A Quote by Ben Eine
In certain places around the world, street art is widely accepted and it is part of the urban environment.
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Interfacing street sculpture in public space creates an installation environment that turns regular space into art space. Signs and people and everything around a street sculpture-they all become part of it. A two-dimensional work, being confined to surfaces, doesn't have as much of a capacity.
I believe in the city as a natural human environment, but we must humanize it. It's art that will re-define public space in the 21st Century. We can make our cities diverse, inspirational places by putting art, dance and performance in all its forms into the matrix of street life.
I used to hate the urban environment and the urban din. But I realize now that it's really not that much different than living next to a waterfall for wildlife. Most wildlife - unless they're specifically adapted - avoid being around a waterfall or whitewater streams and rivers because it jams their sense of surveillance. They are more vulnerable, and their message loses intelligibility. Now, the ouzel is able to overcome that in various ways. Back to the urban environment, we're talking and delivering messages as if we weren't next to a waterfall, and that's a problem.
I'm interested in confronting police brutality and police abuse of cracking down on street performers and street artists, but also in valorizing street art as legitimate performance within the artistic sphere, where it's so often conflated with pan-handling and begging and not "successful" art. I want to change laws around street performance.
There are many different places of power around the world. They're invisible openings to other worlds. We find a preponderance of these places in the Himalayas, in the western part of the United States; of course, in every country of the world there are some.
Street art belongs on the street. But I'm a working street artist and I earn my money selling art in the style of street art via galleries.
"Acoustic ecologist" is basically a fancy name for someone who tries to become a better listener. Not just listening to those thoughts, ideas, and productions of human intention, but listening to places - whether it's an urban environment, residential, industrial, or even the farthest corner of the world, in one of our last great quiet places where we can listen to the pure sounds of nature without any human-caused noise intrusions.
When it comes to the street-art world, there are a lot of people who realize if they go out and put up a few pieces of street art and photograph them really well, even if their locations weren't actually that high-profile or dangerous, with the level of exposure they get from the Internet, with a large audience, they can maintain that rebel cache by having it be theoretically documented street art.
There is sometimes a tendency to assume that everyone in this great country has adequate housing. But when you go to certain places, certain neighborhoods, both urban and rural, you find out that's not the case, and I think we have to do much more.
Every season, I absorb everything around m:, the people I see on the street, the discos, the art, the music, and the energy of places from my travels. I mix all of this together, and then I begin to create.
We're moving from a generation who gave little thought as to the built environment and accepted housing that was neither pleasant to look at, nor to live in or around, to a new century where there's a real desire for housing that's affordable, flexible, and places community at the heart of its thinking. For architects and the public it's an enticing prospect.
It is now widely and rightly accepted that we live in a world which is more interdependent than ever before, and that problems are increasingly global in character. At the risk of stating the obvious, I would say that when governments realize that certain problems are beyond their powers, it is clear that the United Nations has an irreplaceable role to play.
I grew up in Harlem in New York, very rough, urban environment, and so what I found is that, if I can have kids travel to different places, countries, areas, it can expand their minds.
That 'change makes us uncomfortable' is now one of the most widely promoted, widely accepted, and under-considered half-truths around. [I]t is not change by itself that makes us uncomfortable; it is not even change that involves taking on something very difficult. Rather, it is change that leaves us feeling defenseless before the dangers we 'know' to be present that causes us anxiety.
You know, I get frustrated with our country's administration, which is really the people who are not acknowledging global warming. I mean, it's accepted by scientists around the world, scientists in our country and it's accepted by every country around the world with the exception of the United States.
Once I have the finished sculpture, I’ll put it out on the street or in nature or somewhere where it interacts with the environment. Really it’s kind of the idea of turning the street into a stage and this sort of urban theater has a life of its own. If you have creative drive, and you need to manifest it, then you need some sort of medium to do that through. For me, it worked out with sculpture, and tape just is a means of doing sculpture.
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