More stories

  • in

    Rome Tracks Down the Man Behind All That Graffiti. No, It’s Not Banksy.

    AdvertisementContinue reading the main storySupported byContinue reading the main storyRome Tracks Down the Man Behind All That Graffiti. No, It’s Not Banksy.The tagger known as Geco is not as famous as the British provocateur, but he has made a name for himself in Italy.Graffiti in Rome that reads “Geco gives you wings.”Credit…Marilla Sicilia/Mondadori Portfolio, via Getty ImagesNov. 14, 2020ROME — The post on the Rome mayor’s Facebook page was triumphant: The police had tracked down a man “once considered uncatchable,” she said in announcing that after a yearlong investigation, the authorities had discovered the real identity of the elusive tagger known only as Geco.For years, his moniker in blocky letters has marked countless Roman subway stations and bridges, abandoned buildings and schools, parks and galleries. Stickers with his name have been affixed to innumerable street signs, lamp posts and news stands.“He has soiled hundreds of walls and buildings in Rome and other European cities, which had to be cleaned using public funds,” the mayor, Virginia Raggi, wrote on social media this week. She posted a photo of “hundreds of spray paint cans, thousands of stickers,” and other tricks of the trade that she said investigators had confiscated from the apartment of Rome’s most-wanted graffiti painter.The city authorities did not disclose Geco’s real name. But Italian news outlets identified him, without saying how they had obtained the name. And they gave few personal details about the man, who is thought to be in his late 20s and originally from Rome. His lawyer would not confirm his real name.Geco is not nearly as well-known as Banksy, the world’s most famous artist-provocateur, whose real identity remains a secret. But he has made a name for himself in Rome, where his tags seemed to be everywhere, while his true identity — in the spirit of his more famous counterpart — was kept a secret.Paulo von Vacano, a publisher and expert in contemporary urban art, said tagging “is something brutal, archaic,” adding: “You tag your name to show that you are king of the street. In the context of what he did, he did it very well.”Geco fueled his fame by tagging a perilously tall railway tower and by climbing to the roof of a municipal food market to leave an unusually verbose message: “Geco ti mette le ali,” or ‘Geco gives you wings.”While most Romans would concur that the Italian capital could use a good cleanup, including its graffiti, many grumbled that the city — and the mayor — had much bigger problems to contend with, from the ever-present scourge of potholes to infrequent garbage collection, not to mention the economic toll of the coronavirus pandemic.“He has soiled hundreds of walls and buildings in Rome and other European cities, which had to be cleaned using public funds,” Mayor Virginia Raggi, center, wrote on social media this week.Credit…Riccardo Antimiani/EPA, via Shutterstock“A writer treated like a mafioso,” a lawmaker for the center-left Democratic Party, Matteo Orfini, wrote on Twitter. “Reading and interpreting a city only through the lens of decorum and security can’t be the solution. In fact, it’s a (not small) part of the problem.”At least one “Free Geco” tag appeared on a city wall. But actually, he has not been arrested.Geco’s lawyer, Domenico Melillo, himself a graffiti writer turned street artist known as Frode, said the investigation was still in a preliminary phase and his client had not been formally charged.“Everything has to be verified,” he said.If Geco is charged with defacing public or private property and found to be a repeat offender, he could face up to two years in prison and fines.But Mr. Melillo dismissed the mayor’s Facebook post as little more than political propaganda which violated his client’s right to secrecy during the preliminary investigation. Mayors have understood that cracking down on graffiti has become a way to forge a political consensus, he said, adding, “They want to show that they’re doing something.”Through his lawyer, Geco declined to be interviewed.The Geco sting was carried out by an 18-month-old environmental police task force that works directly for the mayor’s office. It acted on numerous complaints by Ms. Raggi as well as the city’s infrastructure commissioner and an association for one of Rome’s biggest parks. They claimed damage to city property as well as various other buildings and green spaces.It was rumored that Geco had landed in the cross hairs of the mayor because he had mistakenly tagged what he thought was an abandoned building that turned out to be a Secret Service hide-out.The mayor’s office said Geco had also operated in other European countries, above all Portugal, where he had caused thousands of euros in damages in Lisbon.Some might argue that Rome had expanded its urban art scene thanks to his tags. When it comes to graffiti, there has always been a fine line between vandalism and creative genius, said Mr. von Vacano, the urban art expert.Many grumbled that Rome had much bigger problems to contend with, including the ever-present scourge of potholes and infrequent garbage collection.Credit…Giuseppe Lami/EPA, via ShutterstockMany celebrated contemporary artists, including Jean-Michel Basquiat and Keith Haring, began their careers as taggers. And countless street painters have achieved fame, and market value, from Banksy to Blu, another celebrated — and anonymous — Italian artist.Geco has never strayed from his roots as a tagger. In an interview on a Portuguese website, he defined himself as a high-volume bomber who wanted to “spread my name more than having a super-developed aesthetic.” He said his top priority was quantity, adding, “Quality comes later.”“He is pure,” Mr. von Vacano said. “He is everywhere, a free spirit, and like all street artists of his kind, he works in lawlessness. He does not interact with the art system.”While Ms. Raggi was celebrating the supposed downfall of one street painter, another was being celebrated at Rome’s municipal Gallery of Modern Art, with a retrospective of the American Shepard Fairey. The show, “3 decades of dissent” is now closed because of the coronavirus.And for a campaign launched last November to teach Roman schoolchildren to keep their city clean, Ms. Raggi hired a well known graphic artist to draw her as a manga comic figure. (In one, the mayor is shown frowning upon a graffiti writer.)Not long after, the artist, Mario Improta, known as Marione, was fired from the campaign after he posted a vignette on social media depicting the European Union as the Nazi concentration camp Auschwitz.“It’s clear that not everyone likes graffiti and it’s legitimate that someone can be annoyed that someone has tagged his house. But it’s a leap to think of a writer as a criminal,” said Andrea Cegna, the author of a book on graffiti.To praise the Banksys or the Harings, he said, you have to accept the contradictory part, the illegal part.“Because as is true of everything that is aesthetic, everything that has to do with taste,” Mr. Cegna said, “there is no right or wrong.”AdvertisementContinue reading the main story More

