Lee’s Q & A with New York Times Readers

photo: Priscilla Vazquez

photo: Priscilla Vazquez

Answers From a Graffiti Artist

Check out The New York Times City Room Q & A Lee worked on with readers in March:

Lee Quiñones, an artist who emerged from the subway art movement of the 1970s, responded to readers’ questions. Following is the first set of answers from Lee Quiñones, an artist who emerged from the subway art movement of the 1970s.


Question:

Lee, what does it feel like to be honored by a show like “How to Make It in America,” even though some people would argue that your canvases are slightly unethical?

— Posted by Mike L.

Answer:

It felt great to work alongside a host of talented characters representing the hustle and bustle of New York’s center stage. “How to Make It In America” aligns itself with the daily grind of elated breakthroughs and fall backs that reflect life itself, but it also strives to achieve authenticity relying on New York’s iconic symbols and personalities. They approached me to deliver a dynamic piece that moves — the truck driven by Luis Guzman’s character — even when it is standing still.

Unethical? “Unorthobox” is my own slang to describe how my work has made its transition to canvas and helped preserve one of the most important American-led movements — rapid enamelism. Originally, my work reconfigured how art should be presented, using the public space. Now that the early public works were inevitably eradicated from review, something has to survive to cement the movement. What mattered all along to me was the message, the expression and reaching an audience – what most artists crave. Most historical revered art movements have had controversial beginnings where both time and matured juries evaluated the note and revisited the verdict. My canvas work as well as my earlier public works have always been and still are well thought out to achieve some kind of conversation with the viewer. It is never intended to have a direct commentary on any given subject without having an input either spiritually or physical.

Question:

I recently started producing my own work. It has been difficult for me to gain any recognition for it. I love to create, but after a while it gets frustrating when it seems like nobody noteworthy acknowledges your work. I can’t help but think that what people want to see from women, especially women of color, is very limited. How did you start to receive recognition for your work? How did you break out from the label of “street, graph artist” to internationally respected artist?

— Posted by Noro

Answer:

Though it may seem easy to say, I would not let any distractions that flank your head space and physical studio dictate what and when something is achievable. You are the composer of your very own legacy and you know the swagger it deserves to be strong to you first, because you are the first one envisioning it. You will sleep at night and your work will party in the studio like it’s 2099. Creating something is half the battle these days. Sure, acceptance is a difficult seven course to swallow and sometimes life as an artist may masquerade itself as a ruthless gauntlet and a darling at the same time, but that is what should make up the running joke within the trench hole from where you wage your vision.

Take into account what artists like Wangechi Mutu, Jenny Holzer and Georgia O’Keefe among many others have endured in their own personal spaces. While artists may come from different ethnic backgrounds, economic and genders, they still carry a full clip on the hip.

Question:

Where do you live? I’m sure you won’t mind if we come to your house and paint all over your walls… it’s cool, right?

— Posted by Nolane

Answer:

Sure, you can come over any time with some great art and interior design my home walls to hang along the likes of Futura, Basquiat, Haze, Swoon, Os Gemeos, Martin Wong and others.

Question:

Since it appears you have profited as a result of your graffiti art, have you made any effort to pay restitution to the city or other property owners of locations you vandalized?

— Posted by Anne

Answer:

Since I have seemed to have profited from my (graffiti) art, (graffiti) is a state of mind to some and a sore to others as well as a byproduct of breaking news — art is art. Graffiti and art are two different animals.

I have contributed to this city as well as my neighboring ones. One example is my charitable bicycle ride from Brooklyn, N.Y., to Miami Beach, Fla. to raise funds for the Boys and Girls Clubs of America affected by Hurricane Katrina back in 2005. I have lectured at various academic youth institutions and juvenile detention centers, teaching young people how to be proactive, creative and to believe in their abilities. One of the youths who I met at these programs has worked in the studio with me as an apprentice.

