Spray Can Writers Erupt - Revision history

Ccarlsson at 04:44, 22 November 2021

2021-11-22T04:44:38Z

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

	[[category:Public Art]] [[category:1980s]] [[category:Mission]]		[[category:Public Art]] [[category:1980s]] [[category:Mission]] [[category:Reclaiming San Francisco]]

Lisaruth at 08:40, 16 January 2009

2009-01-16T08:40:25Z

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 '''Twist Mural -- Detail'''
 The emergence of the CAMP collective and the subsequent development of the Clarion Alley aesthetic in the ''Bloody Thursday'' ILWU Local 6 mural and the [[Redstone Murals list |Redstone Building]] mural project bespeaks the influence of the spray-can writers in San Francisco. Their aesthetic goals are inclusiveness and self-conscious repudiation of previous community muralists, even the ubiquitous models of Siqueiros and Rivera.
@@ Line 15: / Line 29: @@
 But McGee and Rigo, together with the rest of the city's spray can artists, have a different conception of what criteria contribute to the appropriateness of site. They favor tunnels and rooftops, partly because the Department of Public Works does not buff pieces in those locations. As anti-graffiti programs have expanded, writers have found it discouraging to have their efforts scrubbed or painted out almost immediately. McGee favors rusting surfaces, and old, abandoned areas that are marginalized anyway, so less likely to be a focus of maintenance. Not only will writings in these locations endure, the deteriorated surfaces and locations contribute to the impact of his world weary figures.
---Excerpted 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
+''--Excerpted 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''
 [[The Twins | Prev. Document]]  [[Graffiti as Ritual Transgression |  Next Document]]
 [[category:Public Art]] [[category:1980s]] [[category:Mission]]

Ccarlsson: Protected "Spray Can Writers Erupt": excerpted essay [edit=sysop:move=sysop]

2009-01-04T08:58:31Z

Protected "Spray Can Writers Erupt": excerpted essay [edit=sysop:move=sysop]

← Older revision	Revision as of 01:58, 4 January 2009
(No difference)

Ccarlsson: PC and protected

2009-01-04T08:58:05Z

PC and protected

← Older revision		Revision as of 01:58, 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$twist-mural--detail.jpg]]		[[Image:art1$twist-mural--detail.jpg]]

	Twist Mural -- Detail		'''Twist Mural -- Detail'''

	The emergence of the CAMP collective and the subsequent development of the Clarion Alley aesthetic in the ''Bloody Thursday'' ILWU Local 6 mural and the [[Redstone Murals list \|Redstone Building]] mural project bespeaks the influence of the spray-can writers in San Francisco. Their aesthetic goals are inclusiveness and self-conscious repudiation of previous community muralists, even the ubiquitous models of Siqueiros and Rivera.		The emergence of the CAMP collective and the subsequent development of the Clarion Alley aesthetic in the ''Bloody Thursday'' ILWU Local 6 mural and the [[Redstone Murals list \|Redstone Building]] mural project bespeaks the influence of the spray-can writers in San Francisco. Their aesthetic goals are inclusiveness and self-conscious repudiation of previous community muralists, even the ubiquitous models of Siqueiros and Rivera.
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	But McGee and Rigo, together with the rest of the city's spray can artists, have a different conception of what criteria contribute to the appropriateness of site. They favor tunnels and rooftops, partly because the Department of Public Works does not buff pieces in those locations. As anti-graffiti programs have expanded, writers have found it discouraging to have their efforts scrubbed or painted out almost immediately. McGee favors rusting surfaces, and old, abandoned areas that are marginalized anyway, so less likely to be a focus of maintenance. Not only will writings in these locations endure, the deteriorated surfaces and locations contribute to the impact of his world weary figures.		But McGee and Rigo, together with the rest of the city's spray can artists, have a different conception of what criteria contribute to the appropriateness of site. They favor tunnels and rooftops, partly because the Department of Public Works does not buff pieces in those locations. As anti-graffiti programs have expanded, writers have found it discouraging to have their efforts scrubbed or painted out almost immediately. McGee favors rusting surfaces, and old, abandoned areas that are marginalized anyway, so less likely to be a focus of maintenance. Not only will writings in these locations endure, the deteriorated surfaces and locations contribute to the impact of his world weary figures.

