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Barry McGee Inuences Street Art Biographies The ARTery | "Barry McGee Tags The ICA" The Boston Globe | "Interview with Grafti Artist Barry McGee" Conceptual Fine Art |"Barry McGee: 'I still have it in me, but I'm older now'" ART21 | "Margaret Kilgallen: Heroines" "Margaret Kilgallen" Themes Pessimistic Views on Urbanism Eastside Projects | "Artists Index: Barry McGee" Nature The Matt Gonzalez Reader | "Barry McGee" Central Characters ArtPil | "Barry McGee" Street Art Bio | "Barry McGee Biography" Unprecedented Art Style The ARTery | "Don't Call Barry McGee a Street Artist" ArtSlant | "Barry McGee" I i Interviews Arrested Motion | "Interview: SR-1 (Founder and President of THR Crew)" SFMOMA | "Grafti is a sport, and Barry McGee a Sportsman" ART21 | "Grafti: Barry McGee" ASpray Daily | "Interview with Barry McGee AKA Twist" Monster Children | "Barry McGee's Men in Transition" Reviews 2004: San Francisco City Hall Message SFGate | "San Francisco / Last Word on Government / Grafti Installation in Gonzalez's Ofce gets Mixed Reviews" 2008: Beautiful Losers documentary Beautiful Losers - imdb Available to watch (paid content) on Amazon Prime, Google Play, and Youtube Movies. 2012: Review of the Barry McGee show at the Berkeley Art Museum Hyperallergic | "Does Barry McGee Have Something to Prove?" 2013: McGee exhibition at the Institute of Contemporary Art The Boston Globe | "Art Review: Barry McGee Exhibit Traces his Vibrant Visions as a Grafti Artist" 2015: New Yorker released an intimate reveal about his life. The New Yorker | "A Ghost in the Family" 2015: Frieze's review of Barry McGee Frieze | "Barry McGee".

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1 CONTEMPORARY ART and STREET CULTURE Members
INSIDE Calendar of Events . 2 Wavelinks . 3 Beautiful Losers . 4 Free at the CAC . 6 2002–03 Annual Report . special insert Spring 2004 YOUR GUIDE TO WHAT’S HAPPENING AT THE CAC Glen E. Friedman, Tony Alva, 1977 CONTEMPORARY ART AND STREET CULTURE Members’ Opening Party March 12 1 for membership and other information visit www.ContemporaryArtsCenter.org Contemporary Art and Street Culture March 13–May 23, 2004 On occasion, in fact whenever an “inner quickening” demands it, New York-based artist Phil Frost paints with Pentel Correction Frost is a painter. He says he’s trying to urban life and street culture. Included are Fluid instead of paint. He once painted at night, chart an impulse—something he calls an “inner painters, sculptors, photographers, filmmakers, standing in a glass cage in a notorious San quickening.” Glyphic patterns repeat neatly, performance artists, graphic designers, illustra- Francisco neighborhood, while local residents marching across his canvasses before buckling tors and multimedia artists.The exhibition is smoked crack pipes around him and police and sliding wildly away; faces emerge, peeking organized in five sections: sirens howled through the streets. from stolen cartoon panels and then disappear One section is devoted to examining those “My painting is a culmination of where I am again, lost in the nightmare contours of paint artists who have had direct influence on the in a particular time or place, my relationship to and correction fluid. development of the generation of artists and the things around me, and my perception of He designs shoes too.And the shoeboxes designers that is the focus of the exhibition.
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Energy That Is All Around
Contact: Laurie Duke [email protected] or 212/998-6782 ENERGY THAT IS ALL AROUND Mission School: Chris Johanson, Margaret Kilgallen, Alicia McCarthy, Barry McGee, Ruby Neri Early 1990s works on view at NYU’s Grey Art Gallery April 15–July 12, 2014 New York City (February 28, 2014)—Presenting more than 125 works by five artists who launched their careers in a gritty San Francisco neighborhood in the early 1990s, ENERGY THAT IS ALL AROUND/Mission School is the first East Coast museum exhibition to highlight these artworks that have achieved cult-like status in the Bay Area and beyond. Most are never-before- seen early pieces from the artists’ own collections. On view at New York University’s Grey Art Gallery from April 15 to July 12, the show was curated by Natasha Boas and organized by the San Francisco Art Institute (SFAI), where Alicia McCarthy, Barry McGee, and Ruby Neri were students, and where they hung out with Margaret Kilgallen and Chris Johanson. ENERGY THAT IS ALL AROUND features paintings, drawings, sculptures, and installations (including a number of the artists’ classic “cluster” pieces) alongside more recent works created especially for this exhibition. Also included is an extensive selection of ephemera, such as sketches, letters, journals, scrapbooks, and cut-outs. Johanson, Kilgallen, McCarthy, McGee, and Neri came into their own as young visual artists in San Francisco’s Mission District at a time when affordable housing and studio space was still available for those bucking the mainstream. The early 1990s also heralded a Bay Area dot-com boom, which brought an influx of young professionals, upscale shops, chic restaurants, and eviction threats to the Mission District, then a more diverse neighborhood offering cheap rent and food.
