Connect with us

Art

Shepard Fairey: Obama ‘Hope’ poster artist condemns ‘cancel culture’ as many are ‘fearful about having opinion’

Published

 on

Street art might have a reputation for being provocative and political but in the age of social media take-downs is the movement itself now starting to question what it can and can’t say?

According to world-famous street artist Shepard Fairey, “cancel culture is a problem”.

Speaking to Sky News, the activist and artist said: “I think a lot of people are fearful about having an opinion in their work that others might disagree with.

“Cancel culture is a problem in that people become fearful about what topics they think they are allowed to address and in what ways.”

Having flown in for the opening of Beyond The Streets London – billed as the most comprehensive graffiti & street art exhibition to open in the UK – Fairey’s work features heavily in the three storey take-over of the Saatchi Gallery alongside over 100 other artists, including Keith Haring and the Beastie Boys.

Perhaps best-known for his iconic 2008 Obama “Hope” poster, Fairey’s work has frequently incorporated imagery of important figures of our time – including the likes of Bob Marley and Martin Luther King.

Fairey is perhaps best known for his 2008 Obama "Hope" poster
Image:
Fairey is perhaps best known for his 2008 Obama ‘Hope’ poster

“I have always made a lot of portraits of not just white people,” the American artist explains. “My point was that, you know, we’re all humans who deserve to be treated with dignity and representation matters… but there have been some people that have said to me ‘you’re a white person, you shouldn’t paint anything other than white people’.

“And I say, there’s a way to look at that as actually really narrow minded and exclusionary. Other people say ‘you’re exploiting someone else’s culture by trying to represent it through your work’ but I say, you know, this is all about a dialogue.

“If the art brings up a conversation that I think is constructive about who gets the spotlight and is allowed to talk about what issue, I’m fine to be part of that, but if the idea is that I need to not say anything because I’m a straight white male, I’m not going to listen to that.”

Today street art is a commercial juggernaut, shared on social media, courted by fashion houses – accessible, relatable and at its best subversive.

But as a movement that sets out to stick two fingers up to the establishment, its commercialisation can seem at odds with what street art stands for.

“The whole idea of, of selling out would be compromising your principles to pander to the lowest common denominator,” Fairey insists. “I don’t like to think about these narrow minded categories. I want to reach the bourgeois and rock the boulevard.

Shephard Fairey's street art is known around the world
Image:
Shephard Fairey’s street art is known around the world

 

 

“Street is where I did a lot of my early work because I had no other opportunities and I still work on the street, it’s a very important thing to me philosophically, but to me, it’s all about creative problem solving and hitting different audiences and as many different people as possible.”

Fairey says his commercial work gives him the freedom to make free works like murals and fund his activism.

“I like the do-it-yourself empowerment model and that requires figuring out how to make it successful in the capitalist world we live in without hopefully being corrupted by the bad forces within capitalism. I’m trying to navigate that very thoughtfully and be, you know, conscious within capitalism.”

A provocateur and proud, he’d like more artists to use their work to make a stand.

“Just look around, if the world looks exactly how you want it to look then then fine, make decorative stuff. If it doesn’t, maybe try to say something.”

Beyond The Streets London runs until 9 May at the Saatchi Gallery.

728x90x4

Source link

Continue Reading

Art

Ehiko: The Multidisciplinary Artist Shaping Decolonization Through Art

Published

 on

Ehiko, a multidisciplinary artist born in Lagos, Nigeria, now calls Toronto, Ontario, her home. An OCAD University graduate, she has gained recognition for her powerful and evocative works that delve into the complexities of decolonization, health and wellness, spirituality, sexual violence, and the representation of melanated hair.

Ehiko’s artistic journey began in the vibrant city of Lagos, where the rich cultural heritage and traditional artistry influenced her deeply. This foundation blossomed in Toronto, where she continued to experiment and manipulate raw canvas due to its flexibility. Her expressive palette and the use of various textiles pay homage to traditional Nigerian craftsmanship, creating a unique blend of contemporary and ancestral art forms.

