Yoav Litvin's Blog, page 7

Gentrification in Coney Island as a weak excuse to undermine street art

I recently read an article about the use of street art as a tool for gentrification in Coney Island. As all of us interested in street art know, this is not new. In fact, though it is very important, I do not want to discuss it here. Continuing to read the article, I reached a “critique” of the street art that was recently painted as part of the project in Coney Island. In summary, the author of the piece wrote: “Not only are the murals in “Coney Art Walls” homogenous, they prove virtually interchangeable”. Knowing the project, and some of the artists involved, this statement seemed downright ludicrous and plain comical. Was the author perhaps riding the rollercoasters while checking out the art? Or maybe he was too busy swallowing hot dogs at Nathan’s annual hot dog contest? Probably not, as I later noticed that the photos in the article are credited to the author of the piece. Seriously now, how can a piece by How and Nosm, for example, be interchangeable with Aiko, Lady Pink, Swoon or Daze?! (Check out some of the art HERE) It’s completely justified to comment on the evils of gentrification and the motivations of artists that are involved indirectly in this process. It’s utterly weak to wed the art of some of the best street artists alive and the diverse themes of their work to this phenomenon.  This complete dismissal of street art and artists by an art critic sounded eerily familiar… Who wrote this article???

I patiently read the entire article and upon seeing the writer’s name at the very bottom, everything became crystal clear! Christian Viveros-Fauné- that name seemed so familiar, and not in a good way. And then I remembered, I met said author/critic/curator several months beforehand as part of an event. Last autumn I was invited by students in the Art Market Program at FIT School of Graduate Studies to speak alongside Viveros-Fauné and others as part of a panel on “the evolution of the art market”. I was very flattered to be invited and was told by the student selection committee that I was chosen as a representative of a “do-it-yourself” artist/photographer who managed to bring to life a project from the ground up outside of the conventional art establishment. This included the compiling of my book Outdoor Gallery, its launch event, which included an art show I produced and curated, and both their promotion before and since. Unfamiliar with my fellow panelists, I vowed prior to the event that among people who must be seasoned experts within the art world, I would make sure not to utter a single word about anything that I was not 100% confident about. Thus, later during the debate when the conversation shifted toward dynamics in a gallery setting, or what an artist needs to do to find representation, I kept my mouth shut, though I was attentively listening, to my complete horror!

 

FIT Panel. That’s me on the left with Christian Viveros-Fauné in the middle.

When asked to introduce myself I simply stated that I am a documenter of an incredible art movement. People call it “writing”, “graffiti”, “street art” and a variety of other names. I continued by stating how much I admired graffiti and street art as inherently progressive and creative genres that can dwell outside of the mainstream art establishment and it’s politics- namely its structure of curators, critics etc. As such, the content of graffiti and street art feels more real to me and tackles many issues that are absent from conventional art discourse. This is due to many reasons, but first and foremost because of its status within society; it is free for all on the street and much of it is illegal. Furthermore, I love that the streets are a democratic context for art and as such serve as a setting shared by artists of all levels- from the kid who tries to tag for the first time, to masters of the genre. I continued on and on about my views of graffiti, its surrounding politics, its amazing diversity in technique, motivations and my personal story of how it has become my passion. Viveros-Fauné spoke immediately after me, and rudely challenged my take on street art as a serious art movement. I was taken aback by his curt, rude response, which was so bizarre that it kind of amused me, and when he was done talking I noticed many in the audience uneasily shift in their seats. To my disappointment, some of the other panelists also did not get it. They just couldn’t comprehend the beauty or the grit of art on the streets. They saw the street as simply an inferior setting for art, at best as a trendy jumping off point for artists who dream of being in a gallery or museum. At this point of the debate a street artist who was sitting in the audience angrily protested, to no avail.

