The larger part of this project was a gallery tour, and I chose to reflect on Andrea Fraser’s Performance piece at the Philadelphia Museum of Art. This is my final script, dictated by myself under a false name to get into the character of a museum curator for a convincing performance to showcase the ways Graffiti art is portrayed and seen in the larger space of this city.
Asher Tures
Professor Bivens
Art 397
March 3, 2022
Statement about the use and purpose of the Gallery:
The reason for this exhibition is to highlight the art of the Decatur streets and walls, and the context in which they exist. My goal is to situate public art in the Decatur public space as it relates to citizens, a larger social context, and in artistic merit. In addition, I intend to draw a distinction between commissioned art, seen as a higher art form, and graffiti, a lower art form, and to come to terms with the nature of these images from out of town and the Decatur citizens.
My mission in a larger context is to find a way to classify graffiti as valid art. I believe that it should not be moved into galleries, or gentrified in any sense, but that the fact of its merit as art should be recognized in art and in political and social contexts. It feels odd and off that these pieces of art are similar compositionally to other forms of art, and have a dense and rich history that is ignored due to placement and disapproval. This would help appreciation for these sites grow, as well as creating an open space to have conversations about distribution of art across the city and various social classes, an important conversation to have in art history, art education, and social equality.
Introduction to the exhibit:
Hello and good morning. My name is John d’Orsay, and I’ll be your guide. Before we depart on our journey together, a few notes. We should be sure to interact with this art, as it is displayed, respectfully to the best of our abilities. Flash photography is allowed, as the exhibits are constantly recreated in new ways by each artist.
In addition, you may notice that pieces throughout the exhibit have no clear origin or artist, unlike other museums. Given the nature of graffiti art, it seems that protecting the identities of the artists in this exhibit, however subversive, is entirely necessary to the survival of the gallery. You may also notice that the pieces, all technically untitled, have been given a title. This is to denote the location and structure of each piece for clarity, and less to give the art an easy name.
Individual Image statements:
The Electrical Box
The electrical boxes of the Decatur Public Arts scene are particularly interesting, as they tread the line of acceptable, commissioned art and of public art by the community of Decatur. These boxes are decorated by artists, who are selected from a pool of applicants, to paint and decorate these boxes in a way that is palatable and draws the eye to the streets of Decatur in an attractive sense, making the city more inviting. The conflict arises as each artist does come from Decatur, and many of these boxes do serve as communication of civil rights issues within the community, but also that this art is sanctioned by the city, fitting not quite in with commissioned, out-of-town art, but not to the same level as rebellious graffiti art, as the pool is selective and designed to cater to an upper class, more defined towards people interested in the aesthetic attraction of the city. Nevertheless, these boxes are important to the community and encouragement of the arts in Decatur, and are stunning in form, execution, and location around the city.
In addition, the electrical boxes act as a neutering of the less than beautiful public space we inhabit. This can be seen for the positive, for personalization of the space, for the ideal community space, and for the beauty of the community as a whole. However, this can also be seen as a hidden danger of the city: creating a system of hiding flaws and imperfections as a larger whole. This is something the gentrification of cities is known to do, and so then the motives of this artistic location and the nature of commission comes into play. As we examine this piece, I find it relevant to think about the nature of art sourced from Decatur itself, and to think about what the artistic beautification of a neutral space might mean to the city as a whole.
Fence:
Lunch is one piece, which has a sharp and futuristic font, as well as stars after it. The retro theme of these letters, as well as the alignment with machinery and the barbed wire above, lends itself to a theme of futurism. In addition, the choice of word can be representative of a break, or lack thereof, or to food inequality. This theme is common in underprivileged and overexerted workforces, who give up lunch and other meals for varying economic reasons.
In addition, the brightness of the yellow piece, lower on the fence, draws the eye. The brightness of color and the break from a common set of neutral paint draws the eye to this particular piece. In addition, its placement on the edge of the fence nearly diagonally is intriguing, as well as its height on the fence. Overall, these two items draw the eye to the fence, and make it more than a simple barrier, and instead show this in a lens of an artistic set of statements.
