farto AKA Vhils Av. 24 de Julho, 54 -1ºE 1200-868 Lisboa, PT June 2 – September 8, 2012 The gallery will be closed from T/F +351 213 950 177 Tuesday to Saturday July 28 to September 4 for www.veracortes.com From 2pm to 7pm Summer holidays ALEXANDRE FARTO Na arquitectura actual habita um certo deslumbramento pelo tempo e pelo Como em quase todas as suas obras, o mais interessante da série Diorama DIORAMA espaço, em que tudo parece acontecer em todo o lado, quase em simultâ- encontra-se na habilidade manobrar os tempos de recepção do espectador. neo. O efémero e transitório ergue-se como protagonista do estado fluido de O primeiro momento, muito visível, mas vinculado à técnica, ao método. Texto por David Barro uma vida que muda constantemente de pele na ânsia pelo novo. Nada parece O seguinte, mais subtil, tem mais a ver com o processo e com o tempo, com vincular-se a um lugar concreto e há muito que as cidades deixaram de ser um a desconstrução destrutiva daquilo que flui como resto de um modo natural. lugar estável ou de ter uma forma claramente determinada. E muito menos um É, por isso, uma interrupção da realidade em si, do seu tempo e do seu espaço. movimento coerente. Crescemos mal e rápido demais. O suburbano transbor- Mas o jogo de ancas não é necessariamente uma ruptura da sua continuidade. dou e a cidade desapareceu enquanto unidade. Como na arte, uma realidade Seria mais uma elipse ou essa necessidade contemporânea de acidentar, de substitui outra, ocultando coisas, deixando de mostrar alguns fragmentos.
    [Show full text]
  • PIER 34 Something Possible Everywhere Something Possible
    NYC 1983–84 NYC PIER 34 Something Possible Everywhere Something Possible PIER 34 Something Possible Everywhere NYC 1983–84 PIER 34 Something Possible Everywhere NYC 1983–84 Jane Bauman PIER 34 Mike Bidlo Something Possible Everywhere Paolo Buggiani NYC 1983–84 Keith Davis Steve Doughton John Fekner David Finn Jean Foos Luis Frangella Valeriy Gerlovin Judy Glantzman Peter Hujar Alain Jacquet Kim Jones Rob Jones Stephen Lack September 30–November 20 Marisela La Grave Opening reception: September 29, 7–9pm Liz-N-Val Curated by Jonathan Weinberg Bill Mutter Featuring photographs by Andreas Sterzing Michael Ottersen Organized by the Hunter College Art Galleries Rick Prol Dirk Rowntree Russell Sharon Kiki Smith Huck Snyder 205 Hudson Street Andreas Sterzing New York, New York Betty Tompkins Hours: Wednesday–Sunday, 1–6pm Peter White David Wojnarowicz Teres Wylder Rhonda Zwillinger Andreas Sterzing, Pier 34 & Pier 32, View from Hudson River, 1983 FOREWORD This exhibition catalogue celebrates the moment, thirty-three This exhibition would not have been made possible without years ago, when a group of artists trespassed on a city-owned the generous support provided by Carol and Arthur Goldberg, Joan building on Pier 34 and turned it into an illicit museum and and Charles Lazarus, Dorothy Lichtenstein, and an anonymous incubator for new art. It is particularly fitting that the 205 donor. Furthermore, we could not have realized the show without Hudson Gallery hosts this show given its proximity to where the the collaboration of its many generous lenders: Allan Bealy and terminal building once stood, just four blocks from 205 Hudson Sheila Keenan of Benzene Magazine; Hal Bromm Gallery and Hal Street.
    [Show full text]
  • Annual Report 2010–11
    ANNUAL REPORT 2010–11 ANNUAL REPORT 2010–11 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Thapich Gloria Fletcher Dhaynagwidh (Thaynakwith) people The vision of the National Gallery of Australia is the Eran 2010 cultural enrichment of all Australians through access aluminium to their national art gallery, the quality of the national 270 cm (diam) collection, the exceptional displays, exhibitions and National Gallery of Australia, Canberra programs, and the professionalism of Gallery staff. acquired through the Founding Donors 2010 Fund, 2010 Photograph: John Gollings The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, (back cover) corporate governance, administration and financial and Hans Heysen business management. Morning light 1913 oil on canvas In 2010–11, the National Gallery of Australia received 118.6 x 102 cm an appropriation from the Australian Government National Gallery of Australia, Canberra totalling $50.373 million (including an equity injection purchased with funds from the Ruth Robertson Bequest Fund, 2011 of $15.775 million for development of the national in memory of Edwin Clive and Leila Jeanne Robertson collection and $2 million for the Stage 1 South Entrance and Australian Indigenous Galleries project), raised $27.421 million, and employed 262 full‑time equivalent staff. © National Gallery of Australia 2011 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher.