Question:

You can paint on my walls any day, Inside or out! I just showed my gf Wild Style last night and she loved it, and so did I. Congrats on surviving the scene, it must have been brutal.
As for my question here goes: Would you ever try to teach this art in a school? If you have, where? And if you could, where?

— Posted by Charles

Answer:

Thank you much. The film has garnered an international cult status in turn serving as a blueprint for many careers that took off for many talented minds. My painting has given me opportunities to lecture at a few universities in Europe as well as here in the U.S. at Columbia University, University of New Mexico and the School of Visual Arts. I am currently lining up additional lecture engagements. In my lectures, I describe my technique and open up the discussion of the politics of graffiti.

Question:

How much have you spent in actual jail time?

— Posted by Perley J. Thibodeau

Answer:

I’ve never been to jail.

Question:

When someone scrawls their name onto a mailbox or stop sign, or scratches their initials into a store window, do you consider that to be art? If someone vandalized your front door or car by putting their tag on it, how would you feel? And do you think that the cops are right in arresting such people?

— Posted by Julie

Answer:

I do not advocate senseless scrawling, scratching and tagging as the representative of the art form itself. Everything has its beginnings, some humble and some in the rumble. It just depends how and when you take it from where it has been. I do understand hopelessness and confusion in society. The tag has been part of the social and visual fabric in this society since pop cultures was diagnosed as art as we know.

The tag is seen in many formats and accepted by many heads that contribute to a sense of economical and social relevance. Engineered commerce, fantastic, in that sense, the tag is well merited. Signature denim brands and fine handbags use the tag, or what’s also known as corporate logo. Equally, on the other side of the fence, why not embrace art even if it is not from a place that you would expect to find it, or a message that finds you? “The words of the prophets are written on the subway walls,” sang Simon & Garfunkel. By the way, my car was vandalized with a big fat tag across the whole trunk. Yes, it needed a paint job, and so someone took the liberty to do it for me.

Read Part II and III.

Answers From a Graffiti Artist, Part 2

Taking Questions
Ask a Graffiti Artist

Following is the second set of answers from Lee Quiñones, an artist who emerged from the subway art movement of the 1970s.

Question:

My boyfriend was a graff artist who recently passed away. It was an obsession which led to many arrests and fines and many fights between us, but I could not help but appreciate his work and come to love it. So I just wanted to ask how can this obsession/love be described? Does it ever simmer down or does it just continue to grow?

— Posted by Shelby

Answer:

Sorry for your loss. Some creative minds harness an immense amount of artistic stress or urgency more than others and this is something that needs to purge itself from within or receive rescue through appreciation. In either case, the mind always plays the tune that one testament, whether it is creative, angry or both, is not enough in a lifetime. R.I.P.

Question:

With the growing popularity of street art — whether wheatpastes, figure-based painting or site-specific sculpture — do you think graffiti’s time has passed?

— Posted by Katie

Answer:

Under the circumstances of the time, I think that the earlier works staged a great show that would be a tough act to follow (literally). Trains were always moving away and keeping the viewer perplexed, making for great, romantic mystery.

Now artists have to focus on the fact that their work will be subjected to scrutiny by a broader and critical circle of observers. Some artist may be developing their persona as they go, and that may pave the way for some rather interesting work. I would think that the painter Jackson Pollack experienced this very same black hole, when he executed his groundbreaking technique. As it’s been suggested to me: Learn how to suffer with your own identity.

Question:

How do you respond to the miserable haters who have no appreciation for beautiful pieces of art you created and enjoy the bland, boring view that is now the NYC transit system? Do you miss the ’70s and ’80s heyday that was the graffiti scene in NY?

— Posted by LBZ

Answer:

Apparently, they have not looked at any of my work on my Web site, documenting the past four decades. I agree with the sentiment that the 1970s and 1980s were crazy, and things were great. Now I may rejoice about that time with my peers over a drink just to toot the nostalgic horns, but it was a catalyst for where I’m at today, and I wouldn’t trade one step of the journey or turn back the clock. With due respect, some may miss the pivotal moments of their youth, but the past should not create a naval blockade that undermines the possibilities of the future.

