It wasn't an intentional focus, but our interest in street art acquired momentum on the heels of a good start in Paris. Around the canal, we saw controlled expression, seemingly sanctioned public art. And we saw the excellent rebellious motifs that are lots of provocation and plenty of vandalism. We began keeping an eye out for it, which made the eye more critical. Of course, I realized how many times I've been p.o.'ed because someone has desecrated one of my temples but I consider posters to be art when they're one of the pernicious desecrations.
At the national museum in Marseille, we were surprised to find a featured exhibit on street art and graffiti from around the Mediterranean. I wish it had been ten times the size it was. And I'd have liked more context and commentary. I can really like something that at the same time pisses me off for imposing itself, intruding, trespassing, usurping other art, etc. It's also about timing and intentions. I'm probably more likely to be pissed off if I don't like the art—or don't understand it. Especially if it's on the side of my carefully coiffed house. Or I can be forgiving if it's in a good cause and if such civil disobedience is important to the struggle. And I try to draw the same line for most "expropriation" of public property or space, but even there it's political—homelessness and squatting on public and private land are societal problems,......we can do better. Much better.
And then there's appreciating the art, both despite the canvas and because of what it allows.
It's not surprising that there's an international subculture. There are lots of shared ideas. There are also distinct styles and purposes. A significant amount of paint is spent tagging the taggers' names and affiliations, and that gets boring pretty fast and is generally destructive. Fortunately, there are more serious artists who seem to be concerned with the opportunities of the medium or who have messages to deliver. There is an acute understanding of temporality and ephemerality.
