The last drop of Babycham has been drunk, it's time to look forward
May the misguided get lost
May the insane find a straight jacket
May the outspoken get taken out
May the young grow up
May the old die
May the poetic choke on their words
May you all get what's coming to you
May my hypocrisy know no bounds
Friday, December 31, 2010
Monday, December 27, 2010
Change the World Buy a T-Shirt
2010 part 3
From artists to bloggers to lowly forum administrators 2010 was the year of the t-shirt. You a fan? Buy the fucking t-shirt it'll prove it. And all had one thing in common, they're 'pointless shit' to prove you have no money and no taste.Word. There are still a few urbane ass ociation t-shirts left so get in quick girls.
2010 witnessed the slow and steady comatisation of the street art forum.
Wallkandy slowed to a comment a day, then closed, then opened, then closed, then moonwalked slowly off the stage. A singular tear rolling down the inner thigh of it's fans.
Banksysforum the fit to burst with earnestness land of the free radical, cops are bad man, let's all knit balaclavas and heal the world, induced buckets of vomit from cynics the world over. At times a one woman crusade to make people love the bespectacled backdoor print prat. At other times the home of the mass conspiracy, paranoia mixed with a lack of education as painful as the jon culshaw impression show.
And last and most certainly least, more hot air than anne widdiecombes ballroom dresses urban art association. 2010 the year of monetarisation, of retardation, of prepubescent humour, of arrogance, of recycling cliched comments, of the Tory, of a slow and steady wiping of a dripping ass across the thickly carpeted floor of what's left of any credibility this scene has. With everyone from pow, to nuart realising this is their 'outlet' store, to dr funky vowing never to post again, to cunts screwing up the love that many years ago made this something to cherish, to a prayer to Lucifer asking for their Dran print to make money. Amen.
And as the year drew to a close so the urban art awards reach a fever pitch of silence. Will the schizophrenic multi posting admin find enough time to create votes for those sitting at the head of the gift table? I'm already prepping my award speech for 'least impressive, most misunderstood, biggest waste of time blog 2010'.
From artists to bloggers to lowly forum administrators 2010 was the year of the t-shirt. You a fan? Buy the fucking t-shirt it'll prove it. And all had one thing in common, they're 'pointless shit' to prove you have no money and no taste.Word. There are still a few urbane ass ociation t-shirts left so get in quick girls.
2010 witnessed the slow and steady comatisation of the street art forum.
Wallkandy slowed to a comment a day, then closed, then opened, then closed, then moonwalked slowly off the stage. A singular tear rolling down the inner thigh of it's fans.
Banksysforum the fit to burst with earnestness land of the free radical, cops are bad man, let's all knit balaclavas and heal the world, induced buckets of vomit from cynics the world over. At times a one woman crusade to make people love the bespectacled backdoor print prat. At other times the home of the mass conspiracy, paranoia mixed with a lack of education as painful as the jon culshaw impression show.
And last and most certainly least, more hot air than anne widdiecombes ballroom dresses urban art association. 2010 the year of monetarisation, of retardation, of prepubescent humour, of arrogance, of recycling cliched comments, of the Tory, of a slow and steady wiping of a dripping ass across the thickly carpeted floor of what's left of any credibility this scene has. With everyone from pow, to nuart realising this is their 'outlet' store, to dr funky vowing never to post again, to cunts screwing up the love that many years ago made this something to cherish, to a prayer to Lucifer asking for their Dran print to make money. Amen.
And as the year drew to a close so the urban art awards reach a fever pitch of silence. Will the schizophrenic multi posting admin find enough time to create votes for those sitting at the head of the gift table? I'm already prepping my award speech for 'least impressive, most misunderstood, biggest waste of time blog 2010'.
Saturday, December 25, 2010
Happy Blooming Christmas
at this time of year, I like to sit in the corner of my bunker under the remains of the Birmingham Bullring, sip my bacardi breezer, eat just one more after eight and remember for all the annoying back slapping, fake, shit stirring, greedy, lying cunts in the world, there's a miserable so and so willing to moan about it (but actually do very little to improve the situation)
Happy Christmas you moaning fuckers
Happy Christmas you moaning fuckers
Thursday, December 23, 2010
The gift that keeps on moaning
The review of the year part 2
Fuck how many artists found a little fame? Charming Baker got bought up by the equivalent of Tescos. Eine showed if the price is right he'll letter just about anywhere. Next year will see him doing some pieces for the lib dems entitled 'not sell outs'. Robbo and his team got all excited and came to early with no real thought for the morning after. Pure Evil continued to pretend to know everyone.