Question:

So everyone starts to ask the “vandal” questions, the “public property” questions, typical. My question for you is, in a culture like graffiti with firsthand experience, have you thought about writing an autobiography? What is your view on graffiti as a component of expression vs. outlaw art? (I don’t think Lee should have to answer personal vendettas against people who view him as a figurehead for graffiti to every kid who ever scratched on a train or put a tag up). Thank you, Lee, for your contributions.

— Posted by Bonafide Rojas

Answer:

I have been writing my memoirs and collecting photos for a bio book since 1979. It is a large feat to cover that I did not realize back then, but it is coming together. My book, yet to be titled, will be a tell-all on my methodology before, during and after the subway era. Keep an eye or an ear out for it in the next year or so.

I don’t see graffiti as outlaw art, but I do see it as a form of self-expression. Just go back to 79 A.D. Pompei and see the love and political triangles that were scratched onto the mud-walled alleys throughout the whole city. Graffiti artists practice their work with due diligence focusing on such elements as letter construction, deconstruction and visual commentary. As they perform their tasks repeatedly, they refine their skills and new discoveries and exchanges in art become feasible.

Question:

I had a conversation recently about the historic value of your 1982 Allen Boys piece and if it merited preservation as an iconic piece of NYC art. We talked about the logistics of municipal involvement in the preservation of an illegal piece, which opens up a serious can of worms. Do you think Allen Boys should have been preserved? If so, how does government involvement in preservation change the game? If not, what does it mean for the “legitimization” of the form, that some pieces are sold to and hung in museums, and some are rebuffed, to live on only in 35-mm and memory? Which type of piece represents the highest artistic “value”?

— Posted by Anna

Answer:

I understand your concern over the destruction of the “Allen Boys” mural, since it was the last standing mural in Manhattan from the early ’80s, but I think that the handball wall murals in the schoolyard of Corlears Junior High School 56 on Madison Street should have also been preserved. “Howard the Duck” (1978) and the “Lion’s Den” (1980) were entirely spray painted murals – essentially the first large standing pieces of street art, measuring 30 feet x 25 feet. “Howard the Duck” was illegal, the first of its kind, and it also spearheaded my fine arts career above ground. Due to the positive outpouring of kudos in the community, the school principal gave me a handwritten permission slip to complete the second side of the handball wall in 1980 with the “Lion’s Den.”

In 1981, Keith Haring told me he was inspired by my handball walls, and asked me how I was able to complete the murals. I had painted several walls at this point and gave him pointers on how to go about it. He knew I was considering painting a mural on Houston Street. When I decided not to paint it because of a broken section of the wall, he asked for my blessing to paint it in my place and produced his iconic neon mural. This led to his creation of the 1986 “Crack is Wack” handball wall on the Upper East Side off the F.D.R. drive. Check the mural section on my Web site, leequinones.com.

Question:

What is your view on Banksy?

— Posted by Miles Classics

Answer:

I was impressed by his piece that appropriates Nick Ut’s Pulitzer Prize-winning photo of young Kim Phuc running in terror in 1972 Vietnam. He took the image and added in depictions of symbolic American characters – Mickey Mouse and Ronald McDonald – as her escorts, holding her outstretched arms.

The creation of public murals raises a lot of issues. I’m not a fan of the term “permission walls.” It’s a question that requires more time, space and a deeper discussion about the scope of painting walls than space here allows. There are environmental concerns, costs and political issues raised that are unique to each project. I do believe community-based murals can have a positive impact.