  • in

    Shaped Using Precisely Cut Maps, Nikki Rosato’s Busts and Portraits Connect Place, Memory, and Identity

    
    Art

    #maps
    #paper
    #sculpture

    November 13, 2020
    Grace Ebert

    All images © Nikki Rosato, shared with permission
    Through mesh busts and delicate portraits, Nikki Rosato visualizes the connections between place and identity. The Washington, D.C.-based artist carves out the multi-colored highways and back roads from common maps, leaving the distances and spatial markings intact. She then shapes the cut paper into figurative sculptures and 2D artworks that vary in density and color depending on the original city or region.
    Rosat utilizes the precise markings of cartography to highlight the complex, inner-workings of memory and belonging. “As we move through life, the places we inhabit and the people that we meet alter and shape us into the person that we are in the present day. I am interested in the idea that a place I visited as a child has affected the outcome of the person that I am today,” she says.
    In a note to Colossal, the artist shares that she shifted her practice after her grandmother died in 2018. “I’ve taken the last few years to do a lot of research into my strong matriarchal lineage (my great grandmother literally walked hundreds of miles on foot with a 2-year-old to escape Lithuania in the early 1900s and then built our family in a small town in Pennsylvania),” she says, adding that her current projects consider the trajectory of these two figures’ lives.
    Some of Rosato’s intricate works are available from Jonathan Ferrara Gallery, and you can follow her pieces on Artsy.

    #maps
    #paper
    #sculpture

    Do stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now!

     
    Share this story
      More

  • in

    Artist Nari Ward Has Spent Decades Revitalizing Found Objects to Elucidate Counter Narratives

    
    Art

    #found objects
    #installation
    #sculpture
    #social commentary

    November 13, 2020
    Grace Ebert

    “We the People” (2011), shoelaces, 96 x 324 inches. All images courtesy Nari Ward and Lehmann Maupin, New York, Hong Kong, Seoul, and London
    Jamaica-born artist Nari Ward bases his practice in found objects and their inherent mutability. The Harlem-based artist has scoured New York City’s streets for 25 years gathering house keys escaped from a ring, discarded glass bottles, and clothing tossed season-to-season. Through sculptures and large-scale installations, the scavenged objects find new meaning, whether explicitly scribing a phrase from the United States Constitution or creating more subtle historical connections.
    While commenting broadly on themes of race, poverty, and rampant consumerism, Ward is cognizant of the varied meanings burned wooden bats or shoelaces hold for different populations. No matter the medium, many of his works are site-specific in form and fluid in context, allowing the narratives to take new shapes as they travel from community to community.
    His 1993 installation “Amazing Grace,” for example, originally was presented in Harlem in response to the AIDS crisis. The artist gathered lengths of fire hose and approximately 300 baby strollers to line the space’s perimeter, with some piled in a central area, as well. In New York City, houseless populations sometimes use the childcare item to carry their belongings, imbuing the objects with a specific message within that milieu. When “Amazing Grace” later traveled around Europe, the strollers were interpreted anew.