Her works are not just visually striking but also laden with profound messages. Ehiko’s exploration of decolonization is evident in her large-scale multi-medium paintings, performances, drawings, and installations. Each piece she creates is a testament to her commitment to unravelling spirituality linked to traditional Afrakan masks, presenting a dialogue between the past and present.

One of the central themes in Ehiko’s work is health and wellness, particularly within the context of the Black community. She addresses the often-overlooked aspects of mental health and the importance of wellness practices rooted in African traditions. Through her art, Ehiko encourages a reconnection with these practices, promoting healing and resilience.

Sexual violence is another critical subject Ehiko tackles with sensitivity and boldness. Her works often depict the pain and trauma associated with such experiences while also highlighting the strength and resilience of survivors. By bringing these issues to the forefront, she fosters conversations that are essential for societal change and healing.

The representation of melanated hair in Ehiko’s art is a celebration of Black identity and beauty. Her pieces challenge societal norms and stereotypes, presenting Black hair in its diverse and natural forms. This representation is not only about aesthetics but also about reclaiming cultural identity and pride.

Ehiko’s exhibitions in Lagos and Toronto have garnered significant attention, and her private collection of purchased work is available upon request. Her contributions to the art world extend beyond her creations; she is also an advocate for using art as a tool for social change and empowerment.

In every piece, Ehiko weaves her experiences, heritage, and vision, creating a tapestry that speaks to the heart and mind. Her work is a powerful reminder of the role of art in decolonization and healing, and her journey continues to inspire and influence the global art community.

4o

Continue Reading

Art

Home + Away artwork opens in Vancouver’s Hastings Park

Published

 on

A new art installation now towers over Vancouver’s Hastings Park fields in celebration of the city’s history of spectators and sports.

Home + Away is a sculpture by Seattle artists Annie Han and Daniel Mihalyo of Lead Pencil Studio, which opened Monday in the southeast end of the historic park.

It’s a 17-metre-tall structure that resembles a narrow set of bleachers — similar to the stands of the Empire Stadium, which stood on the site of the park from 1954 to 1993 and hosted The Beatles, among many others. It recalls a covered ski jump that stood there in the 1950s and the nearby wooden rollercoaster at the PNE.

The city says the public is invited to walk the stairs and sit on the benches.

“In addition to being visually striking, this artwork is intended to be ascended, sat on and experienced. It offers exciting experiences of height and views and provides 16 rows of seating for up to 49 people, making for a unique spectator experience when watching events at Empire Fields,” the city said in a release Monday.

The idea for the park to include public art was outlined in the Hastings Park “Master Plan,” first adopted by the city in 2010. The city says Han and Mihalyo first presented their design in 2015.

“It’s wonderful to see this piece realized within the context of such a well-used public space,” said Han.

Home + Away was inspired directly by the site history of spectatorship, and we hope it will connect Hastings Park users to that history and the majestic views of the environment for many decades to come,” added Mihalyo.

The artwork features a large light-up sign, in the style of a sports scoreboard, that reads “HOME” and “AWAY.”

 

728x90x4

Source link

Continue Reading

Art

Bill Viola, Video Artist Who Established the Medium as an Integral Part of Contemporary Art, Dies at 73

Published

 on

Bill Viola, whose decades-long engagement with video proved vital in establishing the medium as an integral part of contemporary art, died on July 12 at his home in Long Beach, California. He was at 73 years old. The cause was complications related to Alzheimer’s disease. The news of his passing was confirmed by James Cohan Gallery.

Viola’s works are centered around the idea of human consciousness and such fundamental experiences as birth, death, and spirituality. He delved into mystical traditions from Zen Buddhism to Islamic Sufism, as well as Western devotional art from the Middle Ages and the Renaissance in his videos, which often juxtaposed themes of life and death, light and dark, noise and silence. These explorations were achieved by submerging viewers in both image and sound with cutting-edge technologies for their time.

