Rigo 90-something - Revision history

Ccarlsson at 06:40, 23 September 2023

2023-09-23T06:40:40Z

← Older revision		Revision as of 23:40, 22 September 2023
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	[[Image:Rigo extinct.jpg]]		[[Image:Rigo extinct.jpg]]

	In '''Extinct,''' Rigo uses the diagonal yellow and black stripes of a road "DANGER" sign to ask: Just ''what'' is extinct? Consider the location of the mural, painted on the side of a building behind a Shell gas station, reminding one of Shell's deplorable environmental record. Or consider the mural's placement---the side of a single-room occupancy hotel (SRO) in the ~~Western Addition~~---suggesting the virtual if not actual extinction of the indigent. ''[Within a year or so of the original painting, depicted here, the artist was asked to "move" the painting to the wall facing south, to the rear left of the building on which it was originally placed; He complied and it is there now. --C.C. 2008]''		In '''Extinct,''' Rigo uses the diagonal yellow and black stripes of a road "DANGER" sign to ask: Just ''what'' is extinct? Consider the location of the mural, painted on the side of a building behind a Shell gas station, reminding one of Shell's deplorable environmental record. Or consider the mural's placement---the side of a single-room occupancy hotel (SRO) in the South of Market---suggesting the virtual if not actual extinction of the indigent. ''[Within a year or so of the original painting, depicted here, the artist was asked to "move" the painting to the wall facing south, to the rear left of the building on which it was originally placed; He complied and it is there now. --C.C. 2008]''

	[[Image:Shell-station-abandoned-5th-and-Folsom 20230915 191248204.jpg]]		[[Image:Shell-station-abandoned-5th-and-Folsom 20230915 191248204.jpg]]

Ccarlsson at 06:39, 23 September 2023

2023-09-23T06:39:54Z

← Older revision		Revision as of 23:39, 22 September 2023
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	In '''Extinct,''' Rigo uses the diagonal yellow and black stripes of a road "DANGER" sign to ask: Just ''what'' is extinct? Consider the location of the mural, painted on the side of a building behind a Shell gas station, reminding one of Shell's deplorable environmental record. Or consider the mural's placement---the side of a single-room occupancy hotel (SRO) in the Western Addition---suggesting the virtual if not actual extinction of the indigent. ''[Within a year or so of the original painting, depicted here, the artist was asked to "move" the painting to the wall facing south, to the rear left of the building on which it was originally placed; He complied and it is there now. --C.C. 2008]''		In '''Extinct,''' Rigo uses the diagonal yellow and black stripes of a road "DANGER" sign to ask: Just ''what'' is extinct? Consider the location of the mural, painted on the side of a building behind a Shell gas station, reminding one of Shell's deplorable environmental record. Or consider the mural's placement---the side of a single-room occupancy hotel (SRO) in the Western Addition---suggesting the virtual if not actual extinction of the indigent. ''[Within a year or so of the original painting, depicted here, the artist was asked to "move" the painting to the wall facing south, to the rear left of the building on which it was originally placed; He complied and it is there now. --C.C. 2008]''

			[[Image:Shell-station-abandoned-5th-and-Folsom 20230915 191248204.jpg]]

			'''In September 2023, the same Shell station that once featured the Extinct mural has gone... extinct!'''

			''Photo: Chris Carlsson''

	[[Image:Rigo one-tree.jpg]]		[[Image:Rigo one-tree.jpg]]
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	[[Graffiti as Ritual Transgression \| Prev. Document]] [[Twist \| Next Document]]		[[Graffiti as Ritual Transgression \| Prev. Document]] [[Twist \| Next Document]]

	[[category:Public Art]] [[category:1990s]] [[category:SOMA]] [[category:Reclaiming San Francisco]]		[[category:Public Art]] [[category:1990s]] [[category:SOMA]] [[category:Reclaiming San Francisco]] [[category:2020s]]

Ccarlsson at 04:44, 22 November 2021

2021-11-22T04:44:52Z

← Older revision		Revision as of 21:44, 21 November 2021
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	[[Graffiti as Ritual Transgression \| Prev. Document]] [[Twist \| Next Document]]		[[Graffiti as Ritual Transgression \| Prev. Document]] [[Twist \| Next Document]]

	[[category:Public Art]] [[category:1990s]] [[category:SOMA]]		[[category:Public Art]] [[category:1990s]] [[category:SOMA]] [[category:Reclaiming San Francisco]]

Ccarlsson: Protected "Rigo 90-something": excerpted essay [edit=sysop:move=sysop]

2009-01-04T09:03:15Z

Protected "Rigo 90-something": excerpted essay [edit=sysop:move=sysop]

← Older revision	Revision as of 02:03, 4 January 2009
(No difference)