    “Amazing Grace” (1993), approximately 300 baby strollers and fires hoses, sound, dimensions variable. Installation view, New Museum, New York (2019)
    In a 2019 interview, Ward expanded on the inherent fluctuations within the symbols and objects he employs:
    History tells a particular story, and I’m trying to say: ‘Yeah there is a particular story, but there are many stories that aren’t visible within that one created narrative.’ I think that it’s about bringing mystery into the conversation more so than facts. So the whole idea is bringing this marker, image, or form to the forefront, but at the same time destabilizing it so that it acts as a placeholder for other possibilities or somebody else’s narrative.
    Ward is incredibly prolific, and in 2020 alone, his public artworks and installations have been shown in Hong Kong, Denver, New York City, Ghent, New York, and Ridgefield, Connecticut. To explore the artist’s projects further, check out his site and pick up a copy of Phaidon’s 2019 book, Nari Ward: We the People, which accompanied the 2019 New Museum retrospective of his early works.

    “Spellbound” (2015), piano, used keys, Spanish moss, light, audio, and video elements, 52.5 x 60 x 28 inches. Photo by Max Yawney
    “Spellbound” (2015), piano, used keys, Spanish moss, light, audio, and video elements, 52.5 x 60 x 28 inches. Photo by Max Yawney
    “Geography: Bottle Messenger” (2002), bottles, letters, wire, and metal frame, 354.33 x 157.48 x 157.48 inches
    “We the People” (2011), (detail), shoelaces, 96 x 324 inches
    “Iron Heavens” (1995), oven pans, ironed sterilized cotton, and burnt wooden bats, 140 x 148 x 48 inches
    “Amazing Grace” (1993), approximately 300 baby strollers and fires hoses, sound, dimensions variable. Installation view, New Museum, New York (2019)
    “SoulSoil” (2011), earth, ceramic toilet fixtures, shoes, broom and mop handles, acrylic and polyurethane, approximately 236 x 236 x 236 inches. Photo by Agostino Osio
    “SoulSoil” (2011) (detail), earth, ceramic toilet fixtures, shoes, broom and mop handles, acrylic and polyurethane, approximately 236 x 236 x 236 inches. Photo by Agostino Osio
    “Mango Tourist” (2011), foam, battery canisters, Sprague Electric Company resistors and capacitors, and mango pits, 8 figures, each approximately 120 inches in height. In collaboration with MASS MoCA, North Adams, Massachusetts

    #found objects
    #installation
    #sculpture
    #social commentary

    Do stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now!

     
    Share this story
      More

  • in

    An Oversized Statue of Leonard Peltier, an American Indian Activist, Pensively Stares Toward Alcatraz

    
    Art

    #activism
    #prisons
    #public art
    #statue
    #wood

    November 12, 2020
    Grace Ebert

    Statue of activist Leonard Peltier. All images courtesy of the Sn Francisco Art Institute
    Peering out over the San Francisco Bay toward Alcatraz is a monumental statue that pays homage to an American Indian Movement activist who’s been incarcerated for decades. Created by Portuguese-American artist Rigo 23 in 2016, the 12-foot-tall figure resembles a small self-portrait that the activist, Leonard Peltier, painted while imprisoned.
    Wearing a simple white shirt, yellow pants, and no shoes, Peltier sits on a cement base, which is the actual size of his cell, in a pensive position. “There was something Buddha-like about the pose, and it reminded me of Rodin’s ‘The Thinker,’ which is so muscular and epic,” Rigo 23 told Hyperallergic about the original portrait. “Usually, images of heroism and humanity are epic, and this is just a man sitting on the ground wearing prison-issued clothes. It has this different kind of spirituality.”
    A member of the Turtle Mountain Chippewa and also of Lakota and Dakota descent, Peltier was a well-known leader in the American Indian Movement throughout the 1960s and ’70s, having spearheaded multiple protests and marches to end injustices. Despite denying the charges, he has been imprisoned since 1977 after being convicted of killing two FBI agents in a 1975 shooting on the Pine Ridge Reservation in South Dakota. He was sentenced to two terms of life imprisonment for the incident, which has resulted in campaigns for his clemency.

