Street Art and Graffiti as Public Dialogue

We have long advocated that street art and Graffiti are a particularly potent force for public dialogue about issues facing our urban spaces. A recent post on Arrested Motion on the interaction between Pixadores and commercial street artists in Sao Paolo helps prove the point. According to the post, some Paolistas are angry that the city is funding beautification projects while the cities poor are overlooked. Taking this issue to the streets they defaced a city funded mural project with the following sentence. “R$ 200,000 in makeup, and the city is in calamity.” In doing so they have created an important dialogue about who the city looks after in a very visible way. Sadly their commentary was removed immediately as it was clearly not to the cities liking. I do hate to see such beautiful work buffed like this but I am happy to see that conversations through public works continue to push important social issues.

VIA Arrested Motion

Proving that tensions between graffiti artists and street artists are not just a phenomena of the western world (see banksy vs. robbo),Pixacao artists in Sao Paulo have defaced a mural by Os Gemeos, NUNCA, NINA, Finok, and Zefix. They are probably angry that the mayor of Sao Paulo, after creating the project “Clean City” in 2006 (which erased much of the illegal graffiti) is using public funds for commissioning legal writers and famous street artists. This all at a time when the government is perceived by them as doing nothing to help the poor communities that were flooded after 30 days of non-stop rain, yet the mural was all cleaned in the same night, by a huge team of City Hall by using sponges and hydraulic cranes. [More Here]

Anonymous Advertising Takeover In Amsterdam

We were just sent this ad takeover from an anonymous artist in Amsterdam. It is always interesting to see how much of this kind of "illegal" activity is happening around the world and how people are thinking critically about their relationship to commercial messages. Along with these images came a small blurb from the artist which I thought was worth including in this post. The artist is clearly critical of his or her work and understands that beyond getting rid of outdoor advertising, they are demanding a space that is "pro freedom and expression of the people." Thanks again to all those artists taking the time to challenge outdoor advertising's use of the public environment. Keep up the good work and continue to send us your imagery.

Being a graffiti/street artist with an activist background, the stuff that I do in the streets is very varied. But always one of my projects has been hijacking the space in the small billboards behind glass, the so called 'abri's, owned by JCDecaux, at least if they contained posters of commercial companies that want us to buy more stuff. Sometimes I replaced the posters with my own message, sometimes I just alter the poster itself. I attached some images of where I used origami to take the original poster and transform it into something different. It needs a minimum amount of time and materials, and it is great fun. However after some times I left this idea, as it doesn't seem to really work. The image of the abri with an origamied poster in it is just not challenging enough, it doesn't really stand out. I also had trouble thinking in which origami shape I should fold it, eventually I just used a star, being a kind of neutral but recognisable shape. Of course the message is more in folding it than in the specific folded shape, but still every shape I would take would be a bit random. However, still I thought sharing these images with you would be worthwhile. At the moment I am thinking of new ways to change these posters. It is not on a big scale at all but I believe someone needs to do it every once in a while, against commercial ads and pro freedom and expression of the people.

Peter Fuss in Poland

Peter Fuss sent us his most recent ad takeover in Gdynia, Poland. Always excited to see more ad takeovers happening around the world, we are happy to see Peter Fuss continuing to take back the streets.

Weave It! NPA City Outdoor/PublicAdCampaign Collaboration-Los Angeles

The most recent Weave It! piece was put up while I was on a trip in Los Angeles and was installed at the corner of Sunset and Parkman street. I installed it around midnight on Friday, February 12th, and sadly it seems this is right around the time NPA puts up their illegal posters. When I came back on Saturday morning the piece had already been removed. Ill be heading back to Los Angeles a bit in the next few months and will make sure I don't go out on Fridays this time around.

Interview For Student Dissertation

After finding me through Poster Boy, this interview was given to an artist and student at the University of Brighton who wishes to remain anonymous. They told me that they are finishing their last year of study in graphic design, and are writing a dissertation on the theme 'is street art reclaiming public space?' Having interviewed Ron English, Dr. D, and Poster Boy about this already, I look forward to reading the final paper. If they are okay with us disseminating the final piece, we will post it here.