Nick Walker came back, got upset about his children being photographed rather than his new art and shuffled off to buy a new hat. DFace surprised the art world with his versatility by producing a super hero inspired print. Shep released near on two million different images and prayed google images doesn't become a paid for service. Faile stole their grandmothers photo album.
Photoshop b... sorry j toy emailled/posted/shouted to every known news source, blogger, local newsletter, facebook contact, passer by on the street until two of them noticed. And who can forget that artist who boasted about revealing Banksy's identity and turned out to be sixty plus with senility issues, yes you know the one....?
Fuck how many artists found a little fame? Charming Baker got bought up by the equivalent of Tescos. Eine showed if the price is right he'll letter just about anywhere. Next year will see him doing some pieces for the lib dems entitled 'not sell outs'. Robbo and his team got all excited and came to early with no real thought for the morning after. Pure Evil continued to pretend to know everyone.
Nick Walker came back, got upset about his children being photographed rather than his new art and shuffled off to buy a new hat. DFace surprised the art world with his versatility by producing a super hero inspired print. Shep released near on two million different images and prayed google images doesn't become a paid for service. Faile stole their grandmothers photo album.
Photoshop b... sorry j toy emailled/posted/shouted to every known news source, blogger, local newsletter, facebook contact, passer by on the street until two of them noticed. And who can forget that artist who boasted about revealing Banksy's identity and turned out to be sixty plus with senility issues, yes you know the one....?
A Little Souvenir of a Terrible Year
Is it a turd?
No it's Dr Funky's Review of 2010
The year that brought street art is dead into existence kicking and screaming like a convicted murderer taking that final walk.
It's been a year encapsulated by disillusion of fans, of galleries and artists.
Banksy decided 2010 was best spent advertising and opening his film anywhere that would have it. And when that finally reached an end he started on pushing the DVD. Stencils appeared across America although great in composition devoid of soul as they always meant exit was about to premiere. Then there was the truly inspired idea to stick an original in hmv's window and with that throw away every witty anti corporate put down he'd ever thought up. Of course this was almost entirely missed by the fanbase as they spent their time wondering if mbw was banksy, if a special version of the DVD had a print in it and what all this publicity would mean for print prices. Banksys year was topped off with a fuck up of a print release and then an additional apology print release for the fans who were quickest to email in complaints.
Blu and os gemeos produced the pieces of the year as they proved good art with a message could still appearon the streets without directly selling us something. Blu had the added noteriety of having a legal mural buffed because it would upset some old Americans (let's face it what wouldn't?). The worlds favourite middle of the road street art blog of course respected this decision, after all why should street art have a message?
In other news Eelus found fame with a pretty picture that kept the banksy fanboys sated with the prospect of a print that would make them a profit/look good on their kids wall/produce a thousand discussions on when it was to be released. Then after some pretty fucking dire work within a morally ambiguous project in Africa, he stated he'd be laying down his stencils. But of course not before the release of one last print, based on a close up of a cooked lizard that all Africans sit down to eat at the end of a busy day.
3 excerpts from a year that feels wasted. And now to forget it.
No it's Dr Funky's Review of 2010
The year that brought street art is dead into existence kicking and screaming like a convicted murderer taking that final walk.
It's been a year encapsulated by disillusion of fans, of galleries and artists.
Banksy decided 2010 was best spent advertising and opening his film anywhere that would have it. And when that finally reached an end he started on pushing the DVD. Stencils appeared across America although great in composition devoid of soul as they always meant exit was about to premiere. Then there was the truly inspired idea to stick an original in hmv's window and with that throw away every witty anti corporate put down he'd ever thought up. Of course this was almost entirely missed by the fanbase as they spent their time wondering if mbw was banksy, if a special version of the DVD had a print in it and what all this publicity would mean for print prices. Banksys year was topped off with a fuck up of a print release and then an additional apology print release for the fans who were quickest to email in complaints.
