So this is a little old, i did a search didnt see anything on this topic.The following was taken from the moca website.
This was from april 17 august 8 2011 and brought a lot of attention to L.A. and the graffiti scene there and abroad.
The Museum of Contemporary Art
presents Art in the Streets, the first major U.S. museum exhibition of the history of graffiti and street art. The exhibition will trace the
development of graffiti and street art from the 1970s to the global movement it has become today, concentrating on key cities where a unique visual
language or attitude has evolved. Following MOCA’s presentation, the exhibition will travel to the Brooklyn Museum, where it will be on view March
30–July 8, 2012. Art in the Streets will showcase installations by 50 of the most dynamic artists from the graffiti and street art community,
including Fab 5 Freddy (New York), Lee Quiñones (New York), Futura (New York), Margaret Kilgallen (San Francisco), Swoon (New York), Shepard Fairey
(Los Angeles), Os Gemeos (São Paulo), and JR (Paris). MOCA’s exhibition will emphasize Los Angeles’s role in the evolution of graffiti and street
art, with special sections dedicated to cholo graffiti and Dogtown skateboard culture. The exhibition will feature projects by influential local
artists such as Craig R. Stecyk III, Chaz Bojórquez, Mister Cartoon, RETNA, SABER, REVOK, and RISK.
This is how things started, by a few L.A. legends lending their hand with MOCA's permission to a little hand styles. This got a few peoples attention
cause its bright and traditionally not art.
Then this event happened, there is an ever growing argument in the world of graffiti aka street art. That once its taken out of the streets its
rawness i suppose or essence maybe is lost. It stops being graffiti and turns commercial.
If you open a magazine and really look at ads today they are heavily influenced by graffiti. So on one hand its accepted by society and on the other
Also since about 2007 i think L.A. has been inforcing a public mural moratorium the city jas in place per city hall since 2007.Long story short, the
moratorium’s not official but effectually bars any new murals from going up in L.A. unless they have permission from the city council. And the city
council is basicly not giving them out for graffiti type murals. So alot of artist in L.A. are a little upset to say the least, which is why this was
done imo, to remind MOCA and those involved with the project that graffiti can and will stay "Pure"
The following video was done during the day by the front enterance of the museum.
Now with this being done it put officals in a tight bind, what to do. they started getting pressure to shut the show down. They could buff the tagg
and possibly anger the artist about to be featured in the museum and im sure leaving it up untouched was outta the question also.
So they asked a few more premier artist to possibly paint over it. A few refused, namely OS GEMOS graffiti artist from brazil whos recent works on
canvas has sold for a couple hundred thousand.
An example of their art is
But they finally found someone willing to paint over it but no one wanted to use their tag names outta respect for Katsu the guy that did they tag in
the 1st place. So they settled on replicating a subway car done in New York during the 80's
This is the original
And now what they did to cover it up. The hired Rime MSK to finish it up....
The graffiti artist Rime was asked last minute to paint a large Blade piece on the side of the Museum of Contemporary Art in LA. It looks as though
they had Rime paint over the large Katsu fire extinguisher tag.
Never in my 20 yrs. Of writing graffiti, did I expect to get called in at the last minute, to paint a BLADE piece on the side of a museum… go
And the finished product...
this what he had to say per his blog:
While finishing the “Bring Beef Lose Teef” production up in San Francisco, I got a call from Roger Gastman asking if I would be able to paint
a BLADE tribute on the side of the MOCA museum and have it done within a day and a half. This whole project was a last minute decision to cover up the
half ass buff job the museum put over the internet sensationalized
I wondered if KATSU had not done the tag, would they still have done a tribute for BLADE? If so I felt they should have planned it better. With
the deadline so tight I had doubts on anyone doing a proper job for one of the most innovative writers in graffiti history.
After some back an forth agreeing on terms, I jumped in the car on Tuesday afternoon, driving 6 hours straight and arriving at 11pm that night.
Knowing I had roughly 34 hours to complete the job before Thursdays press conference, I decided to do everything with fat caps and with an updated
treatment. FREEDOM was the one who took on the task of designing the layout of the BLADE wall. He arranged BLADE’s characters from past trains
across the top of a remodeled version of BLADE’s 1980 wholecar…
The hope was to save on time in getting the proportions right. Using projectors has been something that I have frowned on and even thought of as
cheating. Mid way through this process I took over and loosely sketched in the missing areas. I did not want to depend too heavily on the first sketch
and had plans to make changes in the painting process. On my trips up and down on the lift, I used the FREEDOM sketch and a copy of BLADE’s train in
SUBWAY ART as a reference. I reworked the shapes of each letter, giving the piece an updated look. I particularly enjoyed reworking the “A” and
“D”. The first painting session lasted from 12am Wednesday up until 8:30 am. The only reason I stopped is because the lift I was using ran out of
gas. In that time I managed to finish off the letters and the bottom half of the wall (CON painted in the lower cityscape)…
After a few hours rest and some around the town B.Sing, I returned to the wall and started painting again around 6:30 pm. The goal was to paint
straight until done. All I had to do was paint 6 giant characters! While painting the characters I added in some “Joe isms”, giving some more
exaggerated looks, hands, patterns, and even decided to turn BLADE’s “party time” character into a drippy slice of pizza. I stopped looking at
the references about 1/3 through and just relied on whatever I thought worked. By 9am the next morning, everyone started to arrive for the press
conference. I was just about done when the rental company came down to take back their lifts. Freaking around after the all-nighter, I decided to add
in some fish and a COMET throw up in the lower right corner.
edit on 21-9-2011 by InshaAllah because: (no reason given)
on 21-9-2011 by InshaAllah because: (no reason given)