Do you think street art in itself is a political act or does the content or message of the piece need to have a clear political message?

Until Street Art and Graffiti production on unsolicited walls is legalized, these acts will continue to be political even if the content is not. Whether or not the practitioner admits it, putting work up on the street illegally is a demand for a public space that is conducive to public curation and participation. Street artists and graffiti artists, or property outlaws, as they are referred to by some lawyers, express a "willingness to break the law that signals the intensity of his or her dissenting position" on how public space is used. I think this is a very important social health issue in our modern cities that must be resolved for the public environment to reach its full potential. Being able to interact with public space on your own terms is an important part of realizing your potential as a public citizen. When you produce something visual in public space that you care about it is like leaving a piece of your self behind. Once work in the public is created, a permanent connection to that space develops which endures beyond your leaving. In this way, street artists and graffiti artists' works are a way of connecting people with the spaces they live in.

Are you inspired by any particular political or artistic movement? What would you say is the main message behind the stuff you do?

I am inspired by social justice movements, public space reclamation projects, and the tireless work of non permission based public art practitioners who create unauthorized moments of serendipity in our cities every day. There are many aspects to the PublicAdCampaign project but the most important is the promotion of public participation in the creation of our shared spaces. Anyone who goes out and creates in public without permission is expressing their desire for a public space which appreciates their individuality and their voice. One of the forces preventing this type of behavior is outdoor advertising and the supremacy of the commercial message over the individual message. In this way I am inspired by the uninspiring state of public space and its tendency to give credence to the commercial over the public. We must understand that public space is one of the last spaces in which we can demand a non privatized arena for dialogue. Most other forums, including print, television and recently the internet have become controlled by corporate interest and therefor do not allow meaningful democratic thought. If our public spaces are to function well for our society then we must prevent them from falling prey to the same corporate control and allow them to be the last vestiges of our democracy.

What part do you think the internet has played in the growing popularity of street art?

The internet has obviously facilitated the spread of this international movement. Most of us are informed daily of new and innovative street actions through the web. This online community is an important part of the street art movement particularly for those practicing this art form in smaller cities which might not have a flourishing scene already in place. The one thing that the internet cannot relay is the experience of street art which is an incredibly important part of the art form. The one on one interaction between viewer and creator holds much of the power behind the work. It is the experience of finding, being given a gift by someone which asks little of the viewer, that invests the work with such power and makes a trivial moment into a deep felt connection to the city space and the community at large. Street art is a way of creating dialogue in a physical environment, and without the viewer finding the piece, or interacting with the work, the art falls short of its potential. If street art was only experienced through the internet its affect would be greatly diminished.

How do you feel about the fact that some companies use street art as their advertising, both by using the aesthetics of it in regular advertising and sometimes using the methods of street artists (‘guerilla advertising’, street installations, stickers, clever stuff and so on)? Is there any danger in this?

Advertising's co-opting of street arts tactics is extremely problematic. Advertising is notorious for stealing artistic innovations in aesthetics and design. It can only be expected that this would happen with graffiti and street art. Despite this, what gives these two forms their power is not their aesthetics, but their tactics. The emotional connection that is a response to stumbling upon a beautiful piece of artwork, placed unassumingly in our public space is at the heart of this practice. This connection is made more powerful by the fact that the viewer is asked to give nothing in return to the artist. In fact the work opens up a space for contemplation and communication that is more akin to a concert experience than a gallery experience in my mind. One may ponder the motivations, messages, placement, and context of the artworks, and in doing so engages in a two way conversation with the artist and the space in which it was created. Advertising has as its singular motivation the trapping of your attention to deliver a very specific message or a simple brand recognition. By using the incredibly selfless tactics of street art, advertising tricks the public into engaging it as one would street art, as a gift, with an innocence that is a result of two minds finding each other in the anonymous public arena. Once the fact that the viewer is looking at an advertisement with selfish motivations is revealed, the viewer feels betrayed and this then separates the public from public space. I find myself walking the city streets looking for moments created by street artists and graffiti, knowing they will enrich my experience of the city. If you ask the average citizen how they interact with outdoor advertising on a daily basis, they will tell you that they try to ignore it. The two create completely opposing forms of participation and interaction with the city. When a viewer is tricked by advertising that poses as street art it removes one more reason to engage your environment which separates the average citizen even further from the space that they live in.