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Barry Mcgee Opens Thursday January 4 from 6–8 Pm Exhibition Continues Through February 17, 2018
PRESS RELEASE Barry McGee Opens Thursday January 4 from 6–8 pm Exhibition continues through February 17, 2018 Cheim & Read is pleased to announce an exhibition of new work by Barry McGee, which will open on January 4, 2018, and run through February 17, accompanied by a catalogue with essay by Katya Tylevich. This is the artist’s second show with the gallery. Barry McGee is an artist who takes uncertainty and unpredictability as his guiding principles. Every exhibition is different. He arranges paintings, drawings, sculptures, found objects, and works by other artists into freely improvised installations that roam across the walls, floors, and ceilings of an exhibition space. In the past, his installations have featured everything from robotic graffiti writers to entire shipping containers and automobiles. For his new show at Cheim & Read, McGee has assembled hundreds of artworks and objects into an installation that is at once boisterous and fluid. The gallery’s compact “dome room,” facing the entrance foyer, is outfitted with shelves and pedestals holding dozens of painted ceramics, including a totem-like stack of vessels covered in geometric patterns. Paintings on scrap wood, cardboard, and canvas hang on the walls or sit on the floor, while a spray-painted banner, reading “Do Your Part for the Resistance,” and an enormous black-and-white photograph dominate the upper portions of the space. The walls of the front section of the main gallery are covered with paintings featuring optical patterns, geometric shapes, and stylized heads, along with the occasional acronym — “THR” (“The Human Race” or “The Harsh Reality”) and “DFW” (“Down for Whatever”).
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Marketing Urban Art: a Case Analysis of the Exchange Project
Marketing Urban Art: A Case Analysis of the Exchange Project Submitted in partial fulfillment of the Master of Science degree in Arts Administration Philip Asbury Candidate for Master’s in Arts Administration Drexel University June 2009 i Table of Contents Section Page Abstract i Problem Statement 1 Literature and Background 3 Definitions 7 Procedure 10 Limitations 10 Body-Marketing Urban Art: The Exchange Project 12 Figure1: List of Participating Artists 18 Case Study: The Exchange Project and Tour 19 Summary 29 Conclusion 33 Bibliography 36 ii Abstract The Exchange is an interactive project that promotes a sharing of stylistic influences amongst a select group of urban artists. The project is web-based but it also mounted a four city tour in 2007. As scholarly research is very limited in the genre, this study was an attempt to gather the few existing sources, general information, and first hand knowledge of the author, a participant in the Exchange. The result is a look at the best practices in marketing urban art. The financial details of the Exchange were unable to be included. The author recommends that urban artists partner with organizations that share a similar mission and to focus on viral marketing. i Problem Statement Urban art is a new genre of art that is still in its developing stages. Though the market for urban art is growing rapidly, how to market urban art work has largely gone unstudied and undocumented. This study will document the Exchange, a collaborative visual art project involving 13 international “urban artists”. In this process, special attention will be focused on the marketing tools and strategies employed by the Exchange as well as their effectiveness.
