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Fun with Vandalism: The Illegal Street Art of Shepard Fairey and Banksy

“Street art” is a rather broad term encompassing a wide range of contemporary artistic practices and styles. This thesis addresses the work of two loosely classified “graffiti” artists, Shepard Fairey and Banksy, with a specific focus on the illegal nature of their artwork. Chapter one discusses previous artistic movements which serve as predecessors and inspiration to Fairey and Banksy, such as New York City’s graffiti boom of the 1970s, the décollage affichiste movement in postwar Europe, the Situationist International movement, and practices of institutional critique. The second and third chapters discuss Fairey’s OBEY campaign via his wheat paste posters and stickers, and Banksy’s stencil graffiti and museum interventions. By examining such pieces, I aim to show how their works constitute practices of institutional critique, which thereby represent a rejection of dominant cultural forces.Committee

https://etd.ohiolink.edu/pg_10?0::NO:10:P10_ACCESSION_NUM:ucin1148076772

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Taking the Train

Traces the history of graffiti in New York City against the backdrop of the struggle that developed between the city and the writers.

https://ljmu-primo.hosted.exlibrisgroup.com/primo-explore/fulldisplay?docid=44JMU_ALMA_DS5162219520003826&context=L&vid=44JMU_VU1&lang=en_US&search_scope=default_scope&adaptor=Local%20Search%20Engine&tab=default_tab&query=any,contains,9780231533881&offset=0

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Underground movements : modern culture on the New York City subway

Sunny Stalter-Pace 1977- author.Amherst, Massachusetts ; Boston, Massachusetts : University of Massachusetts Press 2013

https://ljmu-primo.hosted.exlibrisgroup.com/primo-explore/fulldisplay?docid=44JMU_ALMA_DS5162171240003826&context=L&vid=44JMU_VU1&lang=en_US&search_scope=default_scope&adaptor=Local%20Search%20Engine&tab=default_tab&query=any,contains,subway%20art&offset=0

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Underground movements : modern culture on the New York City subway

The Routledge Handbook of Graffiti and Street Art integrates and reviews current scholarship in the field of graffiti and street art. Thirty-seven original contributions are organized around four sections: History, Types, and Writers/Artists of Graffiti and Street Art; Theoretical Explanations of Graffiti and Street Art/Causes of Graffiti and Street Art;

https://ljmu-primo.hosted.exlibrisgroup.com/primo-explore/fulldisplay?docid=44JMU_ALMA_DS5162171240003826&context=L&vid=44JMU_VU1&lang=en_US&search_scope=default_scope&adaptor=Local%20Search%20Engine&tab=default_tab&query=any,contains,subway%20art&offset=0

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BOOK (ELECTRONIC) American graffiti

Graffiti -- United StatesStreet art -- United StatesPainting, American -- 20th century

https://ljmu-primo.hosted.exlibrisgroup.com/primo-explore/fulldisplay?docid=44JMU_ALMA_DS5187488880003826&context=L&vid=44JMU_VU1&lang=en_US&search_scope=default_scope&adaptor=Local%20Search%20Engine&tab=default_tab&query=any,contains,subway%20art&offset=0

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Tag Town: The Evolution of New York Graffiti Writing

Tags are designed street names, written in the public domain. They are one of the most despised phenomena since long hair on men. They have burrowed their way into the big cities of the world, working both to annoy and tell stories. Now, they tell the tale of how the biggest and most vital artistic trend of the late 20th century origi- nated among children and youths. Martha Cooper documented New York subway paintings in the book Subway Art (1984). But she most preferred tags, the bastard siblings of the pieces, because of their raw energy. Tags are the blue print and uncouth offspring of graffiti writing culture.

https://www.amazon.com/Tag-Town-Evolution-Graffiti-Writing/dp/9185639052

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Urban Iran by Karan Reshid

Iran is a complicated place, where everyday life is loaded with political strife - and it shows through in its street art and underground music scenes. This book looks into both, cataloguing the often angry art that pops up on walls in and around Tehran, with a particular focus on the artist A1one.

Me- This could be a good book to gather some relevant and good research from to back up my current research. Also A1one could be a important artists to research and gather research for my garp from as his work may back up my argument. 

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Against the Wall: The Art of Resistance in Palestine

Featuring the work of artists Banksy, Ron English, Blu as well as lesser-known Palestinian artists and activists who turn Jerusalem’s ‘security wall’ into a living canvas to express outrage, compassion, and touching humour.

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Who is Shepard Fairey

1992 maybe not sure need to research deeper into this-- As a young adult, Shepard Fairey became very interested in art. He soon began to use his drawings in T-shirts and skateboards. He was a skateboard-obsessed art student. While in school, Shepard Fairey held a part-time job in a skateboarding shop. Soon after, he hit the skateboard community hard by pasting homemade stickers all over the place. It was then that he realized his desire and interest in the street art culture and graffiti movement. Another strong influence was his love for punk music, which he demonstrated stencils.

One of the first images he ever used was that of Andre the Giant. Shepard Fairey found this image in a newspaper ad and he chose to introduce it to the streets

Shepard Fairey is one of the most influential street artists of our time. Shepard Fairey’s work has been used in screen-prints, stencils, stickers, masking film illustrations, wheat paste, collages, sculptures, posters, paintings, and murals. Shepard Fairey enjoys working with the colors black, white, and red. Fairey has constantly shifted between the realms of fine art, commercial art, street art, and even political art. His most famous art includes images of Andre the Giant, the Obey trademark, the propaganda poster of Barack Obama, and many more.