A fence in a city commonly is a representation of a barrier, or an instruction to stay out of an area, for safety and for the protection of private property. In terms of context, this fence seems to be for the use of public safety and security, but when thinking deeply about connotations between public and private in terms of graffiti, the incorporation of a fence becomes very interesting and important in the larger context of the project. The ideal of a fence is to keep something in, or to keep something out, and in the context of an electrical grid, the primary purpose is not to keep the machines and wires from escaping. When thinking about keeping people out of a so-called “private” space that affects many people, the line between public and private space becomes tenuous. In this way, this fence becomes an allegory for a defiant movement against a system keeping artists from painting in these public spaces without approval. The act of painting on a fence that represents a barrier to a private space truly does seem to mirror key ideals of graffiti in a larger social context. This also ties in with the social inequality in wealth and resource distribution, which makes graffiti, a “low” form of art, more commonly associated with people of color who are seen socially as less likely to be involved in high art. As a whole, this fence is highly representative of our preconceived notions about race and social standards in graffiti, as well as the division of public and private that haunts the narrative of graffiti.
Sticker Pole
These pieces of art are much more brightly colored than other forms of Decatur graffiti, varying in color and size per sticker. In form, these collaged together sticker art pieces stand out against the neutral tones of concrete and the poles they are situated on. As members of the community contribute to these poles, they are an ever-unfinished piece of expanding work in this modern city space.
The telephone and sign poles featured in this section are a form of community art, where the people of a community band together to create a larger piece of art, commonly associated with common issues and ideals that the people of the city itself hold dear. These stickers, in context of a larger movement, act as a collaborative and innovative collage of the city and of its people. So many inhabitants are adding in details of their lives, their ideals, and their livelihoods in a beautiful amalgamation for all to see. This collage appears in many forms and iterations within the city, and acts as a way to colorfully create a personal sentiment surrounding the bleak steel of the city, giving passers by a sense of understanding and of joy when traversing the city, without compromising what people perceive the space to be.
Telephone pole:
While understandable that a community would rally around brighter, more well-preserved murals, especially ones commissioned or handpicked by the Decatur Artway committee, this piece showcases the fading of forms of public graffiti art in Decatur. On this telephone pole, we can only see the faintest hint of paint, and can hazard a guess at what lies within, word, curve, or phrase. In the case of this piece, it has not received the same attention and care as a well-preserved and commissioned mural, where people would be granted supplies and varnishes to preserve the mural, and even would have people coming to cover graffiti on the walls. (Not including bigoted graffiti of swastikas and other offensive and horrifying additions, this seems to be a downside). This telephone pole, a center of movement between train tracks, walking paths, and streets is a powerful monument that now provides a testament to the ways that graffiti can fade over time. This is not all a downside for graffiti artists however. Just as any other gallery cycles through exhibits and programs, new and old, art progresses and people continue to fill this void in space. As this symbol fades, and as it leaves the area, more artists will be able to come forward to paint new things and to create new meanings on this blank space they have been provided with. This piece of art acts as a memorial to all art lost to time and lost to a lack of care.
The Mural Wall:
The Mural wall of the square is one of the more intriguing parts of this exhibition, as the people of this city tread the line between commissioned, out-of-town art meant to gentrify and appeal to new buyers, versus the art of the common citizens of Decatur. As these non commissioned artists spread all over the city, their contextual importance to a larger community and the representation of citizens becomes all the more important, even as more buildings and houses are built for a wealthy elite. When speaking to the gentrification of Decatur, we should at least consider the impact of some of these murals, as some are meant to convey positive messages to a larger audience, such as the message of honor and acceptance conveyed by the Immigrant Mothers Mural. However, with spaces changing and being gentrified and set at a much higher cost than people can afford, it feels relevant that these people, the ones seen to paint graffiti art on walls, are pushed out and away by city approved murals that make the space more attractive and compelling to a wealthier audience. While not explicit, these are some themes of murals to consider in the scope of public art, graffiti, and how Decatur works through these issues.
The text on the walls is vaguely blurred, but still stands out defiantly against the brown brick, claiming its place on the wall beside the larger, more beautiful mural. The piece has a sharpness to it, and a funky quality that shows an individual presentation of text that may commonly be found in messages written as a form of graffiti art. The formal quality and messages, both of the instagram handle and the larger “Reaper Zone” phrase, are impressive, but their defiant juxtaposition to a much larger work of art shows an incredible dichotomy.