Blu and os gemeos produced the pieces of the year as they proved good art with a message could still appearon the streets without directly selling us something. Blu had the added noteriety of having a legal mural buffed because it would upset some old Americans (let's face it what wouldn't?). The worlds favourite middle of the road street art blog of course respected this decision, after all why should street art have a message?
In other news Eelus found fame with a pretty picture that kept the banksy fanboys sated with the prospect of a print that would make them a profit/look good on their kids wall/produce a thousand discussions on when it was to be released. Then after some pretty fucking dire work within a morally ambiguous project in Africa, he stated he'd be laying down his stencils. But of course not before the release of one last print, based on a close up of a cooked lizard that all Africans sit down to eat at the end of a busy day.
3 excerpts from a year that feels wasted. And now to forget it.
Sunday, December 19, 2010
My Dad went to Marks and Stencils and all I got was this bag
He told me Banksy stencilled the side, he was really excited, discussed the merits of framing it, discussed its possible increase in value over the coming 100 years, he discussed its artistic merit, he discussed its caustic wit, its swipe at consumer consumption
I pointed out it was a bag for carrying stuff you bought from the shop
I pointed out it was a bag for carrying stuff you bought from the shop
'I Still Believe In...' For the Love of all that involves people who can actually see
no words can begin to describe this, apart from the apt excuse 'it's for charity'
Wednesday, December 15, 2010
A 19th Colourway for all the Tears
The rumours look to be true, the tears, the moaning, the complaints, like a parent that just wants you to shut up already Pow have a created a new version - hopefully with a signature that reads
'B........fucking serious you really think I'm going to sign this for you motherfuckers....ob'
warm grey/piss
'B........fucking serious you really think I'm going to sign this for you motherfuckers....ob'
warm grey/piss
Tuesday, December 14, 2010
Calling Out Vandalog - Update
it's time to drop the Vandal you lame lame little fucking boy
as I've stopped reading your putrid love-a-thon for anything that may get you a little a 'head' in later life I've had this pointed out to me that you stand shoulder to shoulder on the Blu removal with Deitch, so much for freedom of speech, standing up to authority, daring to be different, fucking having a backbone
give it up
great little article on it - http://animalnewyork.com/2010/12/end-times-when-a-street-art-site-sides-with-a-museum-over-a-street-artist/
Update from RJ:
'After today, I’m going to try to avoid posting or commenting about this whole Blu/Deitch/MOCA series of blunders until at least April because I think I’ve pretty much said I feel needs to be said. After having a number of discussions with some people I respect, some who agree and some who disagree with what I’ve said in the past about all this and with a particular thanks to Tan at Arrested Motion who’s insights helped me to better strengthen and develop my own opinions, and with some new statements and facts coming out, it seemed worth writing a bit more about all this. Anyway, the actual post with my thoughts on all of this…
I think that those of us on different sides of this debate disagree less than some people realize. Mostly, we seem to see the responsibilities and rights of a museum differently.
What I’ve seen from all this are the difficulties of bringing street art into a museum context. It is important that art history and museums recognize the street art and graffiti movements, but it isn’t easy to do. A show of only work on canvas or screenprints or other “gallery art” clearly wouldn’t be a street art show, but the Tate Modern missed an opportunity by keeping things outdoors. So it seems that the solution would be a show that mixes outdoor projects with a gallery component, like MOCA is planning to do in April. Except that a museum cannot commission street art. They can commission public art by street artists, and there is a difference. Public art, such as that commissioned by MOCA, comes with certain responsibilities and considerations that do not exist in street art
That’s why festivals like FAME, Primary Flight and Nuart are so important. Their focus is on bringing street art and graffiti to an area, and they don’t have the same considerations of museums. A lot of what goes up at FAME still goes up illegally and without anyone’s permission. While museum exhibitions are important for securing street art the place that many people believe it deserves in art history, those mural projects are of at least equal importance for actually bring new street art into the public space.
Blu says he was censored. I respect Blu for not bowing to the concerns of working in a museum context and not subjecting himself to “self-censorship,” but public art involves what Blu would term self-censorship. Until Blu’s statement, I had been under the impression, now obviously incorrect, that Blu might be returning to paint another mural for MOCA. That made me feel less upset about his wall getting buffed. Unfortunately, Blu will not be returning. It’s too bad, because as I’ve said before, a mural by him could have been a highlight of MOCA’s street art exhibition, but I respect Blu for sticking to his principles.
