A Quote by M.I.A.
I think when something becomes a comfortable genre, it's against what street art stood for in the beginning - breaking out of genres and taking art out of galleries. Now street art is in the gallery, and it's all made up into a nice, packaged concept.
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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.
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.
Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings.
Street art is designed to be seen out of the corner of your eye, on the hoof. Art that's made for galleries is made to be looked at in a more static way for a longer period of time and may not be so striking immediately, but perhaps resonates for a longer period.
Anyone who relishes art should love the extraordinary diversity and psychic magic of our art galleries. There's likely more combined square footage for the showing of art on one New York block - West 24th Street between Tenth and Eleventh Avenues - than in all of Amsterdam's or Hamburg's galleries.
I know street art can feel increasingly like the marketing wing of an art career, so I wanted to make some art without the price tag attached. There's no gallery show or book or film. It's pointless. Which hopefully means something.
Maybe this is a utopian view of art but I do believe that art can function as a vehicle, that it isn't just a cultural pursuit, something that happens in art galleries. Unless art is linked to experience and the fear and joy of that, it becomes mere icing on the cake.
Public art is a unique type of art. It's very different to gallery art because it is something that we pass by every day and it inevitably creates a lot of discussion in a way that gallery art does not.
Now the culture is made of old things, it's a collage. Art made out of art is not art. You're supposed to make art out of life.
The art that I do is for the people. It is about engaging a new audience who wouldn't necessarily go to art galleries and museums and painting on the street is the best way to do that.
I don't have a favorite place to see art. I like to encounter it anywhere, museum, gallery, home, studio, street... I do prefer to see good art, when I see art, but it doesn't matter where I see it.
The Internet doesn't always play a great role for art, especially art in the street, as people take what they see for the final image of it. But the most interesting thing about street art is to see it for real, to understand what it means and where it's displayed.
One of the crucial underpinnings of New York as a culture capital is that there are multiple markets. There is not just one art gallery district, there are several art gallery districts. I feel that there should be art galleries and art studios in every neighborhood without exception. They should be integrated into the social and physical fabric of the streets. If we want a lively city, we can't just have high towers and dense constructions, we have to have living organisms of streets and neighborhoods. And the arts are a crucial part of that.
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.
When you walk down the street and see something in a crazy spot, there's something powerful about that. The street will always be an important part of getting art out there for me.
There was a kind of cultural life in New York that wasn't as solidified as it is now, it wasn't as money-driven. If you look at the size of the successful art galleries compared to the size of galleries now - there was no such thing as the Gagosian Gallery or Pace Gallery. But it was a time when magazines were a vital part of American life, and Esquire gave me a free pass to every world - I could get to the art world, the theater world, the movie world. It allowed you to roam through the cultural life of New York City.
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