Aerosol Art

Some call it aerosol art, others call it street art, in Queensland, its known as the damage to property caused by spraying, writing, drawing, marking or applying paint without the property owner’s consent, and is punishable with 5 years in prison.

These strict laws were introduced in 2008 in response to growing public concern about graffiti, which is apparently seen by many as an eyesore that increases people’s fears that other crime is common in the area.

Now, I agree that some graffiti out there — phalluses scratched into bus seats and curse words sprayed across underpasses — offers little in the way of legitimate artistic expression, however a city’s haste in labelling all graffiti as vandalism places cultural viability at risk. Miller argues that there needs to be differentiation between dicks drawn on bus shelters and the works of talented street artists. He states that genuine street art is a significant factor in the facilitation of public discussion as the medium aims to capture and share ideas, whether on a large or small scale, to the masses. In fact, when looking into the benefits associated with street art, it can be said that the art form can be very valuable to the cities where it is present.

IT INITIATES DECENT CONVOS…

“The public reaction is what supplies meaning and value. Art comes alive in the arguments you have about it” — Banksy

Sincere street art, depending on the artist’s intended message, has the ability to initiate some pretty decent conversations. The sheer volume of media attention, both social and network, that some street artworks attract illustrates the ability of the medium to spark meaningful public conversation. For instance, one of the mediums most notable artists, Banksy, is well known for his politically provocative works, with each of his pieces tending to go viral even before the paint has dried.

Funnily enough, this thought-provoking aspect of street art helps to establish a link between ‘aerosol art’ and more traditional art forms. For instance artists like Picasso and Manet, were known for producing works that sparked controversy and provoked public debate; Picasso’s ‘Les demoiselles d’Avignon’ (1907) and Manet’s ‘Olympia’ (1863) were each strongly criticised for their casual presentation of female sexuality. In the case of ‘Olympia’ some critics attempted to destroy the piece whilst it hung in a Parisian gallery. However, over a century later, both works are now praised for being some of the most famous nudes in history. When compared with the works of today’s street artists, similarities can be seen between the intent of street and traditional art forms — to push the boundaries in order to create meaning and conversation. So why is it that, where ‘Olympia’ was protected by two gallery guards at all times, compelling works of street artists are being removed, covered, and destroyed?

I am of the opinion that, like many things previously condemned due to their confronting nature, it is only a matter of time before street art becomes a universally accepted art form. After all, isn’t the aim of art of any medium to give a person pause and provoke thought? Is that not what street art does?

IT LETS PEOPLE KNOW YOU GOT (CULTURAL) GAME…

Now I, like many other reasonable people, view the vibrantly coloured illustrations and satirical stencil works as an indication of an areas cultural richness, rather than seeing the street art as destruction of property or an eyesore. Cesar Hidalgo is of the same opinion, explaining that the presence of street art has a significant effect on how unique a cityscape appears. Hence why those cities wherein street art is more prevalent tend to be viewed as cultural and artistic hubs in which authentic artistic expression is nurtured.

Those who may not enjoy the conventional nature of museums and galleries can turn to the streets in the pursuit of uncovering a seemingly more authentic representation of the city’s culture. What’s more is that viewing street art is free! Yes, someone may have ownership of the wall, pipe, sidewalk or whatever in which the art is displayed, however audiences enjoy the pieces free of charge. In fact, a large portion of street art’s perceived cultural authenticity is the result of excluding intermediaries (ie gallery curators) — opposed to going through the traditional process of pretty much begging a gallery to display their work, artists have the ability to scatter their pieces across cities in the colours, sizes and locations they choose (that is if they are willing to pay the nasty fines that come with ‘damaging property’). Culture is at the heart of a city’s identity, and attempting to restrain it within the confines of what is ‘traditional’ only stifles the creative energy of a metropolis.

IT BRINGS IN SOME EXTRA DOSH…

Although the concept of placing a price tag on this kind of free expression can be seen as a bit icky — like eww, don’t monetise something so pure — there is decent money in street art. Many pro-street art cities have been conducting hot spot tours in order to cash in on the medium’s popularity. Berlin for example, has been conducting these tours for years, which makes sense seeing as the German capital is home to thousands of illustrations, posters, stencil works and much more.

Even without official tours, street art is able to help boost the ol’ economy just by being nearby. Melbourne’s Hosier Lane, which has been labelled an approved outdoor location for street art, is a prime example. Now known as a trendy tourist hot spot, the art riddled laneway has been a fiscal blessing for local businesses. Nearby coffee shops and boutiques are exposed to copious amounts of foot traffic leading in and out of the lane, providing a nice increase in cash flow, and the presence of the art has created a vibrant urban environment.

WHAT ABOUT US?!

Like all things in Brisbane, our street art scene is moving slooowwly, and is restricted by a fair bit of bureaucratic red tape. However, the good news is there is someone in our sleepy town who has considered what we’re condemning and foregoing in prohibiting street art. BSAF organisers Lincoln Savage and David Don wished to unite street artists and Brisbane residents by hosting a street art festival. The week-long festival has been a great starting point in the campaign to exalt street artworks, with many artists and locals supporting the event.

Although BSAF has acted as a legitimate kick-starter in illustrating to the Brisbane public that street art is not to be feared, there is a fair way to go. Many wonderful works are being hidden from our populace and visitors due to the stigma associated with aerosol art. It is time that Brisbane takes a page out of our Southern brothers’ and sisters’ book and embrace the artistic talent that’s right under our noses.

Originally published at The Isthmus.