That doesn’t mean that Deitch was wrong to remove the mural though. It was a difficult decision well but within his rights as a curator and museum director. It is not the decision that I wish he had made and I highly doubt that Deitch took any joy in his decision either, but it may have been the right move for the exhibition and more importantly I can see why it would be the right move for the museum as a whole
The (admittedly imperfect) analogy that I’ve come up with for this situation goes something like this: A curator at MoMA is putting on a show and wants to include a new painting by Murakami. Somehow through some crazy miscommunication with Murakami’s studio, a painting arrives that the curator hates or for whatever reason cannot be included in the exhibition. The curator screwed up. He should have communicated his thoughts more clearly to get something closer to what he wanted to include in the show. What does the curator do? He sends the painting back to Murakami and doesn’t include it in the show. That’s part of his job as curator.
Unfortunately at MOCA, that situation played out in public and in the artwork had to be destroyed instead of being sent back. MOCA removed a mural that they had not approved to have painted (they asked Blu to paint a mural, but mistakenly did not approve a specific design beforehand) in the first place. In that sense, I can certainly appreciate the argument that MOCA buffed a piece of street art, and that’s ironic and not desirable.
Probably the person who has expressed his balance of support for Deitch with disappointment in the destruction of the mural best is Shepard Fairey (and I’ve used some of his ideas in this post). Here’s some of what he said to The LA Times:
However, a museum is a different context with different concerns. It would be tragic for the break through of a street art /graffiti show at a respected institution like MOCA to be sabotaged by public outcry over perceived antagonism or insensitivity in Blu’s mural. Graffiti is enough of a contentious issue already. The situation is unfortunate but I understand MOCA’s decision. Sometimes I think it is better to take the high road and forfeit a battle but keep pushing to win the war. Street art or graffiti purists are welcome to pursue their art on the streets as they always have without censorship. I think that though MOCA wants to honor the cultural impact of the graffiti/street art movement, it only exists in its purist form in the streets from which it arose.
No matter how hard they try or how much some people wish this were not true, institutions are not the streets.'
quite frankly Fairey lost the right to have an opinion worth noting on anything along time ago, as for the rest of this, Deitch fucked up don't ask a street artist who has politics in all his work to do a fucking piece for you - if your going to run scared from it's content. It's that simple.
Art is not something to censored, not something to be told 'actually this doesn't fit in with the coulour of our sofa's can you do anopther piece?' By sitting there telling an artist we have concerns, your cuttting out the central part of the artistic process - the fucking artist's work.
Go on all you like about the museums responsibilities etc etc but then don't involve a street artist - unless they're a complete sell out twat, who's work is dull, boring and doesn't have intrinsic questions to ask of society.
Fuck this bullshit, street art is/was about being outside institutions, if an institution wants to represent it they'll need to have balls and a fundamental understanding of what they're getting into.
as I've stopped reading your putrid love-a-thon for anything that may get you a little a 'head' in later life I've had this pointed out to me that you stand shoulder to shoulder on the Blu removal with Deitch, so much for freedom of speech, standing up to authority, daring to be different, fucking having a backbone
give it up
great little article on it - http://animalnewyork.com/2010/12/end-times-when-a-street-art-site-sides-with-a-museum-over-a-street-artist/
Update from RJ:
'After today, I’m going to try to avoid posting or commenting about this whole Blu/Deitch/MOCA series of blunders until at least April because I think I’ve pretty much said I feel needs to be said. After having a number of discussions with some people I respect, some who agree and some who disagree with what I’ve said in the past about all this and with a particular thanks to Tan at Arrested Motion who’s insights helped me to better strengthen and develop my own opinions, and with some new statements and facts coming out, it seemed worth writing a bit more about all this. Anyway, the actual post with my thoughts on all of this…
I think that those of us on different sides of this debate disagree less than some people realize. Mostly, we seem to see the responsibilities and rights of a museum differently.
