A Quote by Shepard Fairey
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.
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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.
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.
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.
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.
I have always been a Peter Blake fan and love street art and graffiti. I really like this street-art collective called Faile. They're from Brooklyn and make these prints of beautiful women.
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.
A lot of people thought I got famous as a studio artist, then decided to cash in on it. But it actually was just a matter of survival for many years, and I felt it was really important for me to be able to say whatever I wanted with my street art and fine art.
I am for an art that tells you the time of day, or where such and such a street is. I am for an art that helps old ladies across the street.
Nas' Illmatic blew my mind when I first heard it. The poetry was done on such a high level that in a way, it validated our existence, our culture. He used the language of the street at the time and made it art. Art tends to be validating.
I consider myself a multi-platform artist - not just a street artist - but the audience I found through street art has created many of the opportunities I now have on other platforms.
Street art is about as religious as I get - that's my faith, that even if people screen it out and didn't think they saw it, they did. Even if it was for a split second, it's become part of them and it's affecting them somehow.
The Street is as large as consciousness itself. So, when creating art for the street, be mindful of where the public's head is at these days. Give the public a real alternative to the strict diet of celebrity gossip, religion, and un-reality television.
It is a significant symbol that street art is gaining increased attention and credibility in the art world and that's a good thing.
The Internet wasn't even an option for me, so one of the reasons I was so motivated to do street art was because there was no other outlet. Maybe if the Internet had been around then, I would have tried to do stuff that went viral and was clever and got me a lot of hits.
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.
I've been pulled out of my nice new car and laid out in the street by the police, interrogated and then have them get in the car and roll off leaving me lying in the street without even saying 'Get up.' The humiliation that they can put on a black man because they determine that you ain't got the money.
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