Question:

I’ve been writing for over 19 years and have been fully legal for about 10… I miss the adrenaline but not the court fees. Growing older kind of soothed The Itch – and I enjoy legal painting, but it’s definitely not quite the same. Nowadays it seems like we have a lot of legal walls, graff for pay, commissioned murals and other “legit” manifestations of this previously illicit art form. Is it still graff if you get paid for it? Or if you don’t have to worry about running from the cops? I wonder how you’re transitioned from night missions to gallery painter, and your thoughts on the illegal aspects of the graffiti experience.

— Posted by BETNYC

Answer:

The transition was a long a difficult path for me. The romance I had with anonymous night painting was at odds with the critical aspects of formal studio painting – and both stared me in the face, after I had my first major exhibition in 1979 in Rome until 1984, when I finally cut my ties with the IRT #5. An emotional hard place and a rock for sure it was.

One comfort I have while painting in the studio is that the subject matter contains a dynamic rhythm or attitude that has bled over from the train works. It’s always self-evident in the under painting, which has made the transition more forgiving.

Question:

I had the pleasure of meeting you a couple times in the past, always been a fan, and an ex-writer (’70s and ‘8os) turned fine artist myself.

The way I see it, graffiti was invented by the urban youth, making various statements while lacking guidance, materials and any role models other than the ones they created, it was a self-made movement. Graffiti turned into a beautiful art form with more than one renaissance, and continues to live on and inspire despite the inevitable commercialization of it.

What are your opinions of adults with art degrees who only start writing after they leave college trying to emulate the scene you and others created as teenagers?

— Posted by Adam

Answer:

Subway graffiti was a youth movement, which had many of the same elements that attracted young people to punk rock or other forms of teenage rebellion throughout history. We acted as if we had nothing to lose, with our daredevil moves, in search of our props. What unified the subway graffiti movement was the reward of the calculated, end results – painted, beautiful trains. The challenges of pulling off a completed masterpiece were considerable in the dark, dank yards and the conditions often life threatening. That is where the line is drawn between street artists and post-graffitist, which are two different entities that borrow from each other. As usual, I don’t know where my allegiance lies.

Question:

Your whole cars are legendary. What was your most important (favorite) whole car, why, and how long did it run in service?

— Posted by Ket

Answer:

Most important: Classified. Favorite: Skunk works. I will divulge that at the end of my subway tour I proposed a married coupled double whole car painting with Fab Five Freddy, utilizing the signature loaf of bread shape of the cars back then, but we never created it. Fred was to execute a “Wonder-Fred” loaf car and I was to execute the ever so locally loved “Taste-Lee” loaf whole car. It never stops running in my mind to this day — endless service that can never be buffed. A great idea never goes out of style.

Question:

When people talk to you about your work (in person, not on the Internet or other anonymous ways), what percentage is positive?

— Posted by Page One

Answer:

They are very positive because we probably are sitting right in the studio where they can’t fathom that such a phenomenon could ever be linked with vandalism.

Question:

Your work is amazing. I’ve seen your work from when you first started back in the days, and I have always admired your work. Kudos to you. As for those who consider your work vandalism, well it’s apparent they have not seen your work.

— Posted by Grace

Answer:

Thank you much. And thanks to everyone expressing their viewpoints on this forum.

Question:

What was you relationship with Jean-Michel Basquiat? Was there any cross-pollination between your street art and his studio art?

— Posted by Lawrence D.

Answer:

Way back in 1979, a painter from Britain by the name of Stan Peskett generously let us share his vast downtown studio along with Fab Five Freddy, where we were able to create some of our first studio paintings. There was a massive collaborative painting between Basquiat and I that we created for one of the parties thrown there. Basquiat’s discussions with Fab and I were extensions of his writings on the streets, but I honestly always felt too detached to even connect the dots of his commentaries. Genius in the making in what is revered to be some kind of a radiant urgency.

Question:

Why do you stop writing on the street, and painting with big letters? Your canvas stuff is really boring and not interesting to me. Sorry for that.