	--Excerpted 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		--Excerpted 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

	[[Image:art1$twist-writing.jpg]]		[[Image:art1$twist-writing.jpg]]
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	[[Image:art1$twist--the-lies.jpg]]		[[Image:art1$twist--the-lies.jpg]]

	'''Twist--The Lies'''		'''Twist--The Lies'''<br>''Photos: D.S. Black''

	''Photos: D.S. Black''

	[[The Twins \| Prev. Document]] [[Graffiti as Ritual Transgression \| Next Document]]		[[The Twins \| Prev. Document]] [[Graffiti as Ritual Transgression \| Next Document]]

	[[category:Public Art]] [[category:1980s]] [[category:Mission]]		[[category:Public Art]] [[category:1980s]] [[category:Mission]]

Ccarlsson at 00:22, 11 August 2008

2008-08-11T00:22:41Z

← Older revision		Revision as of 17:22, 10 August 2008
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	''Photos: D.S. Black''		''Photos: D.S. Black''

	[[~~Clarion Alley Gallery~~ \| Prev. Document]] [[Graffiti as Ritual Transgression \| Next Document]]		[[The Twins \| Prev. Document]] [[Graffiti as Ritual Transgression \| Next Document]]

	[[category:Public Art]] [[category:1980s]] [[category:Mission]]		[[category:Public Art]] [[category:1980s]] [[category:Mission]]

Ccarlsson at 00:22, 11 August 2008

2008-08-11T00:22:09Z

← Older revision		Revision as of 17:22, 10 August 2008
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	[[Image:art1$twist-writing.jpg]]		[[Image:art1$twist-writing.jpg]]

	'''Twist at work'''		'''[[Twist\|Twist]] at work'''

	[[Image:art1$twist--the-lies.jpg]]		[[Image:art1$twist--the-lies.jpg]]
	'''
	Twist--The Lies'''		'''Twist--The Lies'''

	''Photos: D.S. Black''		''Photos: D.S. Black''

Ccarlsson at 23:17, 7 August 2008

2008-08-07T23:17:32Z

← Older revision		Revision as of 16:17, 7 August 2008
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	Twist Mural -- Detail		Twist Mural -- Detail

	The emergence of the CAMP collective and the subsequent development of the Clarion Alley aesthetic in the ''Bloody Thursday'' ILWU Local 6 mural and the [[Redstone Murals list Redstone Building]] mural project bespeaks the influence of the spray-can writers in San Francisco. Their aesthetic goals are inclusiveness and self-conscious repudiation of previous community muralists, even the ubiquitous models of Siqueiros and Rivera.		The emergence of the CAMP collective and the subsequent development of the Clarion Alley aesthetic in the ''Bloody Thursday'' ILWU Local 6 mural and the [[Redstone Murals list \|Redstone Building]] mural project bespeaks the influence of the spray-can writers in San Francisco. Their aesthetic goals are inclusiveness and self-conscious repudiation of previous community muralists, even the ubiquitous models of Siqueiros and Rivera.

	The group's work evolves organically over long periods of time, in part because it is free from the time constraint of funding cycles. Its process is open, less hierarchically or bureaucratically controlled. Perhaps most importantly, this diversity is organic, an authentic model of the ambiguities of history, not an attempt to agree on a single message.		The group's work evolves organically over long periods of time, in part because it is free from the time constraint of funding cycles. Its process is open, less hierarchically or bureaucratically controlled. Perhaps most importantly, this diversity is organic, an authentic model of the ambiguities of history, not an attempt to agree on a single message.

	Nonetheless, artists in the new group share common ideas about their work and influences. The stylistic influence of comic books is observable in several younger artists. Because comic style often subverts the distinction between high and low art, it is fitting to contemporary aesthetic interests. Local artists [[Twist Barry McGee]] and [[Rigo 90-something Rigo]], for example, incorporate a sophisticated application of comic book principles to the artist's own ends. The conceptual level of their work is high---certainly worthy of exhibition in any galleries that offer contemporary works for sale.		Nonetheless, artists in the new group share common ideas about their work and influences. The stylistic influence of comic books is observable in several younger artists. Because comic style often subverts the distinction between high and low art, it is fitting to contemporary aesthetic interests. Local artists [[Twist \| Barry McGee]] and [[Rigo 90-something \| Rigo]], for example, incorporate a sophisticated application of comic book principles to the artist's own ends. The conceptual level of their work is high---certainly worthy of exhibition in any galleries that offer contemporary works for sale.

