August 29, Bojan Maric What exactly is the question we are facing here? How would it be possible to define street art? It could be argued that it is a question for art historians or cultural theorists. However, the first group of thinkers seems to be in need of a temporal distance — there has to be a significant and determined period with an origin, climax and a future perspective in order to define a movement or an art form.
This came as a complete surprise to me when I was a young upstart, striving for social justice in a squat in Hackney.
While looking for a radical approach to my art, I found a revolutionary artist working in the most traditional of art forms. I first came across the work of Vermeer in the library at the London College of Printing, where I was doing my photography degree back in This is a 3D photographic model of a squatted street in Hackney, that had been home to me and around others, for as long as 10 years.
At the time we were trying to save our street from demolition, and ourselves from becoming homeless. In the making of this work I began taking photographs on a large format camera, which produced 5-inch by 4-inch transparencies.
These transparencies changed my whole notion of photography. When I placed them on the light box they became small windows of colour and I was completely transfixed. It was as if I were a peasant from the dark and distant past, transported from the fields of rural England into a cathedral, to be mesmerised by the sunlight pouring through the stained glass windows.
Colour and light became key to the way I looked at my neighbourhood, seducing me and drawing me into contemplation of my life, my way of living and the culture that surrounded me. Once these transparencies were installed in the model, which was lit from within, my street became a kind of cathedral, and our neighbourhood its diocese.
I went to work on farms and building sites, for the Forestry Commission and eventually as a tree surgeon in Regents Park.
But at this point, aged 29, I was at college — and an incredibly keen student. I went straight to the library to investigate the golden age of Dutch painting. After looking at many books I came across Vermeer and it all clicked into place.
I was transfixed again, by his use of light and colour, and taken again into that magical state of meditation. The more I read about this artist, the more intrigued and inspired I became by his life and his art.
I wrote my appraisal of my degree show, quoting the golden age of Dutch painting as an influence on my own approach.
The paper was consigned to a cupboard in a squatted house in east London. My life took another turn and I set out on a double-decker bus to Europe, putting on free parties and festivals and revelling in the chaos of techno music and open roads. I had an intense couple of years living on my wits, as part of a travelling convoy, pedalling alternative culture and preaching the doctrines of free parties, no rules or regulations.
But the impulse to create kept calling, beckoning me back to London and the Royal College of Art. I set off back to London in an overladen estate car and limped into Hackney, returning to my long term squatting neighbourhood and resuming my residency in Ellingfort Road.
But soon after my education at the Royal College began, my neighbours and I once again became the recipients of legal notices issued by the High Court of Justice, addressing Persons Unknown from The Mayor and the London Borough of Hackney in order to recover land and premises.
I took this as a challenge to our culture and lifestyle and set out to produce work that might help in our fight with the local authorities.
This time the research came before the artistic endeavour, taking me in many directions, looking at different artists and their approaches to social injustice.
One of my influences was my tutor at the time, Peter Kennard, who has produced a huge body of work rallying against social injustice and warmongering.
His imagery had a huge impact on me. Art with a social impact, which talked about England, had been a big part of my life from the age of 13 when I first heard this: But it took a long time for the popular culture of my youth, to find its voice in the creation of art, that made any sense to me.
Could the classical old master have any relevance to my life or that of my subjects, my neighbours in the hole-in-the-wall community where we lived? It is very hard to find more than the barest facts about Vermeer as very little was written in his lifetime, so much of what I read is open to interpretation.
But I was struck by the belief of some historians that Vermeer used a camera obscura. This may or may not be true but there is a relationship with photography, realism in his paintings, which drew me to them. One of the attractions of photography for me is this notion of realism, the belief that the camera never lies.
Vermeer gave us a window into a real world but also a world imagined through his art.Some street artists work similarly to traditional artists, creating something beautiful, conceptual or stylistically intriguing, the only difference is that they want to display their artwork outside the gallery setting and in the public eye.
Graffiti: Street Art and Graffiti Essay example; Graffiti: Street Art and Graffiti Essay example. Submitted By kmanfang. Words: Across coverage of street artists of varying geographies, ethnicities, and races, many of the artists depicted admit to similar motivations for putting their work on the street, like the freedom of painting.
August 8, ; Posted by Marc; Join Us for the NYC Premier of An Art that Nature Makes at the Film Forum. If you follow Wooster Collective, you know we believe in the added value of art in our everyday world, and the important intersection of urbanization, decay, and art.
Dear Twitpic Community - thank you for all the wonderful photos you have taken over the years. We have now placed Twitpic in an archived state.
Photography and sociology have approximately the same birth date, if you count sociology’s birth as the publication of Comte’s work which gave it its name, and photography’s birth as the date in when Daguerre made public his method for fixing an image on a metal plate.
2 From the beginning, both worked on a variety of projects. Among these, for both, was the exploration of society. I remain the official Senior Maverick for Wired, a magazine I helped co-found 25 years ago. I do one article for Wired per year.
My most recent published writings are listed here, in chronological order. My newest book, The Inevitable, a New York Times bestseller, is now available in paperback. The.