To Be Seen
by Alice Arnold, Director
First Run / Icarus Films, Brooklyn NY,
2005
VHS, 30 mins., col.
Sales (Video-DVD) $225; rental (Video-DVD)
$75
Distributors Web site: http://www.frif.com.
Reviewed by Rob Harle (Australia)
harle@dodo.com.au
This short film indirectly poses many
more questions than it answers. This I
see as its main contribution to the complex
issues involved with art, commercial art
(advertising), graffiti, and street art.
It runs for a mere 30 minutes, just long
enough to raise important issues regarding
reclamation of public space by street
artists, but not long enough to investigate
the issues involved thoroughly. I see
the film as a pilot for either a full
length, in-depth documentary or as a catalyst
for serious academic discourse regarding
humanitarian values.
The camera-work is excellent, the interviews
with artists interesting, and the footage,
whilst restricted to a very small section
of the planet (lower east-side of New
York), shows a broad range of artistic
styles and innovative solutions to the
challenges of getting ones work
"out there". Some of these challenges
include avoiding police intervention,
combating the harshness of the weather,
the dangers of getting to awkward spots
high above the ground, and being seen
above the cacophony of other images, most
of which are corporate advertising.
One street artist in the film counters
the charge of vandalism against
street art by coining the term brandalism.
This, of course, refers to the intense
obscenity of flashing neon, young, almost
naked provocative bodies and strategically
located images whose existence is only
justified if it sells "n" number of unitswhether
they be jeans, soft drinks, or electronic
appliances. The charge of corporate "art"
owning the street or public space is quite
justified, and the street artists in this
film see it as their purpose to return
the street to the public and, yes, subvert
the dominant paradigm of rampant capitalismif
it doesnt turn a dollar, then its
worthless.
The street artists represented also want
their art to be seen, this might sound
like a tautology; however, talent and
brilliance do not guarantee shows at prestigious
art galleries. The art circus (my derogative
term) is as much, if not more commodity
orientated, than companies flogging underwear.
Street art is really an "equal opportunity"
gig, without a curator, no monetary value,
and no art critic suggesting the artist
should change their colour schemes because
the one they use isnt selling well
at the moment!
The powerful effects of street art are
no illusion as the latter part of the
film shows. Corporations are now employing
street art styles and techniques, together
with prostituting some street artists
who have "sold out" to advertise their
products. As one artist in the film states,
"It is very difficult in many cases to
tell the difference between corporate
graffiti and the genuine article". The
corporations have their huge advertising
budgets to legally rent building façade
space and so on.
In another review of this film (Leonardo
Reviews April 2006), Roy Behrens implies
that these street artists are, in a sense,
biting the hand that feeds them in that
their parents probably (an unfounded
assumption) paid for their art education
from wages probably (again ditto)
earned from the corporations they are
criticising. Does Behrens really believe
these artists should make nice safe art
that reinforces the status quo? If so,
he misses the point of making art completely.
If anything, many of these art schools
owe the artists an apology for stifling
their natural creativity by insidiously
moulding them into standard art school
clones.
One niggling, rather understated, problem
the film raises is the difference, if
any, between graffiti and street art.
This is a complex philosophical problem
that I doubt has ever been satisfactorily
resolved. Plato argued that a crime is
a crime regardless of whether it is a
loaf of bread or a fortune in gold bullion
that has been stolen. Are decaying, derelict
ugly buildings (largely abandoned because
they are no longer profitable) an offence
to the passing public? Are brash "in your
face" advertising billboards an offence
to public sensibility? Is writing, "End
Poverty" by a disenfranchised hungry youth
on one of these buildings a crime compared
to the obscene profits made by corporations
advertising designer shoes on an adjacent
building? My view is echoed by the words
of Simon and Garfunkels song Sound
of Silence:
"And the people bowed
and prayed
To the neon God they made
And the sign flashed out its warning
In the words that it was forming
And the sign said, the words of the prophets
Are written on the subway walls
And tenement halls
And whispered in the sounds of silence."
(read, apathy)
A great film, if for no other reason than
because it challenges the status quo.