A Quote by Shepard Fairey
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.
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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.
I've never really considered myself just a street artist. I consider myself a populist.
I believe that the making of art is primarily for the benefit of the artist. If what the artist has created communicates messages and feelings to others, then it is because of the universality of the human experience that is speaking through the work of art.
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.
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.
It still amazes me how many musicians aren't really interested in engaging with their audience at all. Alfred Brendel, a pianist for whom I have the greatest respect, has described performance as a sacred communion between the artist and the composer. But what about the audience? Music is communication, a two-way street.
Be an artist at whatever you do. Even if you are a street sweeper, be the Michelangelo of street sweepers.
Online media is the future, and younger feminists are already instrumental in using social media and multi-media platforms on the web to document street harassment, archive and critique the media, and create art.
Shepard Fairey, the street artist responsible for President Obama's 'Hope' poster, is now facing vandalism charges in Detroit. It's pretty serious. Detroit officials say the artist's spray paint caused over $9,000 worth of improvements.
If I do a picture, I want the audience to be the people I was just packed against on the subway or on the street, walking on Fourteenth Street. I don't want it to be some narrow public that I myself feel alienated from.
The unusual thing about doing street poster art - or something with a conscious social critique in it - is that the artist thinks they're a little in control, focusing and trying to make a specific point. But even then, when you look at it a few years later, you realize you were just working through some of the usual feelings you were going through during that time.
The Best of the artist's art, which will one day be in a Museum wall, the Painting that sets the artist apart of all other artist artists.
Artistic qualities that once seemed undeniable don't seem so now. Sometimes these fluctuations are only fickleness of taste, momentary glitches in an artist's work, or an artist getting ahead of his audience (it took me ten years to catch up to Albert Oehlen). Other times, however, these problems mean there's something wrong with the art.
Your street, rich street or poor
Used to always be sure, on your street
There's a place in your heart you know from the start
Can't be complete outside of the street
Keep moving on through the joy and the pain
Sometimes you got to look back
To the street again
Would you prefer all those castles in Spain?
Or the view of your street from your window pane?
Street art, unlike graffiti, adds to the environment and is a positive experience for the artist and community.
I don't sell anything. So, I have a personal image, but I think that's because I'm from an art background, and I'm an artist, and I think most artists do have personal images. I consider myself more in that category of the way an artist had a look.
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