    [Show full text]
  • RMIT Gallery Exhibition Program 2011 97
    RMIT Gallery Exhibition Program 2011 97 1 21 January — 12 March 108 2 September — 5 November China and Revolution: Space invaders: australian . street . History, Parody and Memory in Contemporary Art stencils . posters . paste-ups . zines . stickers The exhibition re-evaluates the Cultural Revolution through propaganda poster art Drawn entirely from the collection of the National Gallery of Australia, the produced in the 1960s and ’70s, as well as through oral histories collected by the first Australian institution to have collected this type of work, this exhibition curators in 2008–2009. It opens dialogue between the past and present with work surveys the past 10 years of Australian street art. Featuring 150 works by over from artists with first hand experience, as well as through the display of original 40 Australian artists, the exhibition celebrates the energy of street-based political posters carrying political and social messages to the Chinese masses. creativity, recognising street stencils, posters, paste-ups, zines and stickers Curator Professor Stephanie Hemelryk Donald, Dean of the School of Media and as comprising a recent chapter in the development of Australian prints and Communication at RMIT University, and Professor Harriet Evans, Coordinator of drawings. Curator Jaklyn Babington, Assistant Curator, International Prints, Asian Studies Research at the University of Westminster. Artists Liu Dahong, Xu Drawings and Illustrated Books, National Gallery of Australia Artists Aeon, Weixin, Li Gongming, Shen Jiawei. Public Program
    [Show full text]
  • Street Art Rising Marshall Soules—Marshall.Soules@Gmail.Com
    Vol 1 No 2 (Autumn 2020) Online: jps.library.utoronto.ca/index.php/nexj Visit our WebBlog: newexplorations.net Street Art Rising Marshall Soules—marshall.soules@gmail.com This illustrated article discusses the various manifestations of street art—graffiti, posters, stencils, social murals—and the impact of street art on urban environments. Continuing perceptions of street art as vandalism contributing to urban decay neglects to account for street art’s full spectrum of effects. As freedom of expression protected by law, as news from under-privileged classes, as images of social uplift and consciousness-raising, and as beautification of urban milieux, street art has social benefits requiring re-assessment. Street art has become a significant global art movement. Detailed contextual history includes the photographer Brassai's interest in Parisian graffiti between the world wars; Cézanne’s use of passage; Walter Benjamin's assemblage of fragments in The Arcades Project; the practice of dérive (passage through diverse ambiances, drifting) and détournement (rerouting, hijacking) as social and political intervention advocated by Guy Debord and the Situationist International; Dada and Surrealist montage and collage; and the art of Quebec Automatists and French Nouveaux réalistes. Present street art engages dynamically with 20th C. art history. The article explores McLuhan’s ideas about the power of mosaic style to subvert the received order, opening spaces for new discourse to emerge, new patterns to be discovered. The author compares street art to advertising, and raises questions about appropriation, authenticity, and style. How does street art survive when it leaves the streets for galleries, design shops, and museums? Street art continues to challenge communication strategies of the privileged classes and elected officials, and increasingly plays a reconstructive role in modulating the emotional tenor of urban spaces.