What kind of reactions do you get regarding your work? Why do you think people react that way?

As I said before, most people attempt to ignore commercial messages in the public environment. This causes them to categorically ignore the spaces in which advertisements are placed. Because my work reclaims these commercial spaces, I am often battling peoples inherent interest in avoiding them. This causes the work to take on attributes that advertising would not employ like physicality/texture, lack of text, over simplified graphics, and no clear message or meaning. When people do notice my work they are extremely happy to have the moment of pause created by my art and are relieved that they are not being solicited as they move through their public environment. The public's attempt to ignore advertising is a result of its tendency to take from the viewer while my work asks nothing of the viewer but to reflect on its existence, placement, and origin of creation. That said my work is often misunderstood. When my work manifests itself in large scale organizational projects, it is much easier to understand because the execution is much more visible. The execution, or act of creation, holds much of the meaning behind my work and when this is visible it is more clearly understood. The larger organizational projects are the result of the incredible dedication and participation of many like minded individuals intent on bringing this issue to the forefront of people consciousness and this in turn creates a wider audience and therefor clearer objective.

What does the term ‘public space’ mean to you? Who has the right to public space? Is street art a way of reclaiming public space?

Public spaces are those places where we all share an equal voice and right to the city. To me this means not only the streets, but the walls that surround us which impose a multitude of visual conversations. Everyone has the right to public space, so long as they are acting upon it as individuals. In this way, commercial use of public space is an improper use of our public environment because corporations are using money to increase their influence beyond an individual level. Each person should be allowed to impose their own interests on public space, creating a level of noise equivalent to their own means. By paying to disseminate their messages more broadly, commercial entities break this rule and overwhelm the individual, ultimately monopolizing the dialogue that is so important to a healthy engaged public. Beyond this, the commercialization of public spaces ultimately prevents individual usage of public space because we cannot afford to do so. Street art only reclaims public space in that it is illegal for artists to impose their individual voice on the public environment, unless they can afford to do so. The proper use of public space would include the visual articulations of invested parties and therefore accept street art's use of our shared environment as a normal form of public dialogue. For this reason, street art is non-violent political protest attempting to alter what is an acceptable use of our neighborhoods and communities.

Weave It! NPA City Outdoor/PublicAdCampaign Collaboration

The most recent Weave It! piece at Crosby and Grand has been removed. I installed it around 5pm on Wednesday in front of a Dutch news channel. The ad that was there before was for Alexander Wang, a young fashion designer whose look book I worked on a few years back when he was up and coming. I left the one image because I had gotten rid of the reference to advertising and liked the way she was swooning over the pattern.

Mr. Dimaggio Ad Takeover in Milan

VIA Streetsy

Our sources in Rome tell us they are pretty positive this piece by Mr. Dimaggio, was put up over a framed advertising location in Milan. The source tells us that normally similar locations to this are used for political campaign posters in Italy. If the spaces are anything like the Affichage Libre in France, they are often co-opted by mainstream commercial ads for private use. In France the Debunkers Collective battles this type of illegal commercial usage monthly.

The Aesthetics Police

Seems like even Fox News agrees with us, and the residents of LA, on the recent proposal to remove Phil Lumbang's simply adorable street mural.

