graffiti

Street Art San Francisco: Mission Muralismo

admin — Wed, 04 Nov 2009 17:02:00 +0000

I have to admit: laziness compelled me to review this book. It is, after all, a book on murals, containing over 500 illustrations. How difficult could that be? Plus, I spent one month in 2002 as an intern at the Women’s Building in San Francisco’s Mission District. The Women’s Building is aglow with a brightly colored mural of women, hovering powerfully over the sidewalks. I had also gone on the Precipita Eyes mural tour. I had some sense of what to expect then. I had no idea, however, that I would devour Street Art San Francisco: Mission Muralismo, text and all, from the first page to the last.

I had another misconception about this book: What could possibly be the feminist angle in a book on murals? I was pleasantly surprised, then, to find some feminist perspectives weaved, albeit in small amounts, throughout the book. For example, some of the women painted murals to teach children where food came from, and this contrasted with the male-centered murals dominating the District. The book also shared stories of how women got taunted for climbing scaffolding and how the artists of the Maestrapeace on the Women’s Building painted without any safety equipment, due to financial constraints.

However, the main gist of the book is the rebellious yet incredibly expressive quality of graffiti, pop art, cartoons, stencils and murals. Despite police harassment of graffiti artists, corporate control of billboards and wall space, and capitalism in the art world, the artists of the Mission District stand firm, fight back even, in their own distinctive ways. They fight back against issues such as imperialism, ignorance, capitalism, racism, sexism, etc. The residents also deal with issues of an unjust criminal justice system, immigration issues and gentrification through their public art. Drawing and painting offered an expressive outlet with far-reaching effects like community building, an alternative to violence and an opportunity to raise awareness—in their own voices.

The book is 304 pages, which covers over three decades of street art. It’s written by over twenty activists and artists, including a foreword by Carlos Santana, who grew up in the District. I came away from reading this book with a renewed interest in public art and a better appreciation for graffiti artists. I bet this book will pleasantly surprise readers, especially those interested in the mix of art and social justice issues.

Written by: Joan Dawson, November 4th 2009

Underpass

admin — Wed, 11 Jul 2007 23:22:00 +0000

Directed by Rain Breaw

Underpass is a fifteen-minute film about a Cambodian family (survivors of the “Killing Fields”) trying to survive in the USA while also assisting an illegal immigrant, possibly from Mexico. It is about trying to stay sane in a violent world. It is about trying to play by the rules, and still be humane. It is about living with your nightmares.

There is a brilliant colorful thread, which runs throughout this story – the art of the main character, Sann. His art is illegal. He paints pictures under a bridge, hence the title Underpass. What he paints is both beautiful and horrible. He is trying to live with his memories of Cambodia. The resolution, and how the boy comes to terms with his memories of the Cambodian “Killing Fields,” is within his artwork under the bridge! We, the viewers, see the drawings come to life. We see the people killed; blood is spilled. You soon realize that the animation is Sann’s artwork. It is the plot of the film unfolding.

Sann’s mother, who runs a doughnut shop in San Diego, is trying to help an illegal immigrant. The boy wants to turn the illegal immigrant in, but his mother believes “others helped us survive. We should help others…” His mother and sister get along well in the community. There’s a police officer, who comes to the store and talks to the mother. He is also a Cambodian native. He is supportive of the mother, but Sann is hostile towards him.

The conflict within Sann’s psyche is interesting. He is fighting the system (painting his graffiti), and yet combating his memories. Why would he want to turn in the illegal immigrant? Is he afraid of the system here? For someone who lives with the scars of what war and government does, it is a little strange that he would want to turn in this immigrant. However, at one point - and this is depicted in the artwork - Sann finds peace. He regrets that he called the authorities. He tells the immigrant to run. Why Sann makes this impulsive decision is not clear. He begs his mother’s forgiveness, and she does forgive.

My only real problem with this film (besides hating to see bloodshed) is that sometimes the characters mumble. However, that also makes the film more “real.” Real people do not speak clearly! Rain Breaw attended, as she puts it “one of the most diverse schools in the country.” Almost every student in this high school has experienced war and genocide, firsthand. Underpass is loosely based on Breaw’s experience at this high school.

Breaw has produced numerous short films, including the award winning Thermopylae and Archer House. Presently, Breaw and her writing/producing partner, Julie Sifuentes, are working on two feature film projects: Bearing it All and City Heights.

I would recommend Underpass because it is a reminder of what America really is – a melting pot of different cultures. Since the birth of this nation, we have been a nation of immigrants. It’s ironic, don’t you think, considering the present day conservative backlash against immigrants? Watch Underpass for a glimpse of the real USA.

Written by: Patricia Ethelwyn Lang, July 11th 2007

Vanderbilt A-Light Lamp

admin — Thu, 15 Feb 2007 23:05:00 +0000

By RE-Surface

Bringing the urban landscape into the home environment, designer Donna Jo Brady creates lighting fixtures that illuminate the beauty in street culture. The construction of the Vanderbilt A-Light Lamp base is sleek and modern, which contrasts the gritty artwork on the lampshade itself. The design melds together two different artistic worlds in a way that exemplifies the way they compliment each other.

On this lamp, dripping paint and rust eating away at metal meet a clean birch wood base. Other lampshade designs utilize graffiti, stenciling, blotches of color, aged brick, and vines that snake up the shade, which can also be seen on so many buildings here in New York City. It's clear where this Brooklyn-based artist gets her inspiration... not to mention the names of her creations, which include Bedford, Kent, South 3rd, Wythe, and Metropolitan. Yes, that's Metropolitan, as in the street where Feminist Review resides in the ever-popular Williamsburg neighborhood.

This lamp is perfect for a side table accent piece at about 10" high, and is perfect for anyone who finds themselves caught up in the romance of the NYC's paradoxical aesthetic presentation.

Written by: Mandy Van Deven, February 15th 2007

The Graffiti Artist

admin — Mon, 18 Dec 2006 16:54:00 +0000

Directed by James Bolton

Indie Pictures

In a nocturnal urban landscape, The Graffiti Artist takes you on an intimate journey into the world of an underground artist. Nick (Ruben Bansie-Snellman), a postmodern hero, wanders through the city’s wasteland asserting an anarchistic agenda on the endless maze of virgin city walls. Nick’s solo graffiti project is interrupted by a brief friendship with fellow "tagger," Jesse (Pepper Fajans). Their mutual love for graffiti art turns them onto innumerous collaborations that they leave all over the city. Soon their communication becomes less verbal, but more psychical. As we dive deeper into their relationship, political, emotional and ethical issues arise causing their relationship to fade to the point where they both feel alienated from each other. With its compelling themes, sensitive performances, and luscious visuals, this film emerges you into a subculture that most of us have no idea exists. Although lacking in dialog, the characters’ silence seems to add to the film’s appeal. That combined with a truly outstanding soundtrack by Kid Loco more than makes up for it. The backdrop was quite impressive and not overwhelming to the viewer. This is a beautiful, surreal movie showcasing a talented artist who will go to the limit to express himself. Clearly this film’s bottom line is about free speech and survival.

Written by: Beth Hillyard, December 18th 2006