Trash Can
The paint is white on a black can background. The can itself has a curved lid, with a slot to place trans into. This makes it artistic and unique in terms of the design in trash cans. In addition, these cans promote the city of Decatur and the themes of art and innovation that plague the city. However, the white paint is in sharp contrast to this. The paint is crisp and loopy, done in a way that leaves no blur or fuzz around the edges, but also leaves the viewer with a sense of quickness and clearness that draws the eye. In addition, due to the sloped lid of the can, the white paint drips slightly before drying onto the can, creating a further sense of motion in the piece. Overall, with a sense of motion and sharp contrast, this piece becomes particularly interesting, and is intriguing in terms of its political and social contexts. The trash can is interesting in terms of movement, motion, and junk art. Junk art is a found object art form, making sculpture out of found materials and themes of recycling and the refuse of the city. While trash cans have a permanent and useful and unimportant presence in the city, they are viewed as an eyesore, reasonably so. However, with the addition of a sticker and a graffiti tag, there is a sense of motion that draws the eye of continuing passers by. This sense of movement and motion is important, as trash cans are seen as junk, or as ignored areas until you need one. With this addition, the can becomes noticeable in a positive way. In addition, there is something to be said about the relationship of a low and unappreciated art form and the theme of trash cans being underappreciated aside from specific circumstances. The relationship between the two both being forms that are under-recognized, melded together to create a new and interesting surface, is an interesting dialogue for viewers to come to terms with.
Tunnel: Special Exhibition Gallery
The tunnel exhibition space is particularly interesting in terms of the Decatur Arts scene for its relevance to themes of a galley space. Brian O’Doherty is one of the most well-known figures in this field, and reading through his Berkeley article unpacking this space was highly enlightening, as well as interesting in terms of the analysis of the tunnel and gallery space. The white walls, the plain floors, and the notion of movement through the space make this exhibition an art gallery in its own right in a very intriguing way. In this way, the art is applied directly to the walls, not dissimilar to the themes of projection and sculptural creation in anti form matters across the board. The space is curated by the community as a whole, and the pieces cycle in and out as coats of white paint cover the walls in thicker layers, leaving the once again blank white walls open for more art to cycle through. In terms of art history and exhibitions, this piece is most intriguing, as the artist has taken on a curatorial role in the display of their art. This is something entirely unique, with the exhibition space becoming a part of the work of art, on the floors, walls, and on the roof even. In addition, this links to certain minimalist movements, from Judy Chicago’s Rainbow Pikett, to varying works by Morris and Judd in the 1960s. These sculptural pieces have become a part of their landscape in the gallery, and so have these paintings: permanently a stain on the walls of this exhibition space, with the paint fading and wearing away or being outright covered. In this way, there is a deep and interesting context of the tunnel as an exhibition space, the pieces within aside.
Pieces within the tunnel:the pieces within showcase a wide range of artists from Decatur, and the surrounding areas. Phrases, loopy writing, and even shaded in art converse the walls in unique and interesting patterns. Most are done in neutral colors, although in a sharp black paint with varying lines of crispness and blurriness in contrast to each other and to the white walls around them. The writing, art, and images all signify a sense of self, a sense of establishment and dominance in the area, and a space in which people tend to rebel against notions of white walls being plain and attractive to wealthy buyers. The art within the tunnel tends to show a greater divide between the people who create graffiti and the wealthy elite who abhor this form of expression. From the phallic imagery to the phrase “watch out” written on the wall, this space is meant as an active rebellion against standards and norms, and though the walls may be covered and the area may be secluded, the defiance within the art, it’s erasure and return, and its context all show a truly evocative point in terms of the graffiti art in Decatur.
Concluding Statements:
The intent of this gallery is to examine local art from within Decatur, Georgia. Within the limits of a larger project, the gallery could have expanded to a larger project, and a larger body of information. I think our audiences would like that, be satisfied with that. As we examine the structures of Decatur, understanding its art, I find it relevant to think through the nature of graffiti as a whole. The anonymity of the process is its own protection, and allows the cycle of artistic creation to continue. As you all walk away, and consider the merits of graffiti, consider the artists you know hiding in plain sight, the people less likely to be commissioned for public art, less likely to be chosen. I leave you all today to think about the actual differences presented between graffiti and “high” art. I leave you with this: the two are clearly different, but how so? And in what capacity will it affect you and the space you traverse? What may be good for one, good for an artist, may not be perceived to be good for society.
I leave you here, at the end of this tour for today.
Thank you for joining me in this journey, and have a pleasant evening.
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