Shepard Fairey’s work combines elements of graffiti, pop art, business art, and Marxist theory. His work has been seen in galleries around the world and even museums. Not only that, but is often recognized in graphic designing and signature apparel. One of his most famous works includes his portrait of Barack Obama. In fact, this portrait drew national attention to Fairey and his work quickly exploded after that recognition.  This poster also received the Brit Insurance Design of the Year Award in 2009.

Shepard Fairey has held solo and group exhibitions across the world. Some of his more famous ones include Capsule, Birmingham, England in 2000, Kantor Gallery Window in New York, New York in 2003, OXOP Gallery in Minneapolis, Minnesota in 2006, and Merry Karnosky Gallery in Los Angeles, California in 2007.

Sources:

http://www.artnet.com/artists/shepard-fairey/

http://www.icaboston.org/exhibitions/exhibit/fairey/

http://www.interviewmagazine.com/art/shepard-fairey#_

http://en.wikipedia.org/wiki/Shepard_Fairey

I can look at these sources for my own research

http://www.streetartbio.com/shepard-fairey

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Covert to Overt: The Under/Overground Art of Shepard Fairey

Fairey’s most recent art and poster works, most of them never-before published, including street murals, mixed-media installations, art/music events and countless silk screens.

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Banksy: The Man Behind the Wall by Will Ellsworth-Jones

Banksy is a man who’s been described as Britain’s unlikeliest national treasure. For a man who never shows his face, and only does interviews over email, he’s certainly remarkably well known. This fascinating portrait attempts to get to get to grips with the man behind the legend - and examines the impact this ‘vandal’ has had on the world of art.

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Who is Blek Le Rat

Blek Le Rat (Xavier Prou) was born in Paris in 1951. He is a grand master of street art, and considered by many to be the originator of stencil graffiti.

Every time I think I've painted something slightly original, I find out that Blek Le Rat has done it as well. Only twenty years earlier." Banksy, 2005.

Blek has been adorning the streets of Paris with his hugely original and intelligent artwork since the early eighties

ME- This could add to my research for my first paragraph of the 1980s this could be a relevnt source - Research more into Blek Le Rat in the 1980s. 

He started decorating the streets of Paris in 1981 with a rat stencil, hoping to create an invasion of rats in the city. He was inspiered to created this stencil after seeing the graffiti in New York in the 70's, but he didn't just want to copy the American style, he wanted to create a style that suited Paris and so he chose the stencil as he saw this something very Latin.

After the rats he moved onto using life sizes portraits. The fist of these was an old man wearing glasses and screaming. Blek has now painted on walls all over the world and has influenced a whole generation of street artists. He was a pioneer of stencil graffiti and one of the first artist to move to using a symbol rather than his name as his tag. Blek Le Rat created his mane from a cartoon strip he used to read as a child 'Blek le Rock'. He changed the 'Le Rock' to 'Le Rat' because his first stencil was a rat and because you can find art in rat. He no longer paints on walls after in 1991 he was fined for ten years worth of graffiti and had to pay substantial fines, and would face jail if caught again. He continues to produce work, but now it is in the form of posters rather than painting directly on walls. Blek Le Rat lives in an abandoned 10th Century castle somewhere in France with his wife and teenage son.

ME From this reserach I can involve sections of it in my first paragraph of the begining of graffiti and with new york 1980s could mention how he was the pioneer of stencil graffiti and one of the first artists to attempt using a symbol rather than his name as his tag- could involve in my paragraph how Blek propelled graffiti and street art forward by using a symbol instead of a tag. 

ALSO- ME - From this research I can also involve sections where it says he was fined for 10 years worth of graffiti and how he would face jail if caught again however he is allowed to produce his work in the form of posters rather than paiting directly onto walls- This is commercialisation of street at and how he is allowed to produce work through poster but not directly onto a wall. What is the difference from your work being in the form of a poster to then only be stuck onto a wall instead of directly onto a wall. To me this is the governement putting graffiti and street artists into their boxes.  

ME- With this research and involving it in my paragraph i could use the banksy quote and images of his stencils in 1980′s for refrences. 

https://www.artrepublic.com/biographies/10-blek-le-rat.html

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Blek Le Rat by Sybille Prou

Unique in-depth exploration of the life and work of Blek Le Rat, studying the motives and working methods of one of the most applauded and most influential figures in street art.

Website link of where I gathered these books from below

https://www.creativeboom.com/resources/30-of-the-best-inspirational-books-on-street-art-/

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Celebration of 21st century graffiti and the vitality of the street artists who are fluent in branding, and have moved away from typographic to iconographic forms of communication. Wonderful inspiration for all artists and designers.

This book could help with my research in the commercialisation of graffiti and street art in the 21st century today and how it is used in many differnt ways to advertise etc. 

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Before I Die by Candy Chang

This could be used as a relevant source of research as it involves interacting with the public and getting them involved with graffiti

Inspiring story of an art project that invited members of the public to contemplate one of life’s biggest questions - “Before I die I want to ___________________”. Artist Candy Chang painted the side of an abandoned building with chalkboard paint and the incomplete statement above, and found that, 24 hours later, the wall was full of answers that reflect the full gamut of the human condition…hope, fear, humour, heartbreak and everything in between…

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Obey: Supply and Demand The Art of Shepard Fairey 1989-2009

Shepard Fairey

This massive retrospective covers 20 colourful years, showcasing Fairey's entire body of work, from his early OBEY Giant campaign to his prodigious print output, increasingly ambitious large-scale street work and beyond…