— Posted by Winston

Answer:

Apology accepted. Take a deeper look inside yourself and just maybe you might discover that life’s ingredients, cycles and callings are not just made up of a can of Campbell’s alphabet soup. It’s a bit narcissistic after a while, I might imagine.

Question:

I’m seeing some religious graffiti on the E and B subway lines. Do you know anything that?

— Posted by Tom Delane

Answer:

Pray is back! LOL.

Question:

I’m crackin’ up at all these ridiculous questions, so much hate for something that I personally consider beautiful, right down to the smallest tags on bathroom walls! Ignore the nonsense! I have no clue what makes people think you can be held responsible for graffiti being done 20 or 30 years after you were a king in the game.

Do you feel perhaps graffiti can and does live on as a subconscious revolt against the sterility of city life? Against the autonomy of the blank walls on the streets and the ugly sound barriers along our highways? Can you appreciate the folks still painting freights, making the wait at a train crossing some what enjoyable for someone waiting the 20 minutes in their car to get across the tracks?

Related, would you agree that there’s little to no difference between having fill-ins/tags/throw-ups/stickers/wheat-pasting smeared across a city or having a barrage of advertisements for, let’s say, the latest “Twilight” movie (ugh!) all over the place? What difference does it make? Anyway, keep on keepin’ on and doing whatever it is your heart desires. No restrictions on life!

— Posted by Verner

Answer:

Yes, graffiti lives on because it’s the accessible, alternative lifeline from an individual voice, or in the case of a crew like the Graffiti Research Lab, a collective. It’s a voice that’s always simmering on the side burner as conscious rebellion.

On freight trains – any graffiti artist worth his snuff knows the trick to creating an enduring freight train. I’m not at liberty to indulge that information here, but my book may.

When I rode my bike to Florida, I passed through the heart of the Bible Belt. I was struck by the church marquis, some of which had incredibly catchy, humorous phrases. My favorite was “Aspire to inspire before you expire.” While I’m not a religious practitioner by any means, this sign gave me backwind. Later on the route I saw a yellowed, sour sign posted to a telephone poll that read, “We buy ugly homes.” To me this was deflating — degrading insult to the shelter or nest. Painting the town with and words and imagery is all product placement, isn’t it? The difference is that some messages are meant to suede, some are meant to soothe and some are meant to mislead.

Question:

I would like you to come to my neighborhood and see the horror that graffiti is: messages and branding for drug dealers, thugs & other criminals. Young working-class and poor people are being mislead by individuals such as yourself. Would you please provide your home address so I can send a team of threatening young people to spray paint ugliness all over your house? Then let the tax payer foot the bill for the city to clean it up? Then have them put it on again and again?

— Posted by Sherpa Garang

Answer:

I would like you to come to my neighborhood and see the horror that negative advertising is: messages pushing liters of beer that make you more of a man, liters of sugar that make you sweeter and lower if life is bland. Young out of working class and poor people are being misled by bigger individuals such as your local dark side of capitalism. Would you please provide your home address so I can send a team of lazy, obese young people over for a fast food dinner on your dime? Who is going to fit the bill for that societal cost? Then they’ll put up on us again and again.

Question:

I wish we could get a link to a Web site that shows e.g.’s of your work.

Also, I have to wonder if these haters would feel the same way if they felt they could relate more to the artists themselves, or the images they produce? Would they be as upset if someone like Picasso or Rembrandt arbitrarily began painting on public/private properties?

— Posted by akira

Answer:

I have a range of work posted on my Web site, including whole cars, murals, studio work and commissions. Picasso eluded the Nazis, Rembrandt eluded the indoctrination of organized beliefs, the Masters of today will elude the ignorance of haters.

Question:

Mr. Quiñones in your mind, what constitutes art?

— Posted by Casey

Answer:

Silent Thunder!

