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london street art anthology

The duo has also been featured in a just-released book on the subject titled the "London Street Art Anthology" by Alex MacNaughton. Here is an official description of the book:

"A comprehensive visual record of the London street art scene, this book showcases the best local and international urban artists who have used London as their canvas.

Acclaimed photographer Alex MacNaughton has made it his mission to capture every kind of street art-from stencils to wheatpastes and stickers to murals. Brimming with new works found all over London, this riot of colour, political commentary, passion, and humour is presented in stunning reproductions, each labeled with the street location, and featuring artists such as Sweet Toof, Swoon, and Eine. From femme fatales by CopyRight to huge multi-artist murals by AAGH crew, the scope of this groundbreaking book is reflected in a larger format which shows off the stunning new photography. Illuminated with quotes by the artists and gallerists who show their work, this exciting new book reflects how London as a city, a home, a gallery, and a studio influences street art today. "




Please follow this link if you would like to learn more about the book or purchase it.

The brilliant but now-defunct File Megazine

AA BRONSON: In the early 1970s, we were part of a mail art network, let's call it; a very loose set of affiliations ... begun by Ray Johnson in the late '60s out of New York [City that] was called the New York correspondence school, and was picked up by the Image Bank, a group of artists in Vancouver. (1) And Image Bank started to produce a sort of newsletter in which they would list different artists' image requests and send this out to a mailing list every now and then. So you would get a list of so and so in such and such a city at such and such an address wants images of palm trees or scuba divers or whatever it might be. And people would start to mail each other clippings out of newspapers or magazines or whatever. There was a lot of mail going this way and that. In the early days of General Idea we used to get up rather late in the morning, get ourselves coffee and sit and open the mail, and opening the mail could easily take two or three hours. There was always an enormous stack of mostly clippings from other artists--like a strange sort of clipping service, though it often took the form of collages and so on and so forth. And that started to get so out of hand, the network started to get so big, that we came up with the idea of producing a magazine called FILE that would not only send out listings on a regular basis, but also present some of the results, both collaborations and correspondence between artists.

We'd been together about three years. We were basically straight out of school, totally penniless, living off welfare, most of us. We lived in two floors of a big old abandoned office building in the very center of the financial district of Toronto and the view out of our front window was a sea of secretaries in the building opposite. So how we got this idea that we should publish a magazine I'm not really sure. But Pierre Trudeau was in power at that point and there were a great many unusual forms of funding available and one of them was called local initiatives.

... (more)

archives of the magazine are available through printed matter.

Walter De Maria, "Museum Piece"
An interesting aspect of Minimalism is its complete disregard of form and theme. The word that comes to mind when describing the movement is “nihilistic.” However, by applying this word to the movement, one would also be communicating a philosophy, which is the antithesis of the Minimalist outlook. In a nutshell, Minimalism only exists for the soul purpose of existing.

When Dan Flavin said: "One might not think of light as a matter of fact, but I do. And it is, as I said, as plain and open and direct an art as you will ever find." In this quote he is referring to this theme of absence, in which there are no extraneous meanings and hidden ideas.

“Be aware that what you are doing is meaningless.”- Walter De Maria

"The museum acceptance of Minimalism [...] coincided with the politicization of the New York art world in the late 1960s. Many of the Minimalists became involved in anti-war and urban politics. Judd, along with his then-wife Julie Finch, was active in the War Resisters' League in 1968." -James Meyer

On Dan Flavins, "Primary Structures," (seen left): "both the title and the red colour reflect Flavin's awareness of a growing death tollof the burgeoning Vietnam war." -Meyer

"In the 1960s, mainstream society underwent radical changes as the civil rights movement fought for equality for all Americans and the Vietnam War transformed American attitudes toward government. These dramatic political events, momentous social changes, and the development of alternative lifestyles introduced a period of increased... (more)

Snow Storm: Hannibal and his Army Crossing the Alps, 1812. Oil on canvas,Tate, London, Bequeathed by the Artist, 1856.

Among the 18th-century artists who sought to express the Sublime in their works were James Barry, Henry Fuseli and John Hamilton Mortimer, who frequently chose to interpret subjects from Homer, Shakespeare and Milton, writers on vast and epic themes, and from Fingal (1762) and other poems that James Macpherson (1736–96) passed off as the work of the ancient Scottish bard Ossian. Painters of landscapes recorded natural phenomena: from the mid-1770s Joseph Wright of Derby produced many pictures of Vesuvius in Eruption (e.g. Derby, Mus. & A.G.), while Richard Wilson painted the Falls of Niagara (1774; see fig.) and Philippe de Loutherbourg invented the Eidophusikon, a miniature theatre with sound and lighting effects illustrating the sublimity of nature. Theories of the Sublime ceased to be widely discussed in the 19th century, but it remained a potent force in the paintings of J. M. W. Turner, John Martin, Francis Danby and James Ward, whose Goredale Scar (for illustration see Ward, james) finely exemplifies the genre. On the Continent the Sublime is a recognizable element in the work of Delacroix, Géricault and Friedrich. In the USA the painters of the Hudson River school sought to express in terms of the Sublime the overwhelming magnificence of American scenery... (more)

photo-montage of Wolkenbugel - El Lissitzky, 1925
Filmed by Andrei Tarkovsky in 1979 as Stalker, the Zone is visualised as a Chernobyl-like scarred, postindustrial landscape of ruins, waste, rubbish, of the remnants of industrial civilisation corroded, dilapidated and rapidly being reclaimed by nature . Tarkovsky's version of the Zone has gradually, over the last thirty years, become the foundation of an entire aesthetic. If Modernity, or Modernism, is our Antiquity, then its ruins have become every bit as fascinating, poignant and morbid as those of the Greeks or Romans were to the 18th century. Tarkovsky’s Zone is in some ways specific to the former USSR and a few locations in Estonia, yet practically every industrial or post-industrial country, has something resembling the Zone within it. Such an area would be, for instance, the remnants of industrial districts of East London. Beckton, Woolwich, Stratford, outposts marked by the cyclopean remains of silos, gasometers, factories. These are the places that inspired the Modernists of the 1920s: every manifesto from Le Corbusier's Vers d'une Architecture to Moisei Ginzburg's Constructivist response Style and Epoch had their lovingly photographed silos and power stations. Appropriately, also in the Zone can be found the bastard children of the Modernists, the scatterings of overambitious social housing, with their crumbling highrises and streets in the sky. These are remnants of something as alien and incomprehensible to the seamless mallscape of 21st century Capital, or the heritage Disneyland of European .... (more)

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