“I first used the camera and lens as a surrogate eye, to bring things closer, or to magnify them, to experiment with perception, to extend vision and make lengthy observations of simple objects,” Viola said in a 2015 interview. “Once you do that, their essence becomes visible. So I suppose I was always interested in the inner life of the world around me.”

Beginning in the 1970s, Viola created videotapes, architectural video installations, sound environments, electronic music performances, flat panel video pieces, and works for television broadcast—all of which expanded the scope of the medium and established Viola as one of its most notable practitioner.

Video still of a man diving into water that has been reversed. The image is mostly black and teal.

In 2003 the Whitney Museum of American Art in New York; Tate, London; and the Centre Pompidou in Paris jointly acquired Bill Viola’s 2001 three-channel video installation Five Angels for the Millennium.

Photo Kira Perov/©Bill Viola Studio

Bill Viola was born in 1951. He grew up in Queens and Westbury, New York, and attended P.S. 20 in Flushing, before receiving his BFA in experimental studios from Syracuse University in 1973. There, he studied with visual art with the likes of Jack Nelson and electronic music with Franklin Morris.

Following his graduation, between 1973 to 1980, Viola studied and performed with composer David Tudor in the music group Rainforest, which later became known as Composers Inside Electronics. He also worked as technical director at the pioneering video studio Art/tapes/22 in Florence, Italy from 1974 to 1976. During that time he encountered the work of other seminal video artists like Nam June Paik, Bruce Nauman, and Vito Acconci.

Viola was subsequently an artist-in-residence at New York’s WNET Thirteen Television Laboratory between 1976 to 1983, wherein he created a series of works that premiered on television. He traveled to the Solomon Islands, Java, and Indonesia to record traditional performing arts between 1976 and 1977. Later that year, Viola was invited to show work at La Trobe University in Melbourne, Australia, by cultural arts director Kira Perov, with whom he married and began a lifelong collaboration.

He was appointed an instructor in advanced video at the California Institute of the Arts in Valencia, California in 1983. He was the Getty Research Institute scholar-in-residence in Los Angeles in 1998 and was elected to the American Academy of Arts and Sciences in 2000.

In 1985, Viola received with a Guggenheim Fellowship for fine arts, and later that decade, in 1989, he was awarded the MacArthur “Genius” Fellowship. His work was also featured in some of the world’s most notable exhibitions, including Documenta VI in 1977, Documenta XI in 1992, the 1987 and 1993 editions of the Whitney Biennial, and the 2001 Venice Biennale.

In 1995, he represented the United States at the 46th edition of the Venice Biennale. For the pavilion, Viola produced the series of works “Buried Secrets,” including one of his most known works The Greeting, which offers a contemporary interpretation of Pontormo’s oil painting The Visitation (ca.1528–30). The Deutsche Guggenheim Berlin and New York’s Guggenheim Museum commissioned the digital fresco cycle in high-definition video, titled Going Forth By Day, in 2002.

Viola’s work was the subject of a major 25-year survey at the Whitney Museum of American Art in 1997, which subsequently toured internationally. His work has been the subject of major museum retrospectives in the years since, including at the Grand Palais in Paris (in 2014), the Palazzo Strozzi in Florence (2017), the Guggenheim Bilbao in Spain (2017), and the Barnes Foundation in Philadelphia (2019), as well as an exhibition pairing his work with that of Michelangelo at the Royal Academy of Art in London in 2019.

Viola is survived by his wife Kira Perov, who has been the executive director of his studio since 1978, and their two children.

“One thing that’s very exciting about video that has turned me on since I first saw this glowing image way back in 1970 is that it can be so much,” Viola said in a 1995 with Charlie Rose on the occasion of this US Pavilion at the Biennale. “Furthermore, what’s really exciting is I don’t think it’s been since really the Renaissance where artists have been able to use a medium that one could say is the dominant communication form in society.”

728x90x4

Source link

Continue Reading

Trending