martedì 30 marzo 2010
STREET ART is à la mode
Born on the streets of New York in the 1960s and incarnating rebelliousness and non-conformity, tags, graffiti and stencils have found their way into galleries, auction rooms and collections. Today, street art is clearly fashionable having earned its stars in numerous exhibitions at venerable institutions like the Tate Modern in London (Street art, 23 May - 25 August 2008) and the Grand Palais of Paris (Tag, 27 March - 26 April 2009).
Demand for this type of art was insatiable over most of the last decade, generating a 195% increase in its price index over the period as a whole. However, it peaked in January 2008 before declining quite substantially with the crisis. Since 2008, its prices have contracted 40% back to 2005 levels.
London: capital of Street art
Since 2000, the centre of gravity for Street art seems to have shifted from New York to London, attracted particularly by the mysterious BANKSY who was supposedly born in Bristol in 1974 (but whose date of birth and real identity are apparently the subject of considerable uncertainty). His tags first appeared in London around 2001. Since then, he has become an anonymous star continuing to spray-paint his stencils in public places all over the world (London, Barcelona, Paris, New York, Palestine, etc.). In November 2003, one of Banksy’s works appeared at auction for the first time and the price was accessible to even the smallest budgets. His painting Keep it real sold for £800. On 18 May 2005, a message on his website announcing the exhibition of a remarkable rock engraving at the British Museum launched a treasure hunt… and the media eagerly joined the fray. Stars like Christina Aguilera or Angelina Jolie started collecting his work. Banksy was suddenly hot stuff! In October 2007, The Rude Lord, a recent work (2006), sold for £270,000 ($550,000) at Sotheby’s! In just 2 years, his auction prices had acquired an additional 3 zeros. Then on 14 February 2008, Keep it spotless, a stencil on a canvas making a strong reference to the Spot paintings of the UK’s other art market star Damien Hirst, fetched $1.7m. That was his first seven-figure result (and so far his last). As one of the hottest artists in the Contemporary art field, Banksy’s market suffered a substantial meltdown in 2009. The number of his works offered at auctions during 2009 fell to a third of its 2008 number.
Bansky’s success has encouraged a whole generation of young London artists who have received notable support from Bonhams with their Urban Art sale and from Dreweatts London branch. The two auction houses orchestrated thematic sales during 2008 riding on the wave initiated by the Tate Modern exhibition. The Street art on offer included older works by Jean-Michel BASQUIAT as well as works by the new generation artists like Nick WALKER, FAILE, Adam NEATE, MAU MAU, CEPT, BEEJOIR, CYCLOPS and Guy DENNING.
Paris joins the movement
In 2009, two Paris exhibitions contributed to the general public’s awareness of Street Art: Le Tag at the Grand Palais in the spring, followed by Né dans la rue – Graffiti at the Fondation Cartier from July to November. Stimulated by so much news, the auctioneers Artcurial, Cornette de Saint Cyr and Pierre Bergé & Associés quickly joined the sales trend of an art form that perfectly corresponds to a new generation of burgeoning collectors. Indeed, in the current climate, the market for Street art has all the right ingredients: it is financially accessible, particularly dynamic and its key figures like Keith HARINGand Jean-Michel BASQUIATgenerate very inspiring results. Small format works by MISSTIC can be acquired from $500, original works by CRASH, SPEEDY GRAPHITO, DAZE, INVADER, FUTURA 2000, QUIK and Xavier Prou (alias BLEK LE RAT) usually fetch between 1 and 10 thousand dollars. A little further up the price ladder there are large formats by John PERELLO (Jonone) which sell for between $10,000 and $40,000.
ITALIAN STREET ARTISTS @ CHRISTIE'S FOR CHARITY
March 29 at 19:00: Christie’s auction of the manhole art show “Sopra il Sotto – Tombini Art raccontano la città cablata" (Above the below, Manhole art tells the story of the cabled city), Palazzo Clerici, Tiepolo room. A project of Metroweb on behalf of AIPD (the Italian Association of Persons with Downs Syndrome).
more info: http://www.aipd.it/cms/AstaChristies_Milano
news: il sole 24ore
PHOTOS: courtesy PHO
street artists: 108, 2501, Abbominevole, Bo130, Bros, Dem, El Gato Chimney, Faust, Luze, Maba, Microbo, Ozmo, Pho, Veronique Pozzi, Santy, Sten&Lex, Ufo5.
full set: http://www.flickr.com/photos/macteo/sets/72157619560896607/
domenica 28 marzo 2010
sabato 27 marzo 2010
orticanoodles @ gallerie Itinerrance
11/03/2010 to 04/04/2010
7 bis, rue Gouscinny 75013 Paris
Du mercoledi au samedi de 14:00 a 19:00
DOWNLOAD CATALOGUE: CLICK HERE
venerdì 26 marzo 2010
STENCIL MATRIX -cut on paper- PASTED UP ON WOOD AND DESTROYED.
