Tag Archives: graffiti

Free Identity

“Hello, My Name Is…” the excess conference stickers were long ago colonised by the taggers, to the point where it is now a commercial standard and Martha Cooper has a whole book focused on it, Name Tagging (Mark Batty, 2010).

Mini Graff

I want to look more closely at taggers and identity. Identity is not a trivial nor a simple issue. Is it enough to live, consume, work and die? The right to an identity comes with the right to express your identity? How do you have an identity if you don’t have the right to express your identity through any media? Not secretly in a diary like Winston Smith but on a public wall. What is the point in having an identity if you can’t live and express it?

The common desire for fame is a desire for an identity, to be a somebody rather than a nobody for to be famous is to be known. The right to an identity not only belongs to those who can financially afford to, or are politically allowed, or happen to become famous to express their identity but to all. These rights cannot be expressed in dollar terms.

Does the right to an identity also imply a right to anonymity? For if an identity cannot be set aside then it is not a right but a burden and an imposition. An identity is different from being an identifier of a data set about an individual. The right to an identity implies the freedom to rewrite the autobiographical fiction of the self; to have multiple identities, personalities, different costumes; to adopt an open identities, like that of the Neo-Dadaist, Luther Blisset.

Hello My Name Is

Superheroes all have secret identities; by day a mild mannered clerk but at night…

Outing the secret identity of graffiti and street artists is an inevitable plot line, like someone about to discover the identity of Spiderman. The media is waiting for Banksy’s real identity to be discovered because it is a story that they know.

Outing graffiti and street artists aside there are other complex moral issues around identity and street art. There is the moral right of an artist to be identified with their work presents a conundrum with uncommissioned work and the secret identities of graffiti and street artists. It is a problem for me too when writing about them or photographing them, endless shots of the backs of artists at work, and thinking about when to use what name to use when. There are a contrary rights in the case of a juvenile graffiti artist where there legal right for the juvenile not to continue to be identified with their crimes in their adult life and the moral right of an artist to be identified with their work. At this point the legal and moral rights diverge along with the legal and artistic identity of the work.

Ultimately does it really matter the exact identity of all these street artists? Aside from the moral right of the artist to have their work correctly attributed and issues of attribution for art historians. Sometimes attribution feels like bird watching with my father or a game for the insiders. There are plenty of proto-Renaissance artists who are simply known as “The Master of” X. We know nothing of their life and only a couple of their works survive.

My Name Is Subre1


Melbourne’s Diverse Street Art

Walking around Melbourne exploring its many lanes, sometimes in the company of a notable, some would say notorious, street artist who would prefer to remain anonymous and keep his comments off the record. Thanks for the company. What follows are my photos, my comments and my opinions. The selection of photos is not my pick of the best street art that I’ve recently seen but to the diversity, both geographic, technique and materials, of Melbourne’s street art.

Deb, Uniacke Court, Melbourne

Deb, Uniacke Court, Melbourne

None of these photos are from the old locations, Hosier Lane, Centre Place, they are no longer the best place to see street art in the city. The locations for good street art have shifted in the eight years that I have been writing this blog, slowly moving north and west. In the west of the city where the street art is scare I found a whole lane, Uniacke Court, with several pieces by Deb and no-one else.

Sunfigo stickers

Sunfigo stickers

All over the city I keep on seeing more and more of the work of Sunfigo, simple and effective stickers and paste-ups but nothing to compare to Sunfigo’s Little Diver Tribute.

Anonymoose, Blender Alley

Anonymoose, Blender Alley

If you love stencils the best place to see them is Blender Alley. The reason is that the main door to Blender Studios, its roller doors were open when I was there, faces the alley and the artist’s in the studio, especially its director, Doyle, basically curate the alley.

Mutant

Mutant

I keep seeing more street art sculpture and, not just Will Coles and Junky Projects, more people are doing it. Mutant and Discarded are doing similar work casting bones and other found objects. So far I have only seen Discarded’s work online but I know that it is out there.

LaPok, Guerilla Garden Melbourne

LaPok, Guerilla Garden Melbourne

Unknown, Ilham Lane

Unknown, Ilham Lane

I’ve seen a few more artistic works of guerrilla gardening in the city and Ilham Lane in Brunswick. Also in Ilham Lane there is a piece of guerrilla geography, naming the small side bunch from Ilham Lane, Chook Lane.