This kind of unabashed arrogance continued throughout the debate and I found myself quite a few times cringing in my seat, wishing I were taping this, fantasizing how I would become a YouTube sensation as a result (though to my disappointment it was not taped). The most shocking exchange took place at the end of the debate, when a young artist from the audience courageously yet timidly asked how he should go about approaching a gallery with his work. Several of the panelists shamelessly ridiculed him, with Viveros-Fauné at the helm. They told him that he should never under any circumstances talk directly to, or disturb a gallery owner or curator. They said he should befriend someone who knows the gallery owner and (in other words) weasel his way into the gallery. They went on to say that the only way to succeed in the art world was, in short, to engage in a murky cocktail of art world politics that included lying, manipulating, and schmoozing those that conveniently reside at the top and whose role is to pick and choose artists they deem are worthy of success. All this was said with an unmistakable self-satisfied smirk. The young artist who asked the question sat down, disheartened. I couldn’t believe it.  I responded by saying that I cannot disagree more with the apparent consensus shared by my fellow panel members and that I know quite a few galleries that do not work in such a manner. Furthermore, speaking to the young artist, I said I knew many artists who by virtue of their work and honesty reached the top. We continued disagreeing on pretty much everything and the panel ended with an awkward, uneasy vibe. After the conclusion of the panel quite a few students and attendees came over and thanked me for my words. Viveros-Fauné walked off without shaking my hand.

The whole exchange brought to mind another exchange I had only a few weeks prior to the panel. I wrote an email with a question to one of the people I admire most- Noam Chomsky– the esteemed Professor of Linguistics at MIT, considered to be the leading intellectual alive today. Honestly, I didn’t expect a reply, as I’m sure Chomsky receives countless emails daily, but figured what the hell. To my delight, Chomsky kindly and respectfully responded to my question within hours, a fact that made me walk around NYC with a broad smile for days! Good thing Chomsky isn’t one of Viveros-Fauné’s gallery owner or curator friends, otherwise I wouldn’t have gotten a response, or worse- even ridiculed.

 

Image of Coney Island from Wikipedia

 

 

 

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Welling Court Mural Project in Astoria, Queens: Year 6!

This is the 6th year of the Welling Court Mural Project in Astoria, Queens NYC.

“The best public art event in NYC!”; “My favorite mural project”; “A real NYC experience”; “The event that brings art and artists to the local community”. These are all quotes from residents and attendees this past Saturday at this special art happening and block party put together by Ad Hoc Art.  The beautiful event at Welling Court is always a great opportunity to meet friends and fellow street art fans, make new ones, get acquainted with new artists and learn more about the local community. Plus its a chance to grab a bite of grilled octopus at the nearby Greek eateries!

The art will be up for a whole year so come to Astoria to check it out at your convenience! Here’s a taste:

Icy and Sot

TooFly

LMNOPI

Cernesto

Alice Mizrachi

Clark

Col Walnuts at work

Crisp and Praxis from Bogota, Colombia

Dasic Fernandez’s piece from last year

Eyez

Fumero

Kidlew

Kingbee at work

SEBS and Slow

SeeOne

ShiroOne

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This is What (Bolivian) Democracy Looks Like!

In the first State of the Union address of his second term, George W. Bush pledged to “spread democracy” worldwide. But is the democracy in the United States the best example of a truly just and free system worth spreading? One good way to assess a democracy is by examining figures of voter turnout. In the 2014 midterm elections in the US, voter turnout was the lowest since World War 2, down to 36.4%, clearly demonstrating the indifference and even contempt that many Americans felt toward the electoral system.

Today, March 29th, 2015, I experienced a different kind of electoral process- in the small and beautiful town of Sorata, which lies at the foothills of the Cordillera Real mountain range, Bolivia. It is the country’s twenty first election since 1982, the formal year when it returned to a democratic system; quite an achievement for a country that has been riddled with political turmoil throughout its history. An expected six million registered voters selected between 9 governors, 339 mayors, assembly members, town councils and judges; electing close to 5000 public servants.

La Paz / Sorata Road; In background is The Cordillera Real, Bolivia

“From this point forward, I encourage everyone to participate in these elections. You know that voting is your right but most importantly we must show that Bolivia is (a) democratic country.” Evo Morales, Bolivia’s popular president told reporters this morning at a voting station. As opposed to the low voter turnout in the United States in 2014, here in Bolivia turnout percentage is typically in the mid- to high eighties.