SOME PARTS OF THE STENCIL ARE STILL PASTED ON THE WOOD
FOR THIS REASON THE PIECE IS NOT REPRODUCIBLE IS AN UNIC PIECE. WE CALL THIS KIND OF WORK STENCIL POSTER.
domenica 21 marzo 2010
venerdì 19 marzo 2010
artist: BLU (Italy) & NUNCA (Brasil)
location: MODENA - ITALY
date (17 mar 2010)
photo courtesy: www.blublu.org
CHECK THIS OUT:
50 drawing by BLU. 48 pages w/color cover. 17*24cm
giovedì 11 marzo 2010
lunedì 8 marzo 2010
“THERE IS NO SUCH THING AS A GOOD PAINTING ABOUT NOTHING“
ABSTRACT EXPRESSIONISM IN CONTEMPORARY URBAN ART
March 12, 2010 to April 24, 2010
OPENING MARCH 12TH 2010 7PM
more click here
A new vanguard emerged in the early 1940s, primarily in New York, where a small group of loosely affiliated artists created a stylistically diverse body of work that introduced radical new directions in art – and shifted the art world's focus. Never a formal association, the artists known as "Abstract Expressionists" or "The New York School" did, however, share some common assumptions. Among others, artists such as Jackson Pollock, Willem de Kooning, Franz Kline and Mark Rothko advanced audacious formal inventions in a search for significant content. Breaking away from accepted conventions in both technique and subject matter, the artists made monumentally scaled works that stood as reflections of their individual psyches – and in doing so, attempted to tap into universal inner sources. These artists valued spontaneity and improvisation, and they accorded the highest importance to process.
The exhibition “There is No Such Thing As a Good Painting About Nothing“ focuses a comparable artistic habitus finding its provenance in graffiti and street culture. It is interesting to observe, that approximately 70 years later, in the early 21st century, three artists located in different countries developed their work independently from each other as a new form of abstract expressionism. They build upon the paradigms of graffiti writing and street art but distance themselves radically from established clichés. Ultimately, by doing so, they generate an avant-garde direction within the genre of urban art.
Marco „Pho“ Grassi (Milan) translates his background as a bomber to his vast abstract paintings by referring to graffiti writing’s traditional elements: the word, the rhythm of the line and a performing dynamism. By recovering elements from the daily life like torn manifestos and wooden pallets he postulates an hommage to the street.
Katrin Fridrik’s (Paris) works bring a third dimension, which modernizes abstract expressionism and reinstates it for our times. She invents a new pictorial language: the “human-generated” computer images. And she shows us that the human still produces better than the machine.
Holly Thoburn (London) has traveled the world extensively, photographing street art, graffiti, derelict walls, alleys and doorways – all of which find their abstracted way back into her work as themes and motifs of urban living.
"To us, art is an adventure into an unknown world of the imagination which is fancy-free and violently opposed to common sense. There is no such thing as a good painting about nothing. We assert that the subject is critical." *
(*Adolph Gottlieb and Mark Rothko, with the assistance of Barnett Newman in a letter to the New York Times, June 1943)
mercoledì 3 marzo 2010
martedì 2 marzo 2010
Press Preview Friday, March 12 at 12.30
Opening Friday, March 12 at 18.30
For his second engagement with Italian street art, Giorgio Galotti is pleased to present the first official private show of the two Roman street artists, Sten&Lex. The title of the show refers to the acronyms of their tags, which combined indicate the revolution of their decision to engage in work together, no longer individually, but side by side.
Known primarily for their public interventions, they have been stimulating interest with press and critics for some time, attracting all kinds of fans, not only those of graffiti and street art, but also those involved in more institutional aspects of contemporary art. This exhibition is the official debut of the artists in a gallery setting. For this reason, the progression of the display was studied diligently from conception to development in order to maintain synchronization between the poetic language and narrative in their works.
The work of Sten&Lex continues after their study of recovered from historic photographic archives in Italy from the 1960s and 1970s, establishing a new style, albeit realized with old methods. The poster technique is a point of commonality between them, and has made them a phenomenon of international acclaim. The unpublished works shown in this exhibition were realized more meticulously than previous undertakings, and this is to become a distinct characteristic of their works to come as they explore the use of stencil on paper.
This new technique develops in three fundamental stages: in part as a reintroduction of stencil, a method of which --sten-, creator of the hole school, was one of the Italian innovators; applied technically as on poster, the preferred medium of Lex; all synthesized with the practice of décollage in the style of Jacques Villeglé or Mimmo Rotella, which, once the glue dries, gives life to the final work, leaving a sign as primitive as worn.
Sten&Lex live in symbiosis during process of each creation, envisioning each subject, developing it, and, once determined, focusing on implementing it as if they were ancient scribes slowly executing an intricate and elaborate art. What emerges is a technically complex work that culminates into a popular icon. Their approach to the creation of the artwork is extremely introspective. In the photographic documentaries of their public works one always finds a hooded figure present, as if the artists intended to narrate the story of our era from the perspective of a mysterious loner with a poetically hidden identity.
In the panorama of international street art they are known and esteemed for an unusual peculiarity in the art world: the privacy with which they shroud their undertakings.
Recently Banksy, sent Sten&Lex, as unique artists of their genre, to London for the latest Can's Festival.
For this occasion, a catalogue and a limited edition box will be published by DRAGO with critic texts by Maria Letizia Bixio, Davide Giannella e Gianluca Marziani.
Gallery: CO2 contemporary art
Opening: Friday, Marzo 12, 2010 | at 18.30
Pres Preview: Borgo Vittorio 9b, 00193 Roma
Show Duration: March 12 – April 30, 2010
Schedule: Monday-Friday 11 > 19.30 | Saturday 16 > 19.30 | Open entranceInformation: t: +39.06.4547 1209 | f: +39.06.4547 3415 | firstname.lastname@example.org | www.co2gallery.com