	But McGee and Rigo, together with the rest of the city's spray can artists, have a different conception of what criteria contribute to the appropriateness of site. They favor tunnels and rooftops, partly because the Department of Public Works does not buff pieces in those locations. As anti-graffiti programs have expanded, writers have found it discouraging to have their efforts scrubbed or painted out almost immediately. McGee favors rusting surfaces, and old, abandoned areas that are marginalized anyway, so less likely to be a focus of maintenance. Not only will writings in these locations endure, the deteriorated surfaces and locations contribute to the impact of his world weary figures.		But McGee and Rigo, together with the rest of the city's spray can artists, have a different conception of what criteria contribute to the appropriateness of site. They favor tunnels and rooftops, partly because the Department of Public Works does not buff pieces in those locations. As anti-graffiti programs have expanded, writers have found it discouraging to have their efforts scrubbed or painted out almost immediately. McGee favors rusting surfaces, and old, abandoned areas that are marginalized anyway, so less likely to be a focus of maintenance. Not only will writings in these locations endure, the deteriorated surfaces and locations contribute to the impact of his world weary figures.

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

	[[Image:art1$twist-writing.jpg]]		[[Image:art1$twist-writing.jpg]]

	Twist at work		'''Twist at work'''

	[[Image:art1$twist--the-lies.jpg]]		[[Image:art1$twist--the-lies.jpg]]
			'''
			Twist--The Lies'''

	~~Twist--The Lies~~		''Photos: D.S. Black''

	~~Contributors to this page include:~~		[[Clarion Alley Gallery \| Prev. Document]] [[Graffiti as Ritual Transgression \| Next Document]]

	~~''Black,D.,S. - Photographer-Artist ''~~		[[category:Public Art]] [[category:1980s]] [[category:Mission]]

	~~Black,San Francisco,CA - Publisher or Photographer~~

	~~Twist - Photographer-Artist~~

	~~Black,San Francisco,CA - Publisher or Photographer~~

	~~Twist - Photographer-Artist~~

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

	~~Drescher,Timothy,W. - Writer~~

	[[~~Clarion Alley Gallery Prev. Document~~]] [[~~Graffiti as Ritual Transgression Next Document~~]]

Admin: 1 revision(s)

2007-10-07T21:48:22Z

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$twist-mural--detail.jpg]]

Twist Mural -- Detail

The emergence of the CAMP collective and the subsequent development of the Clarion Alley aesthetic in the ''Bloody Thursday'' ILWU Local 6 mural and the [[Redstone Murals list Redstone Building]] mural project bespeaks the influence of the spray-can writers in San Francisco. Their aesthetic goals are inclusiveness and self-conscious repudiation of previous community muralists, even the ubiquitous models of Siqueiros and Rivera.

The group's work evolves organically over long periods of time, in part because it is free from the time constraint of funding cycles. Its process is open, less hierarchically or bureaucratically controlled. Perhaps most importantly, this diversity is organic, an authentic model of the ambiguities of history, not an attempt to agree on a single message.

Nonetheless, artists in the new group share common ideas about their work and influences. The stylistic influence of comic books is observable in several younger artists. Because comic style often subverts the distinction between high and low art, it is fitting to contemporary aesthetic interests. Local artists [[Twist Barry McGee]] and [[Rigo 90-something Rigo]], for example, incorporate a sophisticated application of comic book principles to the artist's own ends. The conceptual level of their work is high---certainly worthy of exhibition in any galleries that offer contemporary works for sale.

But McGee and Rigo, together with the rest of the city's spray can artists, have a different conception of what criteria contribute to the appropriateness of site. They favor tunnels and rooftops, partly because the Department of Public Works does not buff pieces in those locations. As anti-graffiti programs have expanded, writers have found it discouraging to have their efforts scrubbed or painted out almost immediately. McGee favors rusting surfaces, and old, abandoned areas that are marginalized anyway, so less likely to be a focus of maintenance. Not only will writings in these locations endure, the deteriorated surfaces and locations contribute to the impact of his world weary figures.

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

[[Image:art1$twist-writing.jpg]]

Twist at work

[[Image:art1$twist--the-lies.jpg]]

Twist--The Lies

Contributors to this page include:

''Black,D.,S. - Photographer-Artist ''

Black,San Francisco,CA - Publisher or Photographer

Twist - Photographer-Artist

Black,San Francisco,CA - Publisher or Photographer

Twist - Photographer-Artist

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

Drescher,Timothy,W. - Writer

[[Clarion Alley Gallery Prev. Document]] [[Graffiti as Ritual Transgression Next Document]]