Chook Lane, Brunswick

And there is still basic graffiti out there.

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Coffee with Jamit

In the late 1990s there was a lot less graffiti in Melbourne, but amongst the tags and pieces along the line, Jamit’s steaming coffee cup on the side of a house stood out. It was a personal favourite when I was working for LookSmart, an internet start-up. Every weekday I would take the train from Coburg station into the city, there wasn’t much to look at along the railway line; mostly I read my books, but occasionally I would have a window seat and glance up from my book. Once I saw a rabbit in the North Melbourne rail yards, other times I would mark my journey by spotting a familiar piece of graffiti. Every time I saw Jamit’s piece I would think: another cup of coffee, very appropriate for a Melbourne morning.

Oldest wall in Brunswick 2

The coffee cup was a rare time that Jamit painted along the Upfield line. Mostly he worked on the Hurstbridge line and around Camberwell. The wall where the coffee cup was painted is a long blank cream brick wall running the length of the house and directly facing the railway tracks near Anstey Station. It is the perfect wall for graffiti and Jamit’s friends knew the owner of the house who had given permission for it to be painted. Shame and possibly Ron B Me were there, it was a decades ago and Jamit doesn’t remember now. They had ladders and were painting in the daylight. Unfortunately he also can’t remember what brand of spray paint they were using because it has great durability, the paint hasn’t faded or deteriorated after many years. People talk about graffiti as ephemeral but a piece can last ages.

Jamit sprayed a large white coffee cup filled with hot steaming coffee on the wall. Jamit explained that “the coffee cup was settled on because, let’s be honest, coffee is a generally accepted symbol of friendship and funkiness in Melbourne. Try going into the old Rue Bebélons and asking for a milkshake. They would have accommodated it, no doubt, but not without a short, awkward, double-take.” An elderly passer-by liked the coffee cup; on the day it was painted he climbed up on a ladder to pose as if he was drinking from the cup.

After spraying the coffee cup freehand Jamit added his tag, in a stencil. This is unusual for an old school graffiti writer but was not unusual for Jamit, he had done it for years. He can’t remember anyone else in Melbourne using stencils at the time and there Puzle claims that Jamit did the first stencil northside in 87-88. “When I was commuting to school along the Hurstbridge line, I saw paintings by Bo the Snoutcatcher. It struck me that graffiti needn’t use spraypaint directly onto the wall in the conventional way at the time.”

coffee cup jamit.jpg.opt655x400o0,0s655x400

Melbourne’s graffiti scene was very different in the late 80s and early 90s, without the internet the scene was more insular. There was not a lot of love for Jamit’s graffiti in small graffiti scene, but graffiti is not a popularity contest it is about getting pieces up. Jamit had been doing that for years, mostly large-scale colourful blockbusters and italicised blockbusters. “Hugh Dunit was there too, though he wasn’t appreciated until later on—too little too late in my opinion.”

jamit 1987.jpg.opt590x288o0,0s590x288

jamit 1994.jpg.opt588x290o0,0s588x290

Impressed by the “…very straight-forward graffiti by Tubby and Raffles, whose tags were between Camberwell and Canterbury”, he had started working with his friend that he had known since primary school, Worm, as well as doing some writing with Mags in Rosanna.

It was an old-school scene based along the railway lines and hip hop music mostly supplied by Central Station Records. “Back then I loved Strange Tenants, Kool Herc, Schooly D, Rammellzee, all the breakdance stuff and even Malcolm McLaren, at the time not thinking much about a white guy coming in and capitalising on it all.”

jamit melbourne.jpg.opt865x648o0,0s865x648

Jamit is now living in Singapore and, although he still does the occasional piece, he is now, in his own words, a changed person. Although much of the graffiti from the 90s has now faded away or been capped, buffed or otherwise vanished, Jamit’s coffee cup is still on the wall looking as fresh as it ever did and I still see it every time I take the train.

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Banksy’s Favourite Criminologist

Going paintspotting with Alison Young around Melbourne suburbs of Brunswick and Parhran is like going for a walk with any other enthusiastic, informed observer of street art and graffiti. Walking around, looking down lanes, camera ready trying to see the splash of aerosol spray paint, the paste-up or, even, street art sculpture.