VIA John Stossel's Take

Phil Lumbang is an artist who creates charming drawings of bears, raccoons and other happy creatures; his work appealed to Amy Seidenwurm and Russell Bates. They commissioned Lumbang to paint a mural on the wall in front of their home. Everyone seems to love the mural; people stop to take pictures in front of it. Everyone was cool with it, it seems, except one neighbor who complained the mural made the street “seem ghetto.” [MORE HERE]

Cash For Your Warhol

As per usual my Monday started with a computer malfunction so this post is gonna be light. As mentioned on the NYSAT microsite Why Donate page, we are starting a very small granting program called Under One Hundred. We will be putting out an official call for submissions, which we will take on an ongoing basis, in the next few weeks. The above project done by Geoff Hargadon in Boston is a wonderful example of something we would consider for Under One Hundred. As of yet Geoff has only installed this ad takeover in Boston and here at PublicAdCampaign we would love to see it come to New York. Look for the first Under One Hundred from I AM and PosterChild in late February.

KAWS - FIRST BUS-STOPS- NYC, 1997

1997 was 13 years ago which reminds me I've been working on PublicAdCampaign for 10 years, doing my first subway station takeover in December of 2000. Yikes! 2010 is setting up to be a great year for us and we look forward to working with everyone in the months to come.

Philip Lumbang Commision To Be Removed By Los Angeles City

If you follow LA advertising issues, and you should if you enjoy this site, you know how insanely difficult it is to have illegal signage removed even after the city has deemed the advertisement in violation. As it turns out, getting art murals removed is a hell of a lot easier. Artist Philip Lumbang, a recent NYSAT participant, was commissioned to do this mural in a residential area of LA. According to him it is being slated for removal after a single resident complained about it. Now I'm sorry, but something is very very wrong when it takes the city less than a week to remove artwork and over a year to remove huge illegal supergraphics. It makes you want to go out and do what the city can't do for itself, tear these eyesores down with your bare hands. This is all on top of the fact that this mural is actually blocks from a preschool that you can be sure enjoys this neighborhood addition on a daily basis. God help us all when our public space becomes a venue for the sale of commercial items and cannot serve the actual people who live and breath in our cities. Asked to fill us in, the Philip explains the situation like this...

I'm a lil fuzzy on it myself but, I painted that in a residential neighborhood as a commission. And for the last year it has been riding high, but for some reason one of the neighbors decided to call the city about it to complain. And I guess the deal is you can't have a mural on private residential property or some bs like that. I guess it's on the same guide lines as shop keepers maintaining a clean facade with no graffiti. But it's pretty stupid because from what I understand is that pretty much everyone loves that mural except for that one person that called it in and to top it off it is right next door to a preschool. So no the kids are missing out. Oh and get this to even try a petition to keep the wall you have to pay like $1500 or some obscene amount so the city could even consider not taking it down.

Gran via XXX-New Madrid Cross Out Campaign

I was just emailed a tip that a second huge cross out campaign was done in Madrid, this time taking place over street furniture advertising locations. Upon further inquiry, the person who got in touch would only tell me that an "active group of urban artists from Madrid" had done this, and that they wanted to take no responsibility. At least that is the way it came off in translation. Check out the full set of images, and see the related first action which took place over billboards in June.

Putting Together The NYSAT Website Makes Me Mad

I put these two pieces up last night in an effort to continue working on the street as much as possible in 2010. As I mentioned two posts ago, I have been wanting to break the frame and begin collapsing the space between the advertisement and the outdoor environment. I hope to eventually be able to visually get rid of the advertisement as well as the frame that retains it. This piece begins to do that but practice on the street will make a big difference. Each of these takes about 15 minutes to install and I am not used to working at one spot for that long. I was hoping to continue the weave off the frame on the far side but not only was there a puddle to wade through but a parked NYC tow truck driver, staring me down with his headlights, made me very nervous. Ill do more of these and see if I can get them to work.

Washington between 13th and 14th street south side 01-20-10

27th street and 8th avenue SEC 01-20-10

Miss Bugs Advertising Takeover

I apologize profusely for not posting more this year but I have been working hard on some things to come and they are taking a huge portion of my time these days. I will continue to post more regularly, I promise.