Voting station in
Sorata, Bolivia

Why the difference from the low levels in the US, you might ask. Well, from conversations with several Bolivians about the electoral process it was evident that high voter turnout is a national priority, and is reflected by some official policies and practices. On voting day most businesses are required to stay closed, public transportation is shut down and people are forbidden to use their private vehicles. This is to ensure low chances of voter fraud and is meant to encourage all to vote. In addition, and what impressed me most, upon voting one receives a proof-of-voting card (see sample image). From this day forward and for several months, one must present this card in order to perform essential functions and to receive vital services. These include depositing money in the bank and paying for utilities such as electricity and water.

Proof of voting card

This is all in stark contrast to the United States and its declining voter turnout. Voter numbers are likely to further plummet if more States pass voter ID laws. These laws require voters to present government issued IDs, with research showing approximately 21 million Americans missing such documents. These laws mainly affect (some would say target)  the elderly and poor populations.

Here in Sorata, I bore witness to a true celebration of democracy- the streets were packed with a colorful array of village folk and local townspeople who have come for the elections. A mix of people of all ages in colorful and festive indigenous clothing, some of them walking barefoot for many miles to practice their democratic right and duty. Though mostly ignorant with respect to Bolivian politics, as an American I could not help but feel envy at this beautiful display of democracy, of the kind which I would love to see spread to the United States.

 

Some photos from today:

Governors, mayors and other public officials up for election

Sorata, Bolivia

Villagers in Sorata, Bolivia

Voting station

Voting station

Sorata, Bolivia

Voting station, Sorata, Bolivia

 

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Che Guevara’s Worst Nightmare

 
    Yesterday I met Che Guevara’s worst nightmare. Where on earth did this incredible (some would say frightening, some enlightening) incident occur? You might guess it must have been in The United States, right? Wrong. Perhaps in La Higuera, Bolivia where Che was summarily executed by pro-American Bolivian forces? Close, but wrong as well. I met Che’s worst nightmare in Peru of all places, in a cab returning from the well-known Incan ruins known as Machu Picchu.

The ruins of the Incan city of Machu Picchu, Peru; Photo copyright Yoav Litvin

    As a charismatic revolutionary leader and thinker, Che Guevara had a plethora of enemies who might fall under the category of his “worst nightmare”. Was it perhaps former US Secretary of State and Che’s contemporary ideological enemy, now 91-year old Henry Kissinger? Nope. I’m guessing he would not choose to backpack in outback Peru. As an infamous womanizer, might it have been one of Che’s many jealous girlfriends looking for revenge? Unfortunately not, that sounds exciting! How about a disgruntled old Cuban politician from Miami? Strike three.
    Che Guevara’s worst nightmare was not a frightening, heavily armed right-wing paramilitary either; it was a skinny, slightly awkward, and somewhat frail-looking woman in her 20s. Read-headed, fair-skinned, decked out in standard hippie travel gear, upon seeing her I immediately assumed she was European, Aussie or North American. But then she shifted in her seat and I noticed a large tattoo on her left wrist. I was curious to discover it was a big red star: that ubiquitous symbol of Cuba’s Marxist revolution- the mark of “the Comandante”, the red star that adorned Che’s beret in the iconic photograph known as the “Guerrillero Heroico”.

Che Guevara

 
She noticed my curiosity and in a thick accent started our conversation:
“So, where are you from?
“The United States”, I said with a smile.
“Oh” she sighed.
“And you?” I asked and then our driver took a sudden turn and almost ran us off a cliff. I grabbed my girlfriend’s hand in instinctual fear, still not used to the driving in these parts.
She mockingly smiled at my frightened response. “Argentina. Have you ever traveled like this before?” she asked, referring to rustic backpacking. I sensed a somewhat condescending tone in her voice.
“Yes.” I said a bit offended, as I always viewed myself as a seasoned traveler. “Quite extensively in South East Asia and Australia; for over a year and a half. And you?”
“I traveled and lived in Mexico and Cuba for a year.”
I persisted to ask about Cuba, as that is a country high on my travel wish list. She spoke about her time in Cuba in a romantic voice, talking at length about the wonderful people, the culture and what she viewed as the flawless Marxist regime.
“I’m sure they love Argentinians there” I said.
“Yes.”
“Are there good beaches?” Being a sworn beach fanatic, I wondered.
“I only went twice.” She answered with obvious contempt at my superficial question.
 
