From Daniel Frost‘s “Big Kite Show.”

Last summer this unique addition was made to Chicago’s collecion of public art displays in celebration of the city’s Native American population.  After months of community meetings and six weeks of installation, the 3,200 square inch piece was unveiled.  Spanning the entire Foster Avenue underpass,  this colorful display interweaves both time and heritage through its use of Native American symbolism.

And while his die-cut “Deitch Angle” welcome card to Jeffrey Deitch, the new LA MOCA curator, was nothing less than impressive, my favorite Glitsh project involves high fashion and designer ink . . .

All images are from the artist’s site. To see the entire process frame by frame, visit Glitsh.

I opened the paper today to a giant photo of a Banksy piece on Essex Street in Chinatown (right around the corner from our place). The proper authorities have been informed (Ryan and Dollar) and are going to investigate. I love living downtown.

Apparently, he’s hit Central Square, too.

Updated: If you’re looking for the Bansky piece, it’s located here, on the back wall of Kaze Shabu Shabu.

Say what you will about Banksy, the guy’s got smarts. And now, he’s taking them all the way to the big screen with his first film Exit Through The Gift Shop. Described as “the world’s first street art disaster movie,” the film portrays the bawdy existence of street artists, and by the looks of the trailer, it’s going to be a humourous ride. Exit Through The Gift Shop premieres at Sundance (I’m sure to much acclaim — celebs looove Banksy), with limited distribution this spring. Will you be seeing it? I know we will.

Peeped at Wooster Collective.

For those who celebrate it, we hope you have a scrumptious Thanksgiving! We’ll be back to regular posting after the holidays, watch for our review of the Phil Frost and Barry McGee Show “mindthegap,” now showing at LA’s new PRISM gallery.

TFK: Describe your initial reaction when learning about the Orfeo Group assignment. How did they find out about you?

RG: Well I was surprised to say the least. I’m not sure how exactly they found me, but they contacted me through email. The wonders of Google, I guess.

TFK: And what did they tell you about the project? What were they looking for aesthetically?

RG: There wasn’t much specific direction, just that it was a Shakespeare farce/comedy. They wanted something funky, eye-candy with a “graffiti” look. I came up with a few images that I thought would work, the skull, the Ham-Speare character, coats of arms, etc., and I created the background organically, with “eye candy” in mind.

Work in progress . . . (All images can be viewed larger by clicking on them.)

TFK: So the “graffiti” aspect probably got your gears turning. Because I’m your partner, I know about your interest in street art, but could you tell the readers some more about your passion?

RG: Um, let’s see . . .  I first noticed graffiti around age 12, but never really knew what was going on until age 14, when I met some writers in my city. I was the perfect age to fall in love with graffiti. I wrote throughout high school, mostly tagging and some walls and freights when I was 16-17. When I was 17 I moved to Boston, and that was where my participation really took off. I painted pretty frequently and got a lot more serious about my letter structure but more importantly about learning graffiti’s history.

My peak was probably in 2003, when I was out most nights of the week. Shortly after that I cooled off almost completely — things got too intense. But I’ve always paid a lot of attention to graffiti, even when I wasn’t painting. In fact, when I stopped writing, I began to focus and appreciate the conceptual aspects of the culture a lot more.

The thing that excites me about graffiti has gone from its aesthetic to its process and execution. I began to read everything I could about the early days, 1971-75, Philly, the Bronx. The originators of the culture. The most exciting thing to me is that these were kids, young teens, who created this whole world, this culture. They created rules and memes and standards that still hold up almost 40 years later. And these teens did this with no financial motivation and no tangible reward. I find that very inspiring, and it’s that earnest, genuine energy that keeps me passionate about graffiti.

Half-way there . . .

TFK: Can you tell me a little bit about your process? How you go from planning to execution?

RG: The planning was just doing some sketching of the recognizable objects in the scene. Because the paint was provided, I wasn’t even sure what colors I’d be using! I often work without much of a literal blueprint and more on a “feeling” that I want the work to have. I often let one mark or action dictate the next, and I especially love “accidents” because they can provide the opportunity to really surprise yourself in a great way.

The idea behind the background is a concept that I carry through a lot of my work: It’s the idea that constant human activity and human interactions are happening all around us at all times, whether we’re aware or not, and I find it very comforting. It’s a feeling I’ve adopted from living in the city for so long. So that’s why my background, which is a landscape, has a smashed together, chaotic, quilt type of feel. The patterns represent this “activity” I’m talking about.

TFK: Your piece is impressive. I can’t believe it’s all done with spray paint! Did you use stencils, or was it painted entirely by hand? Did you eyeball it?

