"Art in The Streets" controversy

On April 17th 2011 The Museum of Contemporary Art Los Angeles opened its show “Art In The Streets” the first major U.S. survey of graffiti and street art.

“The exhibition traces the development of graffiti and street art from the 1970s to the global movement it has become today, concentrating on key cities such as New York, Los Angeles, San Francisco, London, and Sao Paulo, where a unique visual language or attitude has evolved. The exhibition features paintings, mixed media sculptures, and interactive installations by 50 of the most dynamic artists(Barry Mcgee, Banksy, Futura, Os Gêmeos, Saber, Neckface, Kaws, Shepard Fairey..) and emphasizes Los Angeles's role in the evolution of graffiti and street art, with special sections dedicated to seminal local movements such as cholo graffiti and Dogtown skateboard culture.

A comprehensive timeline illustrated with artwork, photos, video, and ephemera provides a historical context for the work.”

The exhibition has been extremely successful for the museum, although the official numbers have not been released yet since the show runs till August 8th 2011.

Of course with success comes criticism and Jeffrey Deitch, the museums director and former gallery owner of the highly influential Dietch Projects along side with MOCA’s board of directors have received their fair share. As a fan of all kinds of art first and a collector second I have been following the show from early inception to its opening and on and with great enthusiasm. I have read many reports and reviews, both positive and negative, and have always felt like I could relate to both sides of the spectrum, even learning a thing or two along the way.

One review in particular really rubbed me the wrong way though, Heather Mac Donald’s “Radical Graffiti Chic” for City Journal. While Heather’s credentials can certainly not be disputed, Yale, University Of Cambridge, Stanford Law, Fellow at the Manhattan Institute etc..Heather chooses to make the piece a platform for personally insulting many of the artist by name. Her point of view on graffiti is out dated and in my opinion detrimental to art as a whole. She also applies the same rules and reality to everything and as we all know not everything in life is equal. I can enjoy something in one context and not in another but she seems to believe it’s all or nothing.

 I like to equate it to attending a concert of a band I enjoy this doesn’t mean I would want them playing outside my home every night. I suppose in her eyes the traditional work displayed in such institutions is drama free, as if the masters weren’t drunks, drug addicts, pedophiles etc.. who were commissioned by rich aristocracy guilty of the same things if not worse.

Well it would seem that Heather is back with a follow up article, this time from the L.A. Times, and I felt like it was important enough to address and share along side with artist Saber’s open response  to Heather.

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