Except that Alison Young is not just another fan of Melbourne’s street art but the Professor of Criminology at the University of Melbourne and is Banksy’s “favourite criminologist in the world”. (And how many criminologists does Banksy know?)

Alison Young book

Alison Young’s Street Art, Public City – Law, Crime and the Urban Imagination is an academic book, full of citations and an extensive bibliography but don’t panic. The academic nature of this should not put off interested readers, as it is well written and does not require a background in criminology or sociology to understand. The book comfortable ranges in styles from the personal narrative to post-modern philosophy.

Street Art, Public City is not solely focused on the laws that prohibit street art and graffiti or the way that they are enforced. Although there is some old-school criminology in Chapter 5 where Young examines aspects of law enforcement: the appellate process on sentences for graffiti, the lack of distinction in the law between vandalism and graffiti and the political use of James Q. Wilson and George L. Kelling’s much referred to “broken window” hypothesis. Young avoids technical language using “the legislated city” instead of ‘nomosphere’ to describe the intersection of law and urban space, while including such technical language in the footnotes.

Street Art, Public City presents a broad view of street art and the city, examining the way that we imagine the city, the issue of public and private space, the multiple uses and versions the city. This is informed by Young’s own exploration of street art in Melbourne, New York, Berlin, London and other cities and her many conversations with street artists. Previously Young, in collaboration with the artists, Ghostpatrol and Miso, wrote Street Studio – the place of street art in Melbourne (Thames & Hudson, 2010) that features interviews with Neils Oeltjen (aka Nails), Tom Civil, Tai Snaith, Ghostpatrol, Ash Keating, Al Stark, Miso, Twoone, Mic Porter, and the Everfresh Crew.

Street Art, Public City is focused on the situation that the art is presented, the affect on both the artist and the viewer. The focus on the situational aspect makes Young’s approach, including her explorations of cities, almost Situationalist especially considering her conclusion of learning to live with the paradoxes that street art generates. The actual street art is not really discussed in the same depth. That said the influence of the art galleries and the art market are examined in some detail.

After so many books on street art that are basically eye candy, picture books with more photographs than words it is a relief to actually read a book about street art. There are fifteen colour photos at the front and a few more black and white photos scattered in the book’s six chapters. Photographs of street art only tell part of the story as there are aspects of street art that cannot be captured in a photograph. Photographs cannot show the duration, very important with ephemeral street art, nor the motivation of the artist and the reaction of the public. Photographs do not explanation the situation and it is the public situation where street art is created and displayed. Street Art, Public City gives the reader more to consider about street art and the city than simply more images.

Alison Young, Street Art, Public City – Law, Crime and the Urban Imagination (Routledge, 2014)


Street Up

First a few terms:

Fling-ups – shoes or other objects hung on overhead wires by flinging them up. (not to be confused with throw-ups) I have to say that I’ve seen some good one’s recently.

Fling-ups, Windsor

Fling-ups, Windsor

Fling-ups, Collingwood

Fling-ups, Collingwood

Paste-ups – paper printed or drawn pasted up on a wall. Known in North America as wheat-pasting due to the glue used.

Paste-up, Fitzroy

Paste-up, Fitzroy

Throw-ups – A rough outline of a piece in one or two colours, areas not filled in or only filled in roughly. Lush does a lot of throw-ups.

Lush Throw-ups, Brunswick

Lush Throw-ups, Brunswick

Up-Cycling – the downwardly mobile cousin of recycling, up-cycling is decorating discarded objects on the street, like drawing on a discarded lounge chair or mattress.

Kaff-eine up-cycling, Coburg

Kaff-eine up-cycling, Coburg

I could go on in the usual slag dictionary fashion but there is more to this than just new terms; there is an up side to mashing a patois dictionary.

“The words we call expressions of aesthetic judgment play a very complicated role, but a very definite role, in what we call a culture of a period. To describe their use or to describe what you mean by a cultured taste, you have to describe a culture. What we now call a cultured taste perhaps didn’t exist in the Middle Ages. An entirely different game is played in different ages.”