RG: To answer your question about stencils: This piece was done all “free hand.” I don’t usually set rules for myself with art making, but I get a real satisfaction out of spray painting all free hand, so I avoid stencils and guides.

TFK: So what’s next up for you? Do you have any other projects lined up?

RG: Well, I’m always trying to make new work, drawing and on the computer. I just agreed to do a mural for the Somerville Mental Health organization, and I’m working on something for a design contest.

Just in case you happen to be in need of mural services, you can always contact Ryan at garvey.ryan@gmail.com.

Not quite the finished-finished piece, but almost there! Give it a click to see it nice and big!

According to the artists, “The idea derives from a reflection on the change in our relationship with the domestic environment, due to the effects of our increasing mobility, and how this has affected our concept of intimacy, creating new demands.”

And to further display Veasyble in use, the four women took to the streets, photographing themselves enjoying a moment of privacy in very public spaces, the results are stunning:

To see more images and how Veasyble works, visit their Web site.

Click for a larger view.

On Friday, the ICA opened its newest show “Supply & Demand,” the first ever museum survey of Shepard Fairey, and it cannot be denied — the city of Boston and its Institute of Contemporary Art are celebrating him. Since last Autumn, a dozen or more “Obey” murals have been installed by Mr. Fairey throughout our fair city, with his signature symbolism, imagery, and color-scheme of black, red, and cream bringing life to winter-blighted Boston. The largest of these public art pieces was unveiled Wednesday — an enormous 1,000 sq. ft. banner titled “Peace Goddess” — hung from the North side of Boston’s City Hall. The unveiling was completed with a photo-op handshake between Mr. Fairey and Boston’s Mayor Menino. But the ICA is not to be outdone by the rest of the city in showing its support of Mr. Fairey — Boston’s newest museum has adorned itself with OBEY in ways not yet seen at the ICA. Mr. Fairey’s show sets a precendent in the art world as being the first major museum exhibition by a street artist. He has brought the outside in and underground street culture into the mainstream.

When approaching the ICA, viewers can notice a huge version of the very recognizable black and white face of Andre the Giant, made famous by Mr. Fairey, emblazoned across a roof structure on the South side of the ICA. Once inside, Boston Phoenix newspaper boxes — so over-stickered and over-stenciled with Obey imagery that their original purpose is almost indeterminable — greet visitors. After a quick stop at the coat check and a ride in the massive ICA elevator, guests arrive at the galleries.

Stepping out of the elevator on the 4th floor of the ICA, Andre the Giant greets patrons in about the same manner that pedestrians and passersby were introduced to the image in their own daily lives throughout the 90′s — with a large, imposing, black and white grid of Andre faces. The wall of posters almost resembles a fence or gate, challenging visitors to cross the threshold. Once inside, it’s evident that the show is not organized chronologically but  instead is grouped by unique themes in each room, ranging from “Stylized” and “Music” — which showcase Shepard Fairey’s take on pop culture icons — to “Question Everything,” showing the many vehicles and mediums used to proliferate his message. Other themes of the exhibition include “Portraiture,” “Propaganda,” and “Hierarchies of Power.” The exhibit spans the artist’s 20-year career, giving visitors a very close, inside-look at how Mr. Fairey’s message and imagery have slowly evolved, becoming more and more intellectualized. The attention to detail evident in the curatorial work (no aspect or experiment of the artist’s career has been over-looked) is enough to impress even the non-fan.

Highlights of the show include a wall of skateboards designed by Shepard Fairey; a final room featuring a wall of 90 Obey prints and a gigantic installation created specifically for the ICA; and  many “artifacts” from Mr. Fairey’s career, including the very first “Andre the Giant has a Posse” sticker and the very first Andre stencil, which displays a handwritten note from Fairey’s college roommate with directions on how to reheat some leftover enchiladas; a wall of Ruby Lithe stencils (the original stencils hand-cut by Mr. Fairey to create his silkscreens); and several plastic stencils, originally used in the streets and now caked with black spray paint.

If Mr. Fairey’s now iconic print of President Obama was your first introduction to the prolific street artist, this timely exhibit serves as a formal introduction to the man who legitimized the illegitimate. Curated by Pedro Alonzo, a longtime friend of Mr. Fairey’s, the show features an impressive selection of the artist’s body of work. Most of the pieces are on loan from the Fairey and his studio, with a few exceptions, including one piece from US cyclist Lance Armstrong. “Supply & Demand” is on view at the ICA Boston until August 16, 2009.