    Angela Davis on Peltier’s feet
    Rigo 23 designed the work with detachable feet, which have traveled to Standing Rock Reservation, Alcatraz, and Crow Dog’s Paradise. The decision has allowed activists, including Angela Davis, to stand on top of the wooden pair in solidarity, an act that an Instagram account has been documenting.
    The oversized statue was moved to the roof of the San Francisco Art Institute in October—watch the full dedication ceremony with speeches from Peltier’s children on YouTube—where it received one of its more celebratory welcomes. Met with both support and animosity throughout its history, the work was removed early from a 2016 visit to the Katzen Art Center at the American University in Washington, D.C. Spurred by a complaint from the president of the FBI Agents Association, the action resulted in the statue’s displacement for about a year, the artist says.

    Its current position facing Alcatraz has similar significance, considering an activist group’s occupation of the former federal prison during the Nixon administration. In 1969, Indians of All Tribes seized the site in hopes of turning it into a school, cultural center, and museum. As the U.S. government attempted to regain control, the group established a clinic, kitchen, and education centers for the 19 months it claimed the island.
    The statue will remain at SFAI until March 28, 2021. Although the institution is closed to visitors, it’s offering a virtual tour of the work on its site.

    #activism
    #prisons
    #public art
    #statue
    #wood

    Do stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now!

     
    Share this story
      More

  • in

    Dive into Van Gogh Worldwide, a Digital Archive of More Than 1,000 Works by the Renowned Dutch Artist

    
    Art
    History

    #archive
    #painting
    #Vincent van Gogh

    November 12, 2020
    Grace Ebert

    “Self-Portrait with Grey Felt Hat,” September – October 1887, Paris, 4.5 × 37.2 centimeters, Van Gogh Museum
    A point of levity during the temporary shutdowns of museums and cultural institutions during the last few months has been the plethora of digital archives making artworks and historical objects available for perusing from the comfort and safety of our couches. A recent addition is Van Gogh Worldwide, a massive collection of the post-impressionist artist’s paintings, sketches, and drawings.
    From landscapes to self-portraits to classic still lifes, the archive boasts more than 1,000 artworks, which are sorted by medium, period, and participating institution—those include the Van Gogh Museum, Kröller-Müller Museum, the Rijksmuseum, the Netherlands Institute for Art History, and the Museum Boijmans Van Beuningen. Each digital piece is supported by details about the work, any restorations, and additional images.
    In his short lifetime that spanned just 37 years, the prolific Dutch artist created thousands of works, many of which he finished in his final months. His thick brushstrokes are widely recognized today, particularly in masterpieces like “The Starry Night,” although his sketches, drawings, and prints offer a nuanced look at his entire oeuvre.  (via My Modern Met)

    “Soup Distribution in a Public Soup Kitchen,” March 1883, ‘s Gravenhage, drawing, 56.5 × 44.4 centimeters, Van Gogh Museum
    “Montmartre: Behind the Moulin de la Galette,” late July 1887, Paris, 81 × 100 centimeters, Van Gogh Museum
    “Terrace of a café at night (Place du Forum),” c. 16 September 1888, Arles, painting, 80.7 × 65.3 centimeters, Kröller-Müller Museum
    “Head of a Skeleton with a Burning Cigarette,” 18 January 1886 – early February 1886, Antwerpen, painting, 32.3 × 24.8 centimeters, Van Gogh Museum

    #archive
    #painting
    #Vincent van Gogh

    Do stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now!

