It's very intense to go back to the past and revive work that I've already experienced and moved forward from. It's like seeing an old girlfriend - awkward at times, nostalgic at times and downright maddening and embarrassing.
From Barry McGee
Some people are enraged, and some people are applauding. If there were a mission statement for graffiti, that would be it.
I like the idea that you can paint something outdoors, and anyone can see it. It's open to anyone, and people have to deal with it. In the gallery, it's the same 150 people on the San Francisco art scene. There's a dynamic on the street that's definitely more interesting.
I'm really into California art from the '60s.
The parts of graffiti I like are really antagonizing still - it's not something that a museum would really embrace.
I read in a weird way. It comes in waves, and then I start, like, five different books at once. It takes me six months to a year to finish them all, since I read mostly on planes.
I have tons of art books. I have them all over the place. They are in my car, in my bag, and in my studio. There are books around me all the time.
As soon as I start reading, drawing comes to me more easily. I find I work in my sketchbooks more. But if I'm working on a new show, my reading completely stops except when I'm on a plane. I take a stack of New Yorkers with me. I feel awful about those stacks of New Yorkers.
Street artists need to get back to actually doing things on the streets instead of in the galleries where they all seem to be ending up. I hope this term 'street artist' falls from the face of the earth, in my honest opinion.
I see a really good tag on a building, a man passed out in the middle of the street, a couple hugging, a cop arresting a panhandler. I'm interested in how all these things are happening in one block.
10 perspectives
5 perspectives
4 perspectives
1 perspectives