What I’ve seen from all this are the difficulties of bringing street art into a museum context. It is important that art history and museums recognize the street art and graffiti movements, but it isn’t easy to do. A show of only work on canvas or screenprints or other “gallery art” clearly wouldn’t be a street art show, but the Tate Modern missed an opportunity by keeping things outdoors. So it seems that the solution would be a show that mixes outdoor projects with a gallery component, like MOCA is planning to do in April. Except that a museum cannot commission street art. They can commission public art by street artists, and there is a difference. Public art, such as that commissioned by MOCA, comes with certain responsibilities and considerations that do not exist in street art
That’s why festivals like FAME, Primary Flight and Nuart are so important. Their focus is on bringing street art and graffiti to an area, and they don’t have the same considerations of museums. A lot of what goes up at FAME still goes up illegally and without anyone’s permission. While museum exhibitions are important for securing street art the place that many people believe it deserves in art history, those mural projects are of at least equal importance for actually bring new street art into the public space.
Blu says he was censored. I respect Blu for not bowing to the concerns of working in a museum context and not subjecting himself to “self-censorship,” but public art involves what Blu would term self-censorship. Until Blu’s statement, I had been under the impression, now obviously incorrect, that Blu might be returning to paint another mural for MOCA. That made me feel less upset about his wall getting buffed. Unfortunately, Blu will not be returning. It’s too bad, because as I’ve said before, a mural by him could have been a highlight of MOCA’s street art exhibition, but I respect Blu for sticking to his principles.
That doesn’t mean that Deitch was wrong to remove the mural though. It was a difficult decision well but within his rights as a curator and museum director. It is not the decision that I wish he had made and I highly doubt that Deitch took any joy in his decision either, but it may have been the right move for the exhibition and more importantly I can see why it would be the right move for the museum as a whole
The (admittedly imperfect) analogy that I’ve come up with for this situation goes something like this: A curator at MoMA is putting on a show and wants to include a new painting by Murakami. Somehow through some crazy miscommunication with Murakami’s studio, a painting arrives that the curator hates or for whatever reason cannot be included in the exhibition. The curator screwed up. He should have communicated his thoughts more clearly to get something closer to what he wanted to include in the show. What does the curator do? He sends the painting back to Murakami and doesn’t include it in the show. That’s part of his job as curator.
Unfortunately at MOCA, that situation played out in public and in the artwork had to be destroyed instead of being sent back. MOCA removed a mural that they had not approved to have painted (they asked Blu to paint a mural, but mistakenly did not approve a specific design beforehand) in the first place. In that sense, I can certainly appreciate the argument that MOCA buffed a piece of street art, and that’s ironic and not desirable.
Probably the person who has expressed his balance of support for Deitch with disappointment in the destruction of the mural best is Shepard Fairey (and I’ve used some of his ideas in this post). Here’s some of what he said to The LA Times:
However, a museum is a different context with different concerns. It would be tragic for the break through of a street art /graffiti show at a respected institution like MOCA to be sabotaged by public outcry over perceived antagonism or insensitivity in Blu’s mural. Graffiti is enough of a contentious issue already. The situation is unfortunate but I understand MOCA’s decision. Sometimes I think it is better to take the high road and forfeit a battle but keep pushing to win the war. Street art or graffiti purists are welcome to pursue their art on the streets as they always have without censorship. I think that though MOCA wants to honor the cultural impact of the graffiti/street art movement, it only exists in its purist form in the streets from which it arose.
No matter how hard they try or how much some people wish this were not true, institutions are not the streets.'
quite frankly Fairey lost the right to have an opinion worth noting on anything along time ago, as for the rest of this, Deitch fucked up don't ask a street artist who has politics in all his work to do a fucking piece for you - if your going to run scared from it's content. It's that simple.
Art is not something to censored, not something to be told 'actually this doesn't fit in with the coulour of our sofa's can you do anopther piece?' By sitting there telling an artist we have concerns, your cuttting out the central part of the artistic process - the fucking artist's work.
Go on all you like about the museums responsibilities etc etc but then don't involve a street artist - unless they're a complete sell out twat, who's work is dull, boring and doesn't have intrinsic questions to ask of society.
Fuck this bullshit, street art is/was about being outside institutions, if an institution wants to represent it they'll need to have balls and a fundamental understanding of what they're getting into.