Question:

My girlfriend asked me to have a graffiti artist graffiti her name on regular piece paper (8×11). She would like the colors to be pink, black and purple. Would you happen to know a good artist who can assist me?

— Posted by Lakesh

Answer:

Check out the artists on the Web site www.at149st.com.

Question:

I work in Kingsbridge and there is this amazingly old mural that reads “Wild Style” (Jerome and 196). I taught at the high school there (walton hs) for three years and no one has ever touched this mural, but the walls surrounding it are replete with tags, etc. Is there a special something that old graffiti murals have that alerts new graffiti writers that it is a sacred piece and should not be touched. in other words, how is the “sacred” in an art form that uses/manipulates public space and the ephemeral transmitted?

— Posted by Yago

Answer:

Mutual respect for a voice. Paved roads over indigenous trails of some kind of mind. I am abstract this morning. LOL

Part III

Answers From a Graffiti Artist, Part 3

Following is the third and final set of answers from Lee Quiñones, an artist who emerged from the subway art movement of the 1970s.

We are no longer accepting questions for this feature.

Question:

Where can people go to look at your work? And, seriously, would you come paint all over my walls? Do you take private commissions?

— Posted by Anne

Answer:

People can a make pilgrimage to the N’ap Boule benefit art auction Sunday evening where I have two studies that will be showcased along with other artists to help bring relief to the people affected by the devastating earthquake in Haiti. Writer/artist activists Raquel Cepeda, Sacha Jenkins, Henry Chalfant and Kathleen Chalfant organized the event that is being hosted by Anonymous Gallery in Lower Manhattan.

Yes, I do take on private commissions. I am finishing an installation right now and will be getting back into my studio to finish off a new series of paintings next week. Please see my Web site for studio contact details.

Question:

The fact that you are an icon of this art, do you feel you can do something to promote anti graffiti to the private homeowners’ property?

— Posted by Robert

Answer:

All I can say is for the most part, after closing a lecture session, most of the hands reaching out to continue dialog and ideas are from young minds percolating with inspiration.

Question:

What comes first: your experience with a location, or your mind’s image of the artwork?

— Posted by Anna

Answer:

I take them both into account. Sometimes the physical space dictates what orientation the imagery will find itself in. I like to tweak figures as well as colors depending on the shapes and sizes of space, which ultimately leads to setting a mood in the work. For instance, about a decade ago a private client commissioned me to create a giant five-story entitled “Requiem” on the entire side of the building he owns. With excitement and anticipation of the concept challenge, I studied and stared a hole into the side of his building for a few days. I found myself suggesting to him that the mural cover only center portion of the wall. This decision enabled me to create an image that would ultimately bring a great dynamic and abysmal feel to the facade. He saved money, with less real estate painted, and I saved time and fate. We ended up having conversation between us about then imagery to soothe the nerves and concerns of the surrounding community. The battle I depicted plays out in everyday society, much like the discussions on Internet forums. It can be seen in its entirety from A to Z on Eric and Luke Felisbret’s Web site.

Question:

How do you deal with angry uptight citizens who confuse your work with that of punks who decide to spray paint over someone’s car or house? Based on other peoples questions, it seems there is a huge misunderstanding as to what graffiti art is. How, in your opinion as an artist, do you make people understand that your not spray painting people’s cars or houses?

— Posted by Sami

Answer:

A huge misunderstanding indeed. I say, go read great books like “Futurist Futurismo,” “The Centenarians,” and maybe not the ever so DAILY-POST Trimatic syndrome tabloids.

Question:

Is Cornbread the first real graffiti artist?
Who do you think is the most up in the world right now? I think maybe Nekst?

— Posted by Bomit

Answer:

Faith and Consequences.

Question:

Do you consider “graffiti” that is done legally real graffiti? Do you enjoy painting canvases and such as much as you enjoyed painting trains?

— Posted by Baso

Answer:

Canvas challenges me in many more ways. Trains lost some of their appeal once I set a benchmark, and had achieved most of my goals.