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Outsider(S) | 22.10.2019
Auction on Tuesday 22nd October 2019, 7PM— 7, Rond-Point des Champs-Élysées - 75008 Paris RTCURIAL The Beautiful Losers Artists, 2004 D.R. Auction on Tuesday 22nd October 2019, 7PM— 7, Rond-Point des Champs-Élysées - 75008 Paris lot n°55, Chris Johanson, Hey Ron, 2002 (détail) p.68 lot n°87, Raymond Pettibon, Untitled (We want him…), 2003 (détail) p.000 lot n°55, Chris Johanson, Hey Ron, 2002 (détail) p.68 DÉPARTEMENTS DU XXe SIÈCLE Fabien Naudan Francis Briest Vice-président Commissaire-priseur Directeur des départements Président du conseil de du XXe s. surveillance et de stratégie Bruno Jaubert Hugues Sébilleau Arnaud Oliveux Aude de Vaucresson Karine Castagna Directeur Directeur Directeur Spécialiste Spécialiste Urban Art Impressionniste & Moderne Post-War & Contemporain Urban Art Post-War & Contemporain et Limited Edition Commissaire-priseur Belgique Capucine Tamboise Florent Wanecq Jessica Cavalero Sophie Cariguel Spécialiste junior Catalogueur Recherche et certificat Catalogueur Photographie Impressionniste & Moderne Impressionniste & Moderne Post-War & Contemporain Post-War & Contemporain Elodie Landais Vanessa Favre Salomé Pirson Alma Barthélemy Administrateur Administrateur Client & Business Assistante Impressionniste & Moderne Post-War & Contemporain Développement du Vice-président des départements du XXe siècle EUROPE Martin Guesnet Vinciane de Traux Emilie Volka Caroline Messensee Miriam Krohne Louise Gréther Directeur Europe Directeur Belgique Directeur Italie Directeur Autriche Directeur Allemagne Directeur Monaco Pour les
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Early on the Morning I Went to See the San Francisco Artists Barry Mcgee
A Ghost in the Family Dana Goodyear August 10, 2015 The New Yorker Early on the morning I went to see the San Francisco artists Barry McGee and Clare Rojas at their weekend place, in Marin County, a robin redbreast began hurling itself at a window in their living room. “It won’t stop,” Rojas said. She picked up a sculpture of a bird from the inside sill to warn it off. When that didn’t work, Rojas instructed her fourteen-year-old daughter, Asha, to cut out three paper birds, which she taped to the win- dow, as if to say: GO AWAY. “Can I let it in, Clare?” McGee asked gently. Absolutely not, Rojas answered. Thud. The bird hit the glass again, and their three dogs barked wildly. “I think it’s time to let it in,” McGee said. Rojas shook her head, smiled tightly, and said, “Maybe it’s Margaret.” It was 1999, and Rojas was newly graduated from the Rhode Island School of Design, when she first saw the work of the painter Margaret Kilgallen, who was thirty-one. It was at Deitch Projects, in SoHo. For the exhibit, a solo show called “To Friend + Foe,” Kilgallen had painted freehand on the gallery walls, in a flat, folk-art style, a pair of enormous brawling women, one wielding a broken bottle, the other with her fists up. At the time, Rojas was painting miniature dark-hearted fairy tales—girls in the woods with fierce animals—and, like many young painters, she was struck by the scale of Kilgallen’s work.
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Zachery Lechtenberg and Aurélie Guillaume / Toni Greenbaum
Tooning into Enamel Zachery Lechtenberg and Aurélie Guillaume by toni greenbaum zachery lechtenberg Fur All the Beat (brooch), 2015 copper, silver, steel, enamel 3 x 3 x 1 ⁄4" photo: zachery lechtenberg aurélie guillaume Tulipes et petit poils (brooch), 2015 enamel on copper, fine silver, sterling silver, powdercoat, stainless steel, micro glass beads 5 x 4 5 ⁄8 x 5 ⁄8" photo: anthony mclean zachery lechtenberg Rat / Oni (pins), 2016 copper, silver, steel, enamel 1 1 ⁄4 x 2 x 1 ⁄4"; 11 ⁄2 x 1 x 1 ⁄4" photo: zachery lechtenberg zachery lechtenberg Round Cluster (series) (brooches), 2015 copper, silver, steel, enamel diameter 2 1 ⁄2" each photo: zachery lechtenberg although working separately and in different enameling. They wish to make pieces that will last and countries, Zachery Lechtenberg and Aurélie Guillaume may be handed down through generations. share the same agenda of imbuing traditional enamelwork Lechtenberg encourages public interaction with his with fresh iconography. Lechtenberg is American, artworks; consequently, he pays careful attention to Guillaume Québécoise. They both make figurative enamel presentation, marketing, and distribution. For his 2015 jewelry: Lechtenberg in champlevé, Guillaume cloisonné. master’s thesis at East Carolina University, he designed and They are twenty-somethings empowered by the dissonant installed a “pop up” shop, replete with one-of-a-kind enamel vibe of the street. Contemporary, timely and edgy, they jewelry cradled within custom boxes, each one topped channel what some refer to as “skateboard culture” by an original drawing of the piece, along with T-shirts, through their graphic art—influenced by graffiti and skateboards, ashtrays, and stickers/slaps that also depicted cartoon imagery—to express the energy, color, animation, his personal iconography.