Blu on the Mural Removal
http://latimesblogs.latimes.com/culturemonster/2010/12/mocas-jeffrey-deitch-talks-about-his-decision-to-remove-blus-anti-war-mural.html
fuck them all, Art has to be controlled and contained at least in the sterile world of gallery politics bullshit
'Are we all over the Blu thing now... Good... Moving on!!' Don't worry Remi we'll move on and no we won't be stopping to take in your latest piece.
fuck them all, Art has to be controlled and contained at least in the sterile world of gallery politics bullshit
'Are we all over the Blu thing now... Good... Moving on!!' Don't worry Remi we'll move on and no we won't be stopping to take in your latest piece.
Todays Offering Another Dran
just in case you'd forgotten what Dran likes to draw, here's another piece with handfinishing involving something or other blah blah blah
Conor Harrington's 'Holy Shiteeeke'
New print from The Outsiders and quite rightly this piece should be kept outside, possibly as the doormat?
I think intrinisically this piece tells us to get a someone in with a massive mop for when you drop your raspberry cocktail on the floor.
terrible
I think intrinisically this piece tells us to get a someone in with a massive mop for when you drop your raspberry cocktail on the floor.
terrible
Sneak Preview
The Chimp's been on the meds tonight
'of the forthcoming POW release, a collaboration between Nick Walker
and Mr. Brainwash, to be released Christmas morning at 6:66am at the
POW offices.
23 colour print, featuring 22 shades of grey and one "flash" colour,
of which there will be 57 seperate colour options, starting from 10
copies of colour option one (angel sperm colour, featuring Banksy's
toenail clippings hand-applied as eyebrows) priced at £3,875, rising
to 8,946 copies of colour option 57 priced at £299.99 (attached).
TOP SECRET
DON'T TELL ANYONE
Merry Christmas from all at Prepubescent Ordinary Wankers
p.s. we have hacked this random email address for extra security
measures ensuring the secrecy of this release. do not reply. but if
you do, please include your full name and address, passport number,
DOB, bank details, etc, so we can transfer the proceeds from the
Burkina Faso National Banko as previously discussed. god bless you and
your family. I am a man of pees, god bless'
'of the forthcoming POW release, a collaboration between Nick Walker
and Mr. Brainwash, to be released Christmas morning at 6:66am at the
POW offices.
23 colour print, featuring 22 shades of grey and one "flash" colour,
of which there will be 57 seperate colour options, starting from 10
copies of colour option one (angel sperm colour, featuring Banksy's
toenail clippings hand-applied as eyebrows) priced at £3,875, rising
to 8,946 copies of colour option 57 priced at £299.99 (attached).
TOP SECRET
DON'T TELL ANYONE
Merry Christmas from all at Prepubescent Ordinary Wankers
p.s. we have hacked this random email address for extra security
measures ensuring the secrecy of this release. do not reply. but if
you do, please include your full name and address, passport number,
DOB, bank details, etc, so we can transfer the proceeds from the
Burkina Faso National Banko as previously discussed. god bless you and
your family. I am a man of pees, god bless'
Urban Moan
Far far away, hidden amongst the snow capped mountains of Milton Keynes lies Funk Towers the last bastion of sanity in this truly fucked up world. In the furthest darkest corner sits Dr Funky quietly contemplating the last few days.
Last Saturday saw the release of 'Choose Your Weapon' in 20 colours, reminiscent of the soup cans in nature although actions surrounding their sale hugely different. 8 colours at Pow HQ, 3 colours at marks & stencils, 3 colours for under the counter / rich clientele' and 4 colours online. Then the mayhem began.
Cutting through all the pages of bullshit excreted by a number of truly sorry cunts on the Internet, the truth lies this way -
Pow thought emailing information at 10pm Friday night would stop people from queuing. This was scuppered by queuing already starting at Marks & Stencils prior to this and this queue not being dispersed or informed. Once the email was out, this queue speeded to Commercial St, to be met by a long queue already in place? It's easy to conclude people had been made aware of this prior to the email. This queue was not policed until the next morning by security who gave out tickets to those holding out their hand the closest to them with little thought for a long queue . The lack of security and record of place in queue led to pushing in, fights and bullshit. Those left out were told to go to marks & stencils for another release - emergency measure?