Miss Bugs isn't known for doing ad takeovers but I do love this piece. I have been toying with how to start collapsing the space between the advertisement and the environment lately and this is a fantastic example of just that. For more of Miss Bugs' work go [HERE]

Artists Reclaim Public Space: A Conversation with Public Ad Campaign Founder Jordan Seiler

A while back I was asked to speak with Danny Valdes on his first radio broadcast of Radio Provocateur on WVRB radio. You can listen to our talk here. This discussion turned into an article for The Indypendent that you can read here. We were happy to see the first comment on the article was posted by Reverend Billy himself.

Rev Billy Says:
January 8th, 2010 at 10:19 am

That is an energizing vision for New York City. We are mired in a post-great- city provincialism now. New Yorker’s creative life is encased in inbred careers. The arts are unheard-of, for instance, outside of their subcultures of critics, parties and backers. Relinquishing public space is key to the impotence and de-politicization of the arts. My own home art form is theater, and literally nobody has any idea what theater is doing. Meanwhile, the totalizing saturation by varieties of corporate theater on our streets and sidewalks is permitted even when it’s clearly illegal. We’re trained to respond with, what, “good for jobs!” “private property!” “the struggling economy!” Democracy, and a subset of democracy - call it “the greatness of a New York” - depends on re-taking public space.

Situationist Methodology Still Sits Well With Me

Someone left a copy of Overspray Magazine at my studio the other day and as I thumbed through it I came across this small blip on Urban Pranksterism. There were some fun quotes I thought were relevant as we redefine some of the motivations for our work to help guide us forward in this new year.

"...it's about hitting people with something visceral that will force them to confront an unlicensed alternative to the current monopoly on visual space held by our local governments and their corporate sponsors."

"Part of defining a public space is decorating it, inhabiting it and playing with new uses for it. Just because we weren't consulted on the design process of our cities doesn't make them any less ours, and shouldn't mean that we have to sit out when our idea of how the space can be put to use doesn't mesh with the official stance."

"Turning a public space into a vehicle for any kind of art is a politicized act in itself, whether or not the project has overtly political content."

"The power of street art doesn't necessarily even have to lie within the content of the pieces themselves, but rather in the knowledge that no permission was sought, that someone is still working outside the systems that dictate who is allowed to use public visual space."

New Year, Same Problems, Similar Solutions.

As we begin this new year, let us remember why we are compelled to take over, destroy, and otherwise manipulate advertising messages brought to us in our shared public spaces. Let us continue through this year undeterred by obstacles which seem improbably large and pursue a vision of a public space rendered from our own imaginations. Let us rejoice in our communities, the dialogues, and conversations which keep us actively engaged in the lives we live and the spaces we occupy.

"Any advertisement in public space that gives you no choice whether you see it or not is yours. It belongs to you. It's yours to take, re-arrange, and re-use. Asking for permission is like asking to keep a rock someone just threw at your head." -Banksy, street artist (b. 1974)

Gaia No Longer Empty Public Mural

Photo by Keith Schweitzer


Keith Schwietzer of No Longer Empty asked PublicAdCampaign for some suggestions of artists for the roll down gate mural project they are working on in New York City. We immediately suggested a few of our favorites including Gaia whose installation video is shown above. This project is a wonderful use of the rolldown gates in New York and a fantastic answer to Mr. Vallone's assumption that they breed ugly graffiti.

Pixelator On The Jumbo Screen In Times Square

A few days ago we told you Bablegum was going to screen Jason Eppink's Pixelator project on one of the Jumbotrons in Times Square. Here it is.

Pixelator On The Jumbo Screen In Times Square

Bablegum has chosen the winners of its metropolis arts prize for video in 2009. The winners, as well as runners up, will have their videos screened on the Jumbotrons in Times Square NYC. The categories include a street art video award for which Jason Eppink's Pixelator video was a runner up. If you do not know the Pixelator project, take a look at it here. It is an incredible street art advertising intervention. The irony of this advertising takeover being screened on one of the world largest digital billboards is too much to bear. Please come out on December 17th from 7pm-8pm to watch public content get its rightful place in this great outdoor advertising mecca, and support Jason in his efforts. On another note, Improve Anywhere won the Audience Award with their Subway Yearbook Photo Project. You gotta love Charlie and his antics, they never stop and they always inspire.