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Before You Begin
Before you begin... This resource is in presentation style, for use with Power Point or as a printed handout. It can be used as pre-visit preparation, to accompany a visit, or can stand alone. It consists of 2 parts: PART ONE: information, images and ideas for students - About the artist - About the work - Things to think about - Give your opinions - Here’s one I made earlier… - Further research PART TWO: notes for teachers - Learning Experiences - Useful links and additional resources BARRY MCGEE About the artist Barry McGee was born in San Francisco, United States of America, in 1966. He grew up in the Mission district of San Francisco and was heavily influenced by the life of the city and other artists working there. McGee is also known by the tag name “Twist”, which he chose when he started to do graffiti in 1984, at the age of eighteen. He studied painting and printmaking at San Francisco Art Institute. About the work McGee’s work explores the worlds of graffiti, street culture and urban life. He makes large installations which reflect the busy and chaotic nature of the city street inside the gallery. His work includes found objects which have often been discarded, such as old televisions or cars. These objects are combined, together with drawing and spray painting, to make installations which can occupy the entire gallery space. McGee often paints and draws directly onto the gallery walls, as well as painting brightly coloured, geometric patterns onto panels which cover the walls of the space. McGee’s work makes reference to the issue of private ownership in urban space, exploring the resistance to authority expressed by graffiti and protest.
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Art in the Streets, MOCA, L.A
Art in the Streets Patti Astor at her NYC Fun Gallery, hosting Keith Haring’s 1983 exhibition "Art in the Streets" at L.A.'s Museum of Contemporary Art (MOCA) was a controversial exhibition with works by more than 100 "artists," depicting this underground art genre. At the April 2011 exhibition press preview, MOCA's director Jeffrey Deitch (at that time) with co-curators Roger Gastman and Aaron Rose, compared the works to cubism, constructivism, Dadaism and surrealism, in its potential impact on the art world. The show was an enormous amalgam of graffiti, street art, murals, assemblage pieces, installations of decrepit graffiti filled streets, hip re-created bedrooms and galleries from the 1970's and 80's, displays of aerosol spray cans, numerous photographs of graffiti sprayed buildings, subway cars, bridges, photos of people who did the "artwork" and much more. The exhibition was filled with small to large graffiti pieces and massive installations - fascinating works that brought the viewer to places she/he might otherwise avoid. The art was displayed museum and salon style, in cogent, logical ways and with adequate signage, giving viewers a comprehensive understanding of graffiti and street art. Running throughout was a timeline of the evolution of the genre. There was also a display about a graffiti forerunner, railroad writings, going back to late 19th century. The exhibition demonstrated that several graffiti artists, Shepard Fairey, Bansky, Barry McGee, Mr. Cartoon, are producing works with form, color, harmony and aesthetic beauty. The show was also infused with dynamic youthful energy, with large swirling swaths of color and occasional in-your-face comments on the state of the world.