     
    Share this story
      More

  • in

    Stainless Steel Roots Sprawl Into Figurative Sculptures by Artist Sun-Hyuk Kim

    
    Art

    #anatomy
    #metal
    #roots
    #sculpture

    November 10, 2020
    Grace Ebert

    All images © Sun-Hyuk Kim, shared with permission
    Just like a tree, the spindly branches that shape Sun-Hyuk Kim’s sculptures extend from a larger, sturdy limb—or in the South Korean artist’s case, neck or spine, too. Kim (previously) creates sprawling artworks that merge human anatomy and the root systems that crawl underneath the earth’s surface. Sometimes painted in neutral tones and others plated in gold, the sculptures are composed of stainless steel that trails out into figurative forms.
    Imbued with metaphor, the intricate works consider our existence and their inherent incompleteness, Kim says. The “pandemic in 2020 clearly shows how weak the existence of a human being is,” he writes. “The human force encountered in this era, which has achieved many civilizations and cutting-edge science, reminds us of the collapse of the Tower of Babel, which was built to become like God.”
    To follow Kim’s latest projects that explore the connection between people and the natural world, head to Instagram.

    #anatomy
    #metal
    #roots
    #sculpture

    Do stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now!

     
    Share this story
      More

  • in

    Antique Watches, Cameras, and Medical Equipment Morph Into Meticulous Steampunk Spiders

    
    Art

    #found objects
    #sculpure
    #spiders
    #steampunk
    #watches

    November 10, 2020
    Grace Ebert

    All images © Peter Szucsy, shared with permission
    For 25 years, art director and artist Peter Szucsy has filled his days with rendering the bizarre, sinister beasts that run rampant through video games. “I have made many creatures, monsters in the virtual world… but a few years ago I felt it is about time to create something different,” he says of his time working in the industry. “So I left my computer and made lots of my ideas come alive in the real world.”
    The result is a curious menagerie of steampunk spiders that the Budapest-based artist assembles with parts of vintage watches, cameras, and medical equipment. Each week, Szucsy scours a flea market near his home to find materials that include rare, pricey timepieces, although the artist notes he avoids dismantling anything that a museum or institution would value. In his studio, he parses the found metals and meticulously crafts the articulate eight-legged creatures.
    Szucsy holds a degree in illustration from Moholy-Nagy University of Art and Design and plans to launch an online shop to sell some of the spiders in the coming days. You can follow his latest creatures, which he hopes to include dragonflies and praying mantises, on Instagram.

    #found objects
    #sculpure
    #spiders
    #steampunk
    #watches

    Do stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now!

     
    Share this story
      More

  • in

    Metaphorical Scenes Examine Mystery in Dreamy Paintings by Artist Duy Huynh

    
    Art

    #acrylic
    #birds
    #flowers
    #painting
    #surreal

    November 9, 2020
    Grace Ebert

    “ReciprociTea,” acrylic on canvas, 40 x 30 x 2.5 inches. All images © Duy Huynh, shared with permission
    Vietnamese aritst Duy Huynh (previously) examines balance through nuanced scenes replete with ethereal, surreal elements: individual flowers ascend from a teapot, a chain winds around an artichoke heart, and figures float mid-air. Rendered in muted hues, the acrylic paintings are metaphorical and narrative-based, visualizing stories by connecting unsual symbols or positioning disparate objects together. The North Carolina-based artist gives the works witty names— “Thyme to Turnip the Beet” and “ReciprociTea,” for example—adding to their playful and whimsical natures.
    In a statement, Huynh writes that the core of his practice involves drawing connections “between two or more mysteries,” which he explains further:
    My characters often float (literally) somewhere between science and spirituality, memory and mythology, structure and spontaneity, ephemeral and eternal, humorous and profound, connectivity and non-attachment. The intent isn’t necessarily to provide enlightenment but to celebrate the quest itself.
    Huynh co-owns Lark & Key, where his elegant paintings are part of a group show that’s on view through November 28. Limited-edition prints and greeting cards of his works are available through the gallery, as well.

    “No More Clouded Hearts,” acrylic on canvas, 24 x 24 x 2.5 inches
    Left: “Thyme to Turnip the Beet,” acrylic on wood, 12 x 12 x 1.75 inches. Right: “Wisdom Keepers,” acrylic on wood, paper on piano reads “press any key to continue,” 30 x 40 x 2.5 inches
    “Heart of Gold,” acrylic on wood, 12 x 12 x 2 inches
    Left: “A Matter of Pace, Space and Equanimitea,” acrylic on wood, 16 x 16 x 2.5 inches.  Right: “A Life More Aliferous,” acrylic on canvas, 36 x 36 x 2.5 inches
    “New Dawn Rising,” acrylic on canvas, 34 x 34 x 2 inches

    #acrylic
    #birds
    #flowers
    #painting
    #surreal

    Do stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now!

     
    Share this story
      More