So, Pow fucked up.
Simply following a similar release 'plan' to last years 'new ball games' would have meant those queuing in the evening would have received a ticket, that could have been exchanged at regular intervals prior to receiving your print the next morning. Getting security to come earlier and police the queue would have stopped any violence.
On top of this you have a breed of man purchasing this print known as homo-chicken-shit-coward-weasal-sapien, who are not only considerably weaker than normal men, but also bleat and moan like a woman in the middle of giving birth to triplets. The events of that 24hours have given these homo-chicken-shit-coward-weasal-sapiens the perfect excuse to exercise their inbred inability to stand tall to the full extent that the Internet will allow them. It has also seen some truly good fudge tunnel licking action from pictures on walls supporters who should just shut the fuck up when there clearly has been mistakes made.
What has been learnt? Pull out that Internet connection, walk out into the big dark world and become a fucking man.
Last Saturday saw the release of 'Choose Your Weapon' in 20 colours, reminiscent of the soup cans in nature although actions surrounding their sale hugely different. 8 colours at Pow HQ, 3 colours at marks & stencils, 3 colours for under the counter / rich clientele' and 4 colours online. Then the mayhem began.
Cutting through all the pages of bullshit excreted by a number of truly sorry cunts on the Internet, the truth lies this way -
Pow thought emailing information at 10pm Friday night would stop people from queuing. This was scuppered by queuing already starting at Marks & Stencils prior to this and this queue not being dispersed or informed. Once the email was out, this queue speeded to Commercial St, to be met by a long queue already in place? It's easy to conclude people had been made aware of this prior to the email. This queue was not policed until the next morning by security who gave out tickets to those holding out their hand the closest to them with little thought for a long queue . The lack of security and record of place in queue led to pushing in, fights and bullshit. Those left out were told to go to marks & stencils for another release - emergency measure?
So, Pow fucked up.
Simply following a similar release 'plan' to last years 'new ball games' would have meant those queuing in the evening would have received a ticket, that could have been exchanged at regular intervals prior to receiving your print the next morning. Getting security to come earlier and police the queue would have stopped any violence.
On top of this you have a breed of man purchasing this print known as homo-chicken-shit-coward-weasal-sapien, who are not only considerably weaker than normal men, but also bleat and moan like a woman in the middle of giving birth to triplets. The events of that 24hours have given these homo-chicken-shit-coward-weasal-sapiens the perfect excuse to exercise their inbred inability to stand tall to the full extent that the Internet will allow them. It has also seen some truly good fudge tunnel licking action from pictures on walls supporters who should just shut the fuck up when there clearly has been mistakes made.
What has been learnt? Pull out that Internet connection, walk out into the big dark world and become a fucking man.
Thursday, December 9, 2010
Blu in LA
missed this as it was buffed in 24 hours
as pointed out to me, the irony in the speed of the buff is all the bullshit on walls by brainwash and obey
as pointed out to me, the irony in the speed of the buff is all the bullshit on walls by brainwash and obey
You Say Jump
A strange calm has fallen over Funk Towers in the last few days, maybe it's the diazepam I've been lacing Mrs Funky's tea with or maybe it's witnessing all the recent clamour for a Banksy and the steady realisation of the 'general misguided' what a fucking joke this has all become?
It's the diazepam I know I know.
Everything leads to a product for sale, hanging out the window as bait to get your pounds in the front door. It's not controversial, it's not thought provoking, it's not a protest, it's not questioning authority, it's not even a picture to make you smile on the street in the piss stained alley opposite the fine art gallery where Ronnie Wood's son pretends to be cool (because money is cool innit?), it's purely a marketing technique. With pound signs as Christmas decorations.
What does the print mean to you when you stop to think? Is it purely because it's a Banksy and peer pressure makes you want it? Is it purely because 450 pounds can become 2000 pounds in a day?
Your new 'shop counter' culture premise to frequent when you need an injection of hipness and profit, the perfect capitalist machine.
It's the diazepam I know I know.
Everything leads to a product for sale, hanging out the window as bait to get your pounds in the front door. It's not controversial, it's not thought provoking, it's not a protest, it's not questioning authority, it's not even a picture to make you smile on the street in the piss stained alley opposite the fine art gallery where Ronnie Wood's son pretends to be cool (because money is cool innit?), it's purely a marketing technique. With pound signs as Christmas decorations.