Ccarlsson: PC and protected

2009-01-04T09:02:52Z

PC and protected

← Older revision		Revision as of 02:02, 4 January 2009
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			'''<font face = Papyrus> <font color = maroon> <font size = 4>Historical Essay</font></font> </font>'''

			''by Timothy W. Drescher''

	[[Image:art1$innercity-home.jpg]]		[[Image:art1$innercity-home.jpg]]

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	Another Rigo piece, '''One Tree''' (opposite the 10th Street on-ramp to southbound Highway 101) points to a single tree planted between a corrugated tin-wall and the freeway on-ramp. The question, of course: Why just ''one'' tree? By the time the traffic-light turns green and the queue of commuters joins thousands of familiar automobiles on 101 South, most motorists have made the connection.		Another Rigo piece, '''One Tree''' (opposite the 10th Street on-ramp to southbound Highway 101) points to a single tree planted between a corrugated tin-wall and the freeway on-ramp. The question, of course: Why just ''one'' tree? By the time the traffic-light turns green and the queue of commuters joins thousands of familiar automobiles on 101 South, most motorists have made the connection.

	''--Adapted from the essay "Street Subversion: The Political Geography of Graffiti and ~~Murals~~" by Timothy W. Drescher in ''Reclaiming San Francisco: History, Politics, Culture'' City Lights Books, 1998		''--Adapted from the essay "Street Subversion: The Political Geography of Graffiti and Murals" by Timothy W. Drescher in ''Reclaiming San Francisco: History, Politics, Culture'' City Lights Books, 1998

Ccarlsson at 00:05, 8 August 2008

2008-08-08T00:05:09Z

← Older revision		Revision as of 17:05, 7 August 2008
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	[[Image:Rigo extinct.jpg]]		[[Image:Rigo extinct.jpg]]

	In Extinct, Rigo uses the diagonal yellow and black stripes of a road "DANGER" sign to ask: Just ''what'' is extinct? Consider the location of the mural, painted on the side of a building behind a Shell gas station, reminding one of Shell's deplorable environmental record. Or consider the mural's placement---the side of a single-room occupancy hotel (SRO) in the Western Addition---suggesting the virtual if not actual extinction of the indigent. ''[Within a year or so of the original painting, depicted here, the artist was asked to "move" the painting to the wall facing south, to the rear left of the building on which it was originally placed; He complied and it is there now. --C.C. 2008]''		In '''Extinct,''' Rigo uses the diagonal yellow and black stripes of a road "DANGER" sign to ask: Just ''what'' is extinct? Consider the location of the mural, painted on the side of a building behind a Shell gas station, reminding one of Shell's deplorable environmental record. Or consider the mural's placement---the side of a single-room occupancy hotel (SRO) in the Western Addition---suggesting the virtual if not actual extinction of the indigent. ''[Within a year or so of the original painting, depicted here, the artist was asked to "move" the painting to the wall facing south, to the rear left of the building on which it was originally placed; He complied and it is there now. --C.C. 2008]''

	[[Image:Rigo one-tree.jpg]]		[[Image:Rigo one-tree.jpg]]

	Another Rigo piece, One Tree (opposite the 10th Street on-ramp to southbound Highway 101) points to a single tree planted between a corrugated tin-wall and the freeway on-ramp. The question, of course: Why just ''one'' tree? By the time the traffic-light turns green and the queue of commuters joins thousands of familiar automobiles on 101 South, most motorists have made the connection.		Another Rigo piece, '''One Tree''' (opposite the 10th Street on-ramp to southbound Highway 101) points to a single tree planted between a corrugated tin-wall and the freeway on-ramp. The question, of course: Why just ''one'' tree? By the time the traffic-light turns green and the queue of commuters joins thousands of familiar automobiles on 101 South, most motorists have made the connection.

	''--Adapted from the essay "Street Subversion: The Political Geography of Graffiti and Murals" by Timothy W. Drescher in ''Reclaiming San Francisco: History, Politics, Culture'' City Lights Books, 1998		''--Adapted from the essay "Street Subversion: The Political Geography of Graffiti and Murals" by Timothy W. Drescher in ''Reclaiming San Francisco: History, Politics, Culture'' City Lights Books, 1998

Ccarlsson: added missing photos

2008-08-08T00:04:42Z

added missing photos

← Older revision		Revision as of 17:04, 7 August 2008
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	'''InnerCity Home Mural by Rigo'''		'''InnerCity Home Mural by Rigo'''

	''~~Photo~~: Chris Carlsson''		''Photos: Chris Carlsson''