Trains are somewhat dictated by the novelty of what they are, defined by the application and audience to a certain degree. The canvas challenges the norms of conformity on a worldwide forum for endless days.

Question:

Do you make a distinction between illegitimate graffiti art and sanctioned graffiti art? Would you say the latter is only a reflection of the first and not the real thing? Do you consider real graffiti something you “used to do”?

— Posted by Anthony M. Stringer

Answer:

Some things some of the times have the tendency to reflect its beginning but it is all real in real time. I would consider that real painting is something I still do.

Question:

Although your paintings on trains were tremendous and you are a remarkable artist, it is your patented laugh that seems most iconic to me. How long did it take to hone your laugh and really make it so recognizable. Is it true Andy Warhol tried to imitate it but it didn’t work for him? I would like to license your laugh as a ring tone.

— Posted by Jimmy Z

Answer:

When I wake before the chirping birds, I try to laugh instead of drinking coffee. It’s the secret to the fountain. As far as license, I’m just trying to catch up to the same train with James Earl Jones’s and Morgan Freeman’s voices. You should hear my whistling skills.

Question:

Lee, now that you’ve acquired mainstream success as you enter your 50th year, do you still posture yourself as “someone from the hood”? Does your artwork speak for itself now, or is your exotic, personal history crucial to your current acceptance into the international art scene? I noticed The Times photo has you in the forefront, your art as background.

— Posted by Blick

Answer:

Now that I enter my half-centennial phase as the world’s oldest teenager I find myself at the center of a rather interesting series of events, an ambassador of some kind of mid-career retrospective that will cement the relevance of the movement I’m linked to from inception. I believe in the collective umbrella, but also have to stand alone. There’s safety in numbers but strength and virtue in venturing alone. A recent piece I completed entitled “Honest George” keeps watch over my back in a cynical world. Sometimes I seek the private space of the studio to serve as my study, my sanctuary where I go to reflect.

Question:

Lee, considering the world-wide recognition of the art form(s) of ‘graffiti’ and its evolution, do you see a shift in the attitudes of curators and institutions to be more accepting or inclusive of it as a relevant and important American art movement?

— Posted by Carlos Mare139

Answer:

Before I answer this question, let me first make this disclaimer: I have ultimate respect for the Old New York School and the New Avant Garde (the out of towners) Remember, no tears allowed or the miseries will be refunded at the door.

As to your question, Mare, I sure do have confidence in the new curatorial eyes that will flip the script, but the artist will have to stand alone in concert in order to flip the script as well, and by that I mean that it will take some growing pains for both the creators and the embracer to get past the nostalgic practice of safety in numbers instead of taking your the vision by the horns and trying to at least out ride the wild steer with groundbreaking work. We are in concert as a concept, but it is the individual that will push on because quite honestly I think the melting pot has been simmering for too long on the stove. The argument is looking like refried beans and rehatched eggs, and I am into sauce, salsa, sosse and a sprinkle of pica.

Great works of art do not stop delivering the envelope at a designated point in time. I don’t think this movement is old enough to have a proper retrospective, because I believe that the old school along with the out-of-towners are still in the wind tunnel proving grounds making waves. They are there for embracing, and maybe revisiting the past will help their tour. History rhymes with itself, but does not necessarily repeat itself. It is inevitable that the changing of the guard will self-fulfill its curiosity. Nothing is stronger than a movement that has reached its entry at the right moment. We have moved passed its adolescent period.
Respective institutions like the New Museum in New York, The Groninger Museum in the Netherlands, and Cartier in Paris are beacons at the tipping point. Not only do they see the avant garde in full bloom, but also the purchasing power and commentary that such refreshed audiences bring to the floors. People need to get past the stale argument that rehatches itself every now and then.

Published by admin, on May 9th, 2010 at 9:56 am. Filled under: BONCHINCHE Tags: No Comments

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