What does the print mean to you when you stop to think? Is it purely because it's a Banksy and peer pressure makes you want it? Is it purely because 450 pounds can become 2000 pounds in a day?
Your new 'shop counter' culture premise to frequent when you need an injection of hipness and profit, the perfect capitalist machine.
Wednesday, December 8, 2010
Need a Release?
All pent up and frustrated?
Need to spurt some vitriol over some unsuspecting viewers?
Don't pay money to do it.
Email me and I may post it, under 'Anonymous said..' (see About Me for contact details)
Need to spurt some vitriol over some unsuspecting viewers?
Don't pay money to do it.
Email me and I may post it, under 'Anonymous said..' (see About Me for contact details)
Monday, December 6, 2010
Todays Offering too much Blancmange
Kelsey Brookes
'Ya'
many print layers and many more handfinished colours and yet all I can see is Beetlejuice
maybe that's good?
Sunday, December 5, 2010
Sod The Rich at Souled Out Studios
Print coming soon from Chu
lets hope the price matches the number of seconds it made me smile
edition of 250, 35 quid so that's a no then.
lets hope the price matches the number of seconds it made me smile
edition of 250, 35 quid so that's a no then.
Friday, December 3, 2010
Dran 'I Have Chalks' - The Review
After the massively underwhelming 'Marks & Stencils' a show that unfortunately is all about the Banksy print and mechanisms to sell other fluff to awaiting masses. Along came 'I Have Chalks' a week later.
The sister show to m&s centring around 100 handfinished prints was set to leave me going 'same shit, different day'. Amazingly enough it didn't! Maybe it's the sub-zero temperatures cracking my cold dead heart, or maybe this has gone under the radar and actually shows a newer, more heartfelt angle to Dran's work. 100 prints showing various images ranging from graf, missing parents, to remembering his dog being put down, losing part of you to someone else, to longing for friends, there's some pretty wide ranging topics in there. The weakest being nods to POW and other artists (Invader).
The sister show to m&s centring around 100 handfinished prints was set to leave me going 'same shit, different day'. Amazingly enough it didn't! Maybe it's the sub-zero temperatures cracking my cold dead heart, or maybe this has gone under the radar and actually shows a newer, more heartfelt angle to Dran's work. 100 prints showing various images ranging from graf, missing parents, to remembering his dog being put down, losing part of you to someone else, to longing for friends, there's some pretty wide ranging topics in there. The weakest being nods to POW and other artists (Invader).
In spite of themselves, or maybe because Dran does have something to say, Pow have a show worth taking in
Todays Offering a Soldier to do your Washing Up
What the world needs now is Love sweet, is a soldier wearing marigolds and lipstick
Wednesday, December 1, 2010
Mr Brainwash presents "Under Construction"
Tessa continues apace with plans for starting his Athena empire of photoshopped images with paint splatters.
The 'Under Contruction' this show refers to, is a machine Tessa is currently building that will produce these pictures with the paint splatters for him, rumour has it, it's called an 'inkjet printer'.
shhhhhhh
Mentally Challenged Dolk Sale News!
Kitty Riot has sold out?
hello
pretty pictures
cool slightly ever so slightly questionable
I like my one friend on skype to be impressed by the thought,I may in someway be down with the criminals
little kid criminals playing cowboys and indians
feel my edginess and coolness it manifests itself mainly in body odour and sweaty palms
But only for a week, because I've noted Teddy Riot is going for well above cost on Ebay so this will to. It's all too easy, all the dim fuckers buying into the buying into, before realising she was a heffer and I fucking hope I gave her a fake mobile number.
hello
pretty pictures
cool slightly ever so slightly questionable
I like my one friend on skype to be impressed by the thought,I may in someway be down with the criminals
little kid criminals playing cowboys and indians
feel my edginess and coolness it manifests itself mainly in body odour and sweaty palms
But only for a week, because I've noted Teddy Riot is going for well above cost on Ebay so this will to. It's all too easy, all the dim fuckers buying into the buying into, before realising she was a heffer and I fucking hope I gave her a fake mobile number.
Subscribe to:
Posts (Atom)