Wittgenstein #25 Lectures and Conversations on Aesthetics, Psychology & Religious Belief (Basil Blackwell, 1966,Oxford) (Alternative from James Taylor: “To describe a set of aesthetic rules fully means really to describe the culture of a period.”)

The word ‘up’ used in these expressions is revealing about graffiti and street art culture. Things are “up” in the street, even pin-up girls, for one-upmanship is its core. The aim of graffiti and street art is to be on the up and up amongst the graffiti and street art community; to be more prolific, to cover more walls, to be more notorious, to get more Facebook ‘Likes’, to do bigger pieces, higher up in the heavens.

Up on a train

Up on a train


Artistic Laneways

Walking around the city on a Saturday gallery crawl I couldn’t pass up the opportunity to walk down a couple of Melbourne’s more artistic laneways: Union Lane and Pesgrave Place.

Union Lane

A group of guys spray painting along the length of Union Lane, as usual there was also someone documenting it with photographs but one of the artists was videoing himself with a small camera strapped to his head. An artist eye view of painting a piece, Picasso would have loved that technology.

It was J.D. Mittmann and Amanda King who organised the first legal painting in Union Lane back in 2008 as part of the city’s Graffiti Mentoring Project. Somewhere on its walls under years of aerosol paint there are works by Phibs, Deb, Rhen, Taj, Ha Ha and many other artists. Union Lane is currently managed/curated by Signal as part of its street art mentoring project.

Union Lane is a lot narrower than Hosier Lane, it is now just a gap connecting the Bourke Street Mall to Little Collins Street; it is more about graffiti and less about street art but there were a couple of new Junky Projects, now colourfully spray painted with stencil tags.

Presgrave Place

Presgrave Place is the opposite of Union Lane a location for odd street art rather than graffiti, the op-shop frames glued to the wall are still there but most no longer have their old prints in them. There is an old paste-up by Happy of a dead Pinnochio hung with noose made from his long nose and a new Junky Projects.

Junky Projects Presgrave Place

In Presgrave Place there is also Melbourne’s smallest art gallery, Trink Tank, a small glass vitrine outside Bar Americano. Nicholas Smith was exhibiting “Notes on Live Night Parrot Sightings in North-western Queensland” with a model of the last authenticated sighting, a dead parrot (Pezoporus Occidentalis) found on the side of the road.

Nicholas Smith


The Commons Graffiti

The Commons is a Brunswick residential complex design by Breathe Architecture’s Jeremy McLeod that received the 2014 Victorian Architecture Award for Sustainable Architecture as the year’s ‘‘exemplar of apartment living.’’ Read more about the architecture award in The Age but I want to examine the way that it integrates with the locale in particular the graffiti in the area.DSCF0137

It is not an inspiring locale, at the end of a dead end street on a block between train tracks and a panel beaters. It was previously the site of a single story factory/warehouse stood surrounded by a chain link fence. In its favour it is close to Sydney Road and very close to Anstey Station train station. Anstey has the standard utilitarian construction of a Melbourne railway station from the 1970s, the chain link fence, only the signage has been updated.

I have watched the developments progress as I passed by on my regular ride along the Upfield bike path or when traveling by train in and out of the city.

Now plants are growing up the chain balcony rails, of this multi-story building with an attractive facade facing the railway. On the ground floor there is the coffee shop, Steam Junkies and two large rainwater tanks sit out the back. It contributes and improves its locale rather than exploit it. The Commons is the only building with an entrance to the Upfield bicycle path.

There plenty of graffiti along the bicycle path but the brick walls beneath the second decorative story facade of The Commons had only been tagged a couple of time since its construction. The tags were not removed. It was unlikely that the walls were going to stay that way as they were along the graffiti covered Upfield bike path and it appears that it was never the intention.

Then this week came the Sinch tribute, a massive legal piece that covered The Commons lower walls and water tanks. An awesome group effort featuring parts of the AWOL and Id crews along a few others. See Land of Sunshine for more photos. There aren’t that many graffiti tributes in Melbourne (see my post Rest In Peace).  Sinch (1988 – 2014) died in June; Benjamin Millar “Tributes for street artist electrocuted while train surfing” in The Age.

DSCF0136

 


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