“Where are you going after Peru?” she promptly elected to change the subject.
“Bolivia is next. Very curious what it’s like. We’ve heard great things” I said with a smile, looking forward to our next adventures in foreign lands.
“Well, Bolivia is not Peru, you should be ready.” She said in a condescending tone.
“How so?”
“Well, for gringos like you it won’t be easy. You have to be centered and relaxed. It’s not that easy to travel there. Oh, and the people are racists. They don’t like half-gringos like me but they definitely do not like full gringos like you.”
Surprised, I said we’d heard great things and I’m sure the Bolivians will treat us well.
 
“Some people hate all Americans, believe it or not.” I said with a wink, trying to lighten up the conversation with a joke.
“I hate Americans.” She curtly replied with a straight face, looking out the window.
There was a long pause. I was shocked and waited for her to continue, or say she was kidding or something.
“So you’re a racist”. I asked, still hoping she was messing around.
“Yes I’m a racist, I admit it, but at least I’m honest. I hate all Americans.” She smiled joyfully and passive-aggressively.
    I felt nauseous, as if someone spit in my face. Though critical of many American policies, both at home and abroad, my girlfriend and I were Americans and so were many of our friends and loved ones. I was also familiar with plenty of Americans who are inspirational activists and artists, relentlessly fighting for justice and change in the name of many noble causes that promote equality for all people. Who the hell is this young Argentinian “revolutionary” to spout this kind of racist remark? My blood was boiling.
“Mussolini was also honest. An honest fascist and racist” I replied angrily.
“It’s not the same.” She said, still smiling.
 
    At that point I lost it. I told her she disgraces the red star that is tattooed on her left wrist, that she is an immediate descendant of a gringo immigrant colonist just like white Americans are, not indigenous to South America and should act like it, with respect to all peoples. I told her she should read more of what her idol Che and other Marxist leaders stood for- an inclusive unity of peoples and a fight against oppressive regimes. Fighting for the rights of the disenfranchised of all nations, not demonizing an entire nation and idolizing another because of their leaders political ideology, or their trendy appeal, or handsome face.
 
    This young Argentinian backpacker was a fake revolutionary, and I claim – Che Guevara’s worse nightmare. She was much worse than that would be right-wing paramilitary, the entire staff of the CIA or that conniving jealous girlfriend. She represents the wolf in sheeps’ clothing. The fifth column. The ideologist who sells out.
 
    This reminded me of a phenomenon I encounter almost every day, whether in person or on social media: Fake activists. Fake activists are easy to spot. They are active when a cause is trendy, and abandon it when it either fades from the public’s view or when it serves their own personal agenda. They preach without conducting appropriate research, often exaggerate their statements and never modestly admit when they are wrong. They are stubborn. They are egomaniacs and they are too arrogant to learn.
 
    They are all Frog (See attached video), that white drug dealer in the epic HBO series The Wire (second season) that had to be reminded of his white, not black skin color. They are all fake.
 
 





 
After this aggravating episode I looked for consolation, and found it in a wonderful quote by J. D. Salinger from his epic The Catcher in the Rye:
“Among other things, you’ll find that you’re not the first person who was ever confused and frightened and even sickened by human behavior. You’re by no means alone on that score, you’ll be excited and stimulated to know. Many, many men have been just as troubled morally and spiritually as you are right now. Happily, some of them kept records of their troubles. You’ll learn from them—if you want to. Just as someday, if you have something to offer, someone will learn something from you. It’s a beautiful reciprocal arrangement. And it isn’t education. It’s history. It’s poetry.”
 
 
 
 
 
 
 

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A Discussion on Graffiti/ Street Art Documentation and its Publication