Street Artists Doom Billboard Ads to Violent Fate

Via Animal New York

Some big tributes to Doom, the infamously violent early-90s video game, have been taking over billboards in Berlin. Turning commercial propaganda into potential blood baths, street artists Mr Talion, Epoxy, Baveux and Kone pasted unsuspecting ads with the display from the first person shooter favored by the Columbine High School killers. [More Images Here]

Art, Advertising, Activism and Alchemy Video

Art, Advertising, Activism and Alchemy was a small lecture series presented at the Wonderland Arts space in Queens New York. I spoke in part about my own work, but also attempted to define some of the reasons behind why we as artists, working without authorization in the public, do what we do. As well, how these motivations might inform our process and create works which go beyond that of typical street art and graffiti to engage the public more directly and increase the health of our shared public spaces. You can see all 4 artist's talks [HERE] A big thank you to Jason and PosterChild for inviting me to be a part of this event.



As I was trying to get a clear projection of my thoughts for this talk, I wrote down what I wanted to say beforehand. I speak quickly in the video and therefore am offering the text and slide show as a download for your enjoyment. wonderlandtalk.zip

PosterChild Suggests A More Prudent Use Of Pay Phones In NYC

PosterChild is wrapping up his stay in NY very soon, but not before he gets out there and does a few more projects to make you think about the advertising that surrounds us and how it is altering our lives for better, or worse. His most recent project aims at making the viewer aware of the fact that the ubiquity of outdoor advertising does not have to be an entirely bad thing. In fact the millions of dollars that OOH advertisers are making off the space they are occupying in each and every one of our brains can be put to a better use than simply lining the pockets of media conglomerates. He writes...

"You know what I’d like to see? If they’re going to maintain, and even grow, the network of payphones as an advertising-revenue generating platform, then they should make all local calls free. That is the old “Contract” of advertising, after all: We shouldn’t have to be exposed to your damn ads if you’re not going to give us something back in return." More [HERE]

Exclusive New Posterboy, Decapitator Collaboration

Decapitator was in town recently taking Shakira's head off of 10 limited edition Rolling Stone magazines at the Union Square Barnes & Nobles. I was on site the next day and managed to rummage through the entire magazine section until I found one of my own, even after the Village Voice made the hunt public.

But this wasn't the only reason this artist was in town. Turns out the Decapitator had contacted PosterBoy before he came through and I met them at an undisclosed location to watch them create two collaborative pieces. The two images were then installed somewhere in the Bushwick area.



As for the imagery, it isn't really my cup of tea, but I do love the fact that these two artists' mutual disdain for the supremacy of commercial messages in our shared public spaces created a friendship that spans continents.

GatesScapes Another Rip Off of An Artistic Program

Just when you think you have nothing to post on Friday, good public relations firms send you press releases like the one you will find below. If you regularly read this site then you probably already know about the incredibly affective non-profit group No Longer Empty. They have recently championed an empty storefront mural project with two incredible works by D-Face and Know Hope. Most recently we suggested they work with GAIA, whose mural was produced last Saturday and we anxiously await its release. We have been excited about this format as a viable way for some of today's leading street artists to find legal ways to bring their work to our city. Before we have had time to even remotely enjoy the possibility of a city filled with outdoor murals, the Mediacy ad agency (which doesn't even have a website yet) has stepped in to cash in on the abuse of our public environment. One thing I can tell you is they will need permits to put these ads up and you can be damn sure we will be calling them in to 311 as we see them.

On another note, there seems to be one InWindow advertisement up in the city that I know of and it has been a month at least since I saw the last one go up. I can't be sure but I hope the AAA and PAC had something to do with this, however small.

Love the use of the Kandinsky for this press release. Are they really to have me believe they will be putting up art and not two half naked people screwing each other?