	The importance of art being accessible to its audience is evident in the work of Rigo, SF's notorious "road-sign" artist. Rigo is best-known for his exploitation of the public's trust of municipal symbols. His piece ''Innercity Home'', shown at right, parodies signs for Interstate 80, the freeway from which the mural is visible. The insertion of a term associated with domestic individuation -- "HOME" -- inside a symbol passed by tens of thousands SF commuters each day faces [[Critical Mass\| motorists]] returning from day-jobs in Silicon Valley to single--bedroom apartments in San Francisco.		The importance of art being accessible to its audience is evident in the work of Rigo, SF's notorious "road-sign" artist. Rigo is best-known for his exploitation of the public's trust of municipal symbols. His piece ''Innercity Home'', shown at right, parodies signs for Interstate 80, the freeway from which the mural is visible. The insertion of a term associated with domestic individuation -- "HOME" -- inside a symbol passed by tens of thousands SF commuters each day faces [[Critical Mass\| motorists]] returning from day-jobs in Silicon Valley to single--bedroom apartments in San Francisco.

	In Extinct, Rigo uses the diagonal yellow and black stripes of a road "DANGER" sign to ask: Just ''what'' is extinct? Consider the location of the mural, painted on the side of a building behind a Shell gas station, reminding one of Shell's deplorable environmental record. Or consider the mural's placement---the side of a single-room occupancy hotel (SRO) in the Western Addition---suggesting the virtual if not actual extinction of the indigent.		[[Image:Rigo extinct.jpg]]

			In Extinct, Rigo uses the diagonal yellow and black stripes of a road "DANGER" sign to ask: Just ''what'' is extinct? Consider the location of the mural, painted on the side of a building behind a Shell gas station, reminding one of Shell's deplorable environmental record. Or consider the mural's placement---the side of a single-room occupancy hotel (SRO) in the Western Addition---suggesting the virtual if not actual extinction of the indigent. ''[Within a year or so of the original painting, depicted here, the artist was asked to "move" the painting to the wall facing south, to the rear left of the building on which it was originally placed; He complied and it is there now. --C.C. 2008]''

			[[Image:Rigo one-tree.jpg]]

	Another Rigo piece, One Tree (opposite the 10th Street on-ramp to southbound Highway 101) points to a single tree planted between a corrugated tin-wall and the freeway on-ramp. The question, of course: Why just ''one'' tree? By the time the traffic-light turns green and the queue of commuters joins thousands of familiar automobiles on 101 South, most motorists have made the connection.		Another Rigo piece, One Tree (opposite the 10th Street on-ramp to southbound Highway 101) points to a single tree planted between a corrugated tin-wall and the freeway on-ramp. The question, of course: Why just ''one'' tree? By the time the traffic-light turns green and the queue of commuters joins thousands of familiar automobiles on 101 South, most motorists have made the connection.

Ccarlsson at 23:21, 7 August 2008

2008-08-07T23:21:46Z

← Older revision		Revision as of 16:21, 7 August 2008
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	[[Image:art1$innercity-home.jpg]]		[[Image:art1$innercity-home.jpg]]

	InnerCity Home Mural by Rigo		'''InnerCity Home Mural by Rigo'''

	~~The importance of art being accessible to its audience is evident in the work of Rigo, SF~~'~~s notorious "road-sign" artist. Rigo is best-known for his exploitation of the public~~'~~s trust of municipal symbols. His piece~~ ''Innercity Home'', shown at right, parodies signs for Interstate 80, the freeway from which the mural is visible. The insertion of a term associated with domestic individuation -- "HOME" -- inside a symbol passed by tens of thousands SF commuters each day faces [[Critical Mass motorists]] returning from day-jobs in Silicon Valley to single--bedroom apartments in San Francisco.		''Photo: Chris Carlsson''

	~~In Extinct, Rigo uses~~ the ~~diagonal yellow and black stripes~~ of a road "~~DANGER" sign [''click hotword~~ for ~~reproduction~~''~~] to ask: Just~~ ''~~what~~'~~' is extinct? Consider~~ the ~~location of~~ the mural~~, painted on the side~~ of a ~~building behind a Shell gas station, reminding one of Shell's deplorable environmental record. Or consider the mural's placement~~---~~the side~~ of ~~a single~~-~~room occupancy hotel (SRO)~~ in ~~the Western Addition~~--~~-suggesting the virtual if not actual extinction of the indigent~~.		The importance of art being accessible to its audience is evident in the work of Rigo, SF's notorious "road-sign" artist. Rigo is best-known for his exploitation of the public's trust of municipal symbols. His piece ''Innercity Home'', shown at right, parodies signs for Interstate 80, the freeway from which the mural is visible. The insertion of a term associated with domestic individuation -- "HOME" -- inside a symbol passed by tens of thousands SF commuters each day faces [[Critical Mass\| motorists]] returning from day-jobs in Silicon Valley to single--bedroom apartments in San Francisco.