Hi,
As graffiti and street art are inherently in the spirit of sharing with the public, I’ve always believed that those who document it, such as myself, should follow suit. This includes photographs and other materials.
Recently, I’ve started a series of “Readings and Conversations” in which I discuss my views of graffiti and street art with an emphasis on my place as a documenter and the process of producing a book. The purpose of these talks is to share my passion for this art form/movement with as many people as possible, with the ultimate goal of exposing it to a new, mainstream population. I believe more exposure will ultimately benefit all: artists, documenters and the public. For each talk I’ve teamed up with a different artist as a way of emphasizing the underlying notions which have accompanied the entire process of “Outdoor Gallery”; namely, that exposure to the artist him/herself is important and necessary for a true understanding of the art. I shaped Outdoor Gallery as such, including pictures of work alongside revealing interviews.
Graffiti and street art are more than cool artsy stuff on walls/trains/whatever. Many have recognized graffiti/street art as a true contemporary art movement that started right here in New York City (see this awesome podcast here). That’s something to be proud of! As a documenter I’ve always felt very excited, privileged and humbled to be able to witness its evolution. I feel this movement conveys creative, progressive and pro-social aspects of human society. It is a nonviolent form of rebellion. Rebellion against what, you may ask. I feel that is for you to decide.
Here, I share with you a recent class presentation I gave at Long Island University in Ryan Seslow’s MFA class with the hope that it may spark some interest and debate. The students were very engaged and it was a great experience for me. Check out Ryan’s webpage with some discussion of this presentation. I urge you to share the content of this post, but if you do I ask that you make sure to credit the artists for their work, and myself for the photography and text. I welcome any constructive comment and critique!
Together with Alice Mizrachi I spoke at The Bronx Museum last week, and will be continuing this ongoing series, but with less text and more images, readings and discussions: I’m excited to share the stage with Jilly Ballistic on the 20th (Word in BK) and with Chris Stain on the 28th (Bluestockings, Manhattan), who will each elaborate on their work/motivations/processes. Please come by, participate and invite whomever may be interested.
TGIF!
—YL

 

 

Here begin images to convey talking points: 

 

If there’s one take home message of this presentation, it is to convey the rich diversity of art and artists that are part of this movement.

Diversity in Technique: 

Diversity in Messages conveyed

Process as an integral part of art.

The cover meant to stress the beauty of collaboration! 10 artists were involved in its production.

Ryan Seslow and class at LIU

Thanks for caring enough to read through this post! Please share.

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F*ck the Buff; Negative associations to graffiti die hard in New York City

Recently, a legal wall in lower Manhattan got buffed. I’m referring to a wall that is part of the Little Italy Street Art (L.I.S.A.) project and was painted by the artist duo Mirf and the PPP collective. 
What does it mean that local residents adore a street art piece like Shok1′s rainbow, whereas Mirf and PPP collective’s graffiti piece, in the words of a local businessman, “…makes my shop look like a junkyard” (from an article by Bucky Turco in Animal New York. Also see it for images of both pieces)?? Regardless of this or that personal opinion about the quality of the particular pieces in question, what can these events tell us about graffiti and street art in NYC? Are memories of New York in the 70′s and 80′s still too fresh for a graffiti tribute on our streets? Do these memories impede a true embrace of this original and thriving art form at its birthplace?
The “writing movement” (more commonly known as “graffiti”) that emerged in the late sixties/early seventies was associated by governing forces here in NYC with high levels of crime, and as a result quickly viewed by the public as a menace. This artificial association between graffiti and crime was in the interest of wealthy property owners, and City Hall manipulated the public’s dismay at the high levels of poverty and crime in NYC to galvanize support for its anti-graffiti campaign. It’s important to remember that whether consciously or not, graffiti in its essence questioned private ownership and challenged the skewed distribution of wealth. Graffiti was the voice of the people that challenged authority, and therefore was regarded as a threat by those in power and was blamed for the ills in society. This is a typical and easy tactical move: instead of assuming responsibility and attempting to solve the problems at hand- kill the messenger.

The sentiments conveyed yesterday by the shop owner in Little Italy may illustrate that these negative associations – between crime and disparity and graffiti art – are still alive and kicking. Whereas it is evident that graffiti has developed into a true modern art form that has dramatically affected the art establishment and global popular culture, it seems like in NYC the association between disparity, crime and graffiti dies hard. On the other hand, pieces that are more abstract, i.e. in the realm of “street art”, are more easily accepted in the public domain. In light of this it is understandable why graffiti is perhaps more easily celebrated as a true contemporary art form elsewhere in the world. 
There is hope though, as appreciation of graffiti is slowly seeping into mainstream consciousness in NYC. The “City as Canvas” show, the first of its kind celebrating graffiti and street art in a major museum in NYC, is proof of that. I strongly believe everyone should visit this exhibit and it should perhaps be somehow integrated into the curriculum of schools citywide. 
The mural by Mirf and the PPP collective is a great tribute to graffiti art in its birthplace, and it’s a big shame it had to be buffed. Thanks L.I.S.A. Project for making it happen, even if short lived.