Mediacy, Inc. Releases the Latest in Place Based Marketing:
Gatescapes

NEW YORK – November 12, 2009 – Mediacy, Inc., an innovator in the out-of-home media segment, introduces its newest division: Mediacy Outdoor, and their latest marketing platform: Gatescapes.

Gatescapes, made of specialty vinyl that is specifically cut for corrugated gates (roll down storefront security gates), make use of what cities have an abundance of: protected entryways. Mediacy Outdoor offers companies the chance to brand these gates with their logo. The ads will be featured on the gates of venues which are closed permanently or for at least 15 hours per day. Locations chosen have an average of 25,000 impressions per day based on Department of Transportation numbers, are illuminated by exterior lights during nighttime hours, and are large enough to be seen by foot traffic and vehicular traffic alike.

These spaces are available immediately with the option of either a two week or four-week campaign. 500 gates will be available in each market priced from $1,500 - $30,000 depending on the size and the duration of the campaign. Locations are currently available in both New York and Los Angeles, and are poised to expand to the top 10 DMAs in 2010.

Mediacy, Inc. founder and CEO Michael Gitter states that besides the urban beautification that comes with the cleaning, removal and prevention of graffiti on these gates, Mediacy continues to be: “a company in tune with the needs of advertisers in this difficult market.” Additionally, Gitter says that their Gatescapes “meet all the criteria for a Mediacy product: an expansive canvas for the message; innovative concept; effective media; uncluttered ad environment; colorful and visible."

Gatescapes extend far beyond the reach of existing media vehicles, offering a cost-effective alternative to traditional advertising methods. Mediacy, Inc. continues to provide for the delivery of a customized message toward targeted consumer audiences on a platform which is guaranteed to astound, pushing the envelope for what place based marketing can accomplish.

Brick Of Gold Makes Contact With PublicAdCampaign

Brick of Gold just sent me these images after seeing the most recent NYSAT project. We love and ad takeover and just had to post it.

Thom Flynn-Doing God's Work In Washington DC Since '99

Photo by Allison Shelley

I came across your website and I'm impressed with your campaign. I've been on a similar mission in Washington DC since '99. I'm reclaiming the wheatpasted walls by peeling away and/or prying off the posters. It's not an easy process, sometimes necessitating a crowbar, but I've always embraced the questionable legality. People ask what I'm doing (including the cops), but after saying it's a community service they normally leave me alone... others just assume I work for the billboard company. The posters are recycled into my art, taking the form of large abstract "paintings". Attached are a couple images just to give you an idea of what I'm up to. Perhaps we could collaborate in the future? In the meantime, keep up the good work!

Peace,
Thom Flynn

Vihls Makes Contact With PublicAdCampaign And We Love His Work

Artist Alexandre Farto, aka Vihls, just contacted us from London to talk about the last NYSAT project. He included a piece we hadn't seen before and just had to post it.

NY Post-Painters in Brush With Law

VIA The New York Post

By AMBER SUTHERLAND and LEONARD GREENE

Posted: 4:03 AM, October 26, 2009

Five people were arrested yesterday for defacing billboards in an effort to replace ads with art.<p> </p><br />The five were among dozens armed with paint and brushes who spread out over lower Manhattan and whitewashed billboards to "reclaim" public space as part of a protest organized by the Public Ad Campaign.<p> </p><br />Three of the artists were charged with criminal mischief and making graffiti. The other two were still being processed last night.<p> </p><br />Adda Birnir, 24, and her boyfriend were painting flowers on a whitewashed billboard on Mulberry Street when cops hauled them off.<p> </p><br />"They were being completely peaceful," said Birnir's father, Bjorn, 56, who was visiting from California.<p> </p><br />About 80 members attacked advertisements throughout Manhattan with white paint and roller brushes, and filled the new blank canvasses with their own creations.<p> </p><br />Jordan Seiler, director of the Public Ad Campaign, said his group identified about 5,000 illegal billboards in the city.<p> </p><br />"New York is a beautiful, wonderful city," Seiler said "When you fill it with commercial messages, you turn it into a commercial space rather than a public space."<p> </p><br />Representatives from National Promotions and Advertising, which posts many of the ads, were monitoring the protest, and, in some cases, called police. A spokesman for the organization could not be reached for comment.<p> </p><br />In April, a similar protest resulted in four arrests.<p> </p><br />Kaylina Holman, 18, a high-school senior from Brooklyn, managed to paint green and orange abstract shapes on an Eldridge Street billboard without getting arrested.<p> </p><br />"I don't think the public needs to constantly have corporate agendas shoved down their throats," Holman said.<p> </p><br />Jonathan Askin, a Public Ad Campaign lawyer, said there is a double standard when it comes to billboards and art.<p> </p><br />"The city has lost several millions of dollars by not combating unlawfully posted commercial billboards," Askin said. "The enforcement is arbitrary."<p> </p><br />leonard.greene@nypost.com