	~~Another~~ Rigo ~~piece, One Tree (opposite~~ the ~~10th Street on-ramp~~ to ~~southbound Highway 101 [~~''~~click hotword for reproduction~~''~~]) points to~~ a ~~single tree planted between~~ a ~~corrugated tin-wall and the freeway on-ramp. The question~~, of ~~course: Why just~~ ''~~one'' tree? By~~ the ~~time~~ the ~~traffic~~-~~light turns green and~~ the ~~queue of commuters joins thousands~~ of ~~familiar automobiles on 101 South, most motorists have made~~ the ~~connection~~.		In Extinct, Rigo uses the diagonal yellow and black stripes of a road "DANGER" sign to ask: Just ''what'' is extinct? Consider the location of the mural, painted on the side of a building behind a Shell gas station, reminding one of Shell's deplorable environmental record. Or consider the mural's placement---the side of a single-room occupancy hotel (SRO) in the Western Addition---suggesting the virtual if not actual extinction of the indigent.

	''--~~Adapted from~~ the ~~essay Street Subversion:~~ The ~~Political Geography~~ of ~~Graffiti and Murals by Timothy W. Drescher in~~ ''~~Reclaiming San Francisco: History~~, ~~Politics, Culture~~		Another Rigo piece, One Tree (opposite the 10th Street on-ramp to southbound Highway 101) points to a single tree planted between a corrugated tin-wall and the freeway on-ramp. The question, of course: Why just ''one'' tree? By the time the traffic-light turns green and the queue of commuters joins thousands of familiar automobiles on 101 South, most motorists have made the connection.

	~~Contributors to this page include~~:		''--Adapted from the essay "Street Subversion: The Political Geography of Graffiti and Murals" by Timothy W. Drescher in ''Reclaiming San Francisco: History, Politics, Culture'' City Lights Books, 1998

	~~''Carlsson - Publisher or Photographer ''~~

	~~Rigo - Photographer-Artist~~

	~~City Lights Books,San Francisco,CA - Publisher or Photographer~~		[[Graffiti as Ritual Transgression \| Prev. Document]] [[Twist \| Next Document]]

	~~Drescher,Timothy,W. - Writer~~		[[category:Public Art]] [[category:1990s]] [[category:SOMA]]

	~~Carlsson - Publisher or Photographer~~

	~~Rigo - Photographer-Artist~~

	~~Carlsson - Publisher or Photographer~~

	~~Rigo - Photographer-Artist~~

	[[~~Graffiti as Ritual Transgression Prev. Document~~]] [[~~Twist Next Document~~]]

Admin: 1 revision(s)

2007-10-07T21:48:02Z

1 revision(s)

← Older revision	Revision as of 14:48, 7 October 2007
(No difference)

Unknown user at 00:00, 15 January 2001

2001-01-15T00:00:00Z

New page

[[Image:art1$innercity-home.jpg]]

InnerCity Home Mural by Rigo

The importance of art being accessible to its audience is evident in the work of Rigo, SF's notorious "road-sign" artist. Rigo is best-known for his exploitation of the public's trust of municipal symbols. His piece ''Innercity Home'', shown at right, parodies signs for Interstate 80, the freeway from which the mural is visible. The insertion of a term associated with domestic individuation -- "HOME" -- inside a symbol passed by tens of thousands SF commuters each day faces [[Critical Mass motorists]] returning from day-jobs in Silicon Valley to single--bedroom apartments in San Francisco.

In Extinct, Rigo uses the diagonal yellow and black stripes of a road "DANGER" sign [''click hotword for reproduction''] to ask: Just ''what'' is extinct? Consider the location of the mural, painted on the side of a building behind a Shell gas station, reminding one of Shell's deplorable environmental record. Or consider the mural's placement---the side of a single-room occupancy hotel (SRO) in the Western Addition---suggesting the virtual if not actual extinction of the indigent.

Another Rigo piece, One Tree (opposite the 10th Street on-ramp to southbound Highway 101 [''click hotword for reproduction'']) points to a single tree planted between a corrugated tin-wall and the freeway on-ramp. The question, of course: Why just ''one'' tree? By the time the traffic-light turns green and the queue of commuters joins thousands of familiar automobiles on 101 South, most motorists have made the connection.

''--Adapted from the essay Street Subversion: The Political Geography of Graffiti and Murals by Timothy W. Drescher in ''Reclaiming San Francisco: History, Politics, Culture

Contributors to this page include:

''Carlsson - Publisher or Photographer ''

Rigo - Photographer-Artist

City Lights Books,San Francisco,CA - Publisher or Photographer

Drescher,Timothy,W. - Writer

Carlsson - Publisher or Photographer

Rigo - Photographer-Artist

Carlsson - Publisher or Photographer

Rigo - Photographer-Artist

[[Graffiti as Ritual Transgression Prev. Document]] [[Twist Next Document]]