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FERTILE GROUND: ART and COMMUNITY in CALIFORNIA TEACHER RESOURCES Cover and This Page: Odell Hussey Photography
FERTILE GROUND: ART AND COMMUNITY IN CALIFORNIA TEACHER RESOURCES COVER AND THIS PAGE: Odell Hussey Photography ABOUT THE EXHIBITION 3 MURALS, PUBLIC ART, & ALLEGORY OF CALIFORNIA 4 GROUP f.64 6 POSTWAR AT THE CALIFORNIA SCHOOL OF FINE ARTS 8 A NEW ART DEPARTMENT AT UC DAVIS 10 THE MISSION SCENE 12 ADDITIONAL RESOURCES 14 FERTILE GROUND TEACHER RESOURCES 3 ABOUT THE EXHIBITION The Oakland Museum of California (OMCA) and the San Francisco • Patronage, Public Art, and Allegory of California (1930s) Museum of Modern Art (SFMOMA) combine their collections for • Postwar at the California School of Fine Arts (1940s–50s) the first time in Fertile Ground: Art and Community in California, an exhibition that illuminates local histories and social forces that changed • A New Art Department at UC Davis (1960s–70s) the face of art in—and beyond—the Golden State. • The Mission Scene (1990s–Today) Weaving together both museums’ holdings of California art and ephemera, the exhibition tells the stories of four creative communities Fertile Ground interweaves the histories and friendships of artists, active in the northern part of the state between the 1930s and the collectors, curators, and other individual and institutional collaborators present. In each case, the exhibition shines a spotlight on artists who against a backdrop of transformative social change. Viewed together, had their finger on the pulse of their time and the social conditions that the materials assembled present a rare opportunity to consider what allowed their ideas to flourish. catalyzed these four remarkable outpourings of creativity, social awareness, and arts patronage. The exhibition features an array of artworks and historical documents, from monumental paintings to handwritten letters, relating to four key moments in the history of California art: FERTILE GROUND TEACHER RESOURCES 4 MURALS, PUBLIC ART, & ALLEGORY OF CALIFORNIA ARTWORK SPOTLIGHT Frieda and Diego Rivera by Frida Kahlo 1931 oil on canvas 39.375 x 31 in Collection of SFMOMA, Albert M.
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Barry Mcgee Hoss
9.16.99 - 10.24.99 BARRY MCGEE HOSS Rice University Art Gallery The first work of Barry McG ee's t hat I reme mber is not one of his large-scale painting installations, or his tag Twist on the bac k of a street sign , but a small piece in a group show in New York . Trag icom ic f igure s with slack faces and stooped shoulders stood at the bottom edges of b lank, yellowed sheets of paper, and reappeared on cleaned -up liq uo r bot tl es. From anoth er group show, I remember a single work comprise d of fr amed draw ings, paintings, and photographs hung edge-to-edge to fo rm a hu ge cl ust er of image s. O nly upon leaving the gallery did I discover more eviden ce of M cGee's hand; a ti ny figure painted low down on the wall in a crack where so me p last er was m issing. It stood, a distinct if inconspicuous presence, unable to be co nt ained by the fo rma l arrangement on the wall . Such d etails , stowed away in co rners or out of t he normal sight line, are indicative of M cGe e's art istic wit, and how he sees p eop le or things the rest of us overlook . From th e tir ed eyes of his st reet peop le, t o McGee's own sense of self as a ro le mode l fo r kids who fee l empowe red by t heir name on a wall, McGee identifi es wit h, and cel ebr at es t hose aspec t s of life t hat have fallen into the cracks of cont empora ry urban Ame rica Barry came to Housto n fo r ten bru t ally hot Ju ly days; he wo rked in t he gallery during the afte rnoon , and in the coo l nigh t, rode his b ike t hrough city neighborhoods.
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PRESS RELEASE Barry Mcgee
PRESS RELEASE Barry McGee Opens Thursday September 12, 2013 from 6-8 pm Exhibition continues through October 26, 2013 Cheim & Read is pleased to announce an exhibition of new work by Barry McGee. This is the artist’s first solo show with the gallery. It will also be his first in New York in 8 years. Born in 1966, Barry McGee is arguably the most well-known and influential of the recent surge of artists from the Bay Area to have international success. He was raised in San Francisco, studied painting and printmaking at the San Francisco Art Institute (graduating in 1991), and continues to live and work in the city. McGee’s boldly graphic, colorful work incorporates a multitude of influences (including, for example, graffiti, American folk art, and Op Art), but is most immediately evocative of the urban street culture from which he hails. Engaging the ways in which the city’s unique vernacular translates into artistic imagery, McGee celebrates the diversity, distinctive characters (one of his well-known motifs is a Untitled, 2013 acrylic on wood panel; 19 elements crawling, sad-sack bum), and neighborhood communities of the inner- 91 x 72 in 231.1 x 182.9 cm city. His work critiques consumerist culture and the constant backdrop of commercialism in everyday interactions; rejecting the billboard and chain store, McGee instead finds inspiration in the seeming randomness of graffiti, the endless uploading of images on the internet, and the creative styling of misfits. McGee’s work succeeds in its sensitive balance between anarchy and collaboration, resulting in environments which immerse the viewer in his singular, yet inclusive, vision.
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