Five people were arrested yesterday for defacing billboards in an effort to replace ads with art.

The five were among dozens armed with paint and brushes who spread out over lower Manhattan and whitewashed billboards to "reclaim" public space as part of a protest organized by the Public Ad Campaign.

Three of the artists were charged with criminal mischief and making graffiti. The other two were still being processed last night.

Adda Birnir, 24, and her boyfriend were painting flowers on a whitewashed billboard on Mulberry Street when cops hauled them off.

"They were being completely peaceful," said Birnir's father, Bjorn, 56, who was visiting from California.

About 80 members attacked advertisements throughout Manhattan with white paint and roller brushes, and filled the new blank canvasses with their own creations.

Jordan Seiler, director of the Public Ad Campaign, said his group identified about 5,000 illegal billboards in the city.

"New York is a beautiful, wonderful city," Seiler said "When you fill it with commercial messages, you turn it into a commercial space rather than a public space."

Representatives from National Promotions and Advertising, which posts many of the ads, were monitoring the protest, and, in some cases, called police. A spokesman for the organization could not be reached for comment.

In April, a similar protest resulted in four arrests.

Kaylina Holman, 18, a high-school senior from Brooklyn, managed to paint green and orange abstract shapes on an Eldridge Street billboard without getting arrested.

"I don't think the public needs to constantly have corporate agendas shoved down their throats," Holman said.

Jonathan Askin, a Public Ad Campaign lawyer, said there is a double standard when it comes to billboards and art.

"The city has lost several millions of dollars by not combating unlawfully posted commercial billboards," Askin said. "The enforcement is arbitrary."

Something Happened Yesterday That We Cannot Qualify

This is what it looked like at 13th St. and Washington for a moment after Mrs. Beth had her say in the meat packing industry. The before image below is what it looked like prior to her intervention.

Her incredible takeover was a part of something much larger and something we will report on as information comes in.

The NY Times Has Something To Say

An artist called Gaia was part of a group that removed advertising posters in Lower Manhattan.

By COLIN MOYNIHAN

Published: October 25, 2009

It was a bizarre cat-and-mouse game, played on Sunday across scores of makeshift billboards in New York.

One group of artists and activists spread across Lower Manhattan, transforming innumerous wheat-pasted posters — the ones that readily sprout over scaffolding — into their own canvas.

They would whitewash the posters and then create their own work, or allow anti-advertising advocates to spread their own messages.

But just as quickly as they whitewashed and put up art, workers arrived to put up new posters where the artists had obscured the old ones.

And so it went, back and forth, with drama, confrontation and even a few arrests by day’s end.

The takeover efforts were organized by an artist, Jordan Seiler, who founded a group called the Public Ad Campaign to question and challenge the use of outdoor ads in public areas.

Shortly after 9 a.m. on Sunday, Mr. Seiler and about a dozen other participants met in his Chelsea studio, where they went over lists of targets: 114 street-level billboards that Mr. Seiler said were operated by companies that he believed were putting up ads without proper permission from the city.

A spokeswoman for the City Department of Buildings, Ryan