    [Show full text]
  • Street Art Explosion Walking
    ADELAIDE FRINGE 02. HER MAJESTY’S REAR WALL Artist: Anthony Lister STREET ART Anthony Lister was born in Brisbane, Australia, in 1979, and later completed a Bachelor of Fine EXPLOSION 17 Arts degree at the Queensland College of the Arts. He helped pioneer the stencil and street art WALKING MAP movement in Brisbane before moving to New York in 2003 to work with his mentor, Max Gimblett. Lister says “I am interested in culture, and society’s K judgment systems on culture” he tells us when I N we ask about why he was drawn to them as a 16 18 G painter. “Ballerinas are kind of like strippers, only they don’t take their clothes off. I’m interested in breaking art. I’m interested in philosophy.” W 03. PITT ST CARPARK WALL HINDLEY ST I L Artist: Vans the Omega 15 L I 47 14 A Based mostly, but not always, in Adelaide, Vans M the Omega has been creating and paining for 13 more than 2 decades. His influences include architecture, ancient scripts, engineering, nature, as 12 well as the idea of movement and balance. He has experience in a number of disciplines, including 11 design, photography, and clothing, and used all his CURRIE ST S influence to create works that continue to push T the boundaries and satisfy his desire to reinvent 10 and perfect his craft. Today Vans is renowned for 8,9 his diverse use of mediums, colour palettes and Lig ht styles including portraiture, geometric pattern and quare/ traditional graffiti lettering. As one of Australia’s 7 most influential street artists, Vans the Omega is uwi often credited as a pioneer of both the local and international graffiti scene.
    [Show full text]
  • Spring 2020 Ear Nd Y 42
    Spring 2020 ear nd y 42 ISSUE 190 THE NORTH & WEST MELBOURNE NEWS IS PRODUCED BY VOLUNTEERS AT THE CENTRE: Connecting Community in North & West Melbourne Inc www.centre.org.au A stitch in Pandemic affects time behind the mask policing in the crusader inner suburbs Anna Huynh Nicole Pereira masks. “If they can’t pay the fine, eana Eddington began stitching it generally becomes a debt,” he says. Dgowns to protect front-line A policeman’s lot is not a happy Craig is keenly aware that healthcare workers during the first one (Pirates of Penzance) homelessness isn’t easily solved. lockdown. “It’s a long-term project for housing In the harsher stage-four lockdown, ergeant Craig McIntosh can services. But most of our local the new North Melbourne resident Sgive the lie to that old line. A homeless are reasonably easy to talk found another way to help her policeman for 14 years and now to, and we run several operations community. She turned her sewing based at Melbourne West Police and support programs that involve skills to making masks, and her Station, he loves his work. “I dreaded chatting with them,” he says. efforts have seen her turn out well a desk job and I didn’t want to be He is heartened that recent COVID- over 700. doing the same things day in and related offences are generally milder It all started in her own apartment day out,” he says. than the occasional mayhem of complex. Deana was taking a craft At Melbourne West, Craig’s beat Friday and Saturday nights.
    [Show full text]
  • Jeff Koons Born 1955 in York, Pennsylvania
    This document was updated October 11, 2018. For reference only and not for purposes of publication. For more information, please contact the gallery. Jeff Koons Born 1955 in York, Pennsylvania. Lives and works in New York. EDUCATION B.F.A., Maryland Institute College of Art, Baltimore, Maryland SOLO EXHIBITIONS 2018 Jeff Koons: Easyfun-Ethereal, Gagosian Gallery, New York Masterpiece 2018: Gazing Ball by Jeff Koons, De Nieuwe Kerk Amsterdam, Amsterdam 2017 Heaven and Earth: Alexander Calder and Jeff Koons, Museum of Contemporary Art Chicago [two-person exhibition] Jeff Koons, Gagosian Gallery, Beverly Hills 2016 Jeff Koons, Almine Rech Gallery, London Jeff Koons: Now, Newport Street Gallery, London 2015 ARTIST ROOMS: Jeff Koons, Norwich Castle Museum & Art Gallery, England Jeff Koons: Gazing Ball Paintings, Gagosian Gallery, New York Jeff Koons in Florence, Museo di Palazzo Vecchio, Florence [organized in collaboration with the 29th Biennale Internazionale dell’ Antiquariato di Firenze, Florence] [exhibition publication and catalogue] Jeff Koons: Jim Beam - J.B. Turner Engine and six indivual cars, Craig F. Starr Gallery, New York 2014 Jeff Koons: Hulk Elvis, Gagosian Gallery, Hong Kong [catalogue published in 2015] Jeff Koons: A Retrospective, Whitney Museum of American Art, New York [itinerary: Centre Georges Pompidou, Paris; Guggenheim Museum Bilbao] [each venue published its own catalogue in 2014 and 2015] Jeff Koons: Split-Rocker, Rockefeller Center, New York [presented by Gagosian Gallery, New York; organized by Public Art Fund
    [Show full text]