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On “Breaking the Set” with Abby Martin discussing Outdoor Gallery

Start minute 10:53 on “Breaking the Set” with Abby Martin

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Outdoor Gallery – New York City : A contemporary cultural expose

Hi,
Welcome to my site.
This site is devoted to whatever I find interesting, whether it be arts, people or politics. My home and base is New York City, and that’s where I will predominantly focus my efforts. However, I love travel and from time to time I will post photos/blog posts from my adventures.
As a psychologist and documenter, I am interested in examining art within the framework of our reality, analyzing it as a true craft and creative language that conveys issues that are relevant, important, challenging, ludicrous or simply funny. I see artists of all sorts as true leaders within human society, and find those on the fringe of the art establishment most intriguing.
Recently, my book Outdoor Gallery – New York City was published by Gingko Press. The following blog post is dedicated to it.
Thanks for stopping by.
–Yoav
 
“The opposite of war is not peace… it’s creation!”  Jonathan Larson, American composer and playwright.
What’s Outdoor Gallery about?
Outdoor Gallery investigates creativity in the public domain of NYC. It does so by giving a platform to 46 of the most varied and prolific artists to express themselves verbally, alongside photos of their work. The photos and interviews are aimed at presenting a language that conveys relationships between the artwork, artists and environment (streets and people). It is a documentation of a true anti-establishment movement.

Outdoor Gallery proofs

What’s behind Outdoor Gallery?
Simply put, Outdoor Gallery, or as I like to call it in short “OG”, is a result of many, mostly solitary, walks that I’ve taken throughout the boroughs. It is my attempt to convey and document a medium that needs to be visually experienced and personally discovered in three dimensions, not through a two-dimensional computer screen or book. There lies the challenge.
In OG my role is bystander/explorer/ photographer/documenter. I believe true documentation needs to be as unbiased as possible, within human limitations of course. Throughout OG I attempted to present the artists and their works true to their personalities and styles, while maintaining my own narrative and flow throughout the book, to create a NYC-encompassing story. I’ve tried to undertake this task as professionally and respectfully as possible and am truly humbled by it.

Designer Steven Mosier working on the color proofs

But there’s more to it. What is happening today did not just spring to life. It’s very important to research the origins of this movement. My friend and colleague at work, Coco144 who is one of the forefathers of the graffiti movement that arguably began in Inwood/Washington Heights back in the late sixties recounted how graffiti started as a non-violent (mostly), illegal force of rebellion, an art form that came out of the people, for the people, and sprung to life in NYC together with hip-hop and break dancing (see full interview here). There are many amazing books on the history of these arts, too many to mention here. I urge you to read them and learn of the lives and work of the artists who pioneered these artistic genres and to whom we owe so much.
Nowadays, street art and graffiti has gained a sort of public acceptance and is cool and trendy, and is sometimes cynically used as a tool for gentrification, an experiment in urban beautification. It seems like it is a sort of compromise that was made by those in power to keep this art and all it represents at bay. But this medium isn’t static and cannot be tamed; it’s evolving globally and especially here in NYC, at its birthplace. The photos in OG show the streets serving as a platform for some of the most incredibly skilled artists in the world. But what’s more, the text interviews complement the images and convey that art on the streets is not only a public display of skill, it is a unique and personal experience for the artists that translates into a force, both within and outside of the traditional art establishment.

Cern, Alice Mizrachi and LNY working on the wall produced for the cover of OG (with gilf! upper left and Bishop203 upper right)

OG is available at many local stores including at Strand in Manhattan, the MoMA, Guggenheim, the Tenement Museum and the Museum of the city of New York. It’s also on Amazon.com.

OG at the Guggenheim Museum, NYC

For the future, I have some exciting collaborations planned. I will be speaking at several locations, including at The Bronx Museum in August so please come by. I am always up for collaborating with anyone who is passionate about this art form and the people who dedicate their lives to it.
So stay tuned and please feel free to contact me with any questions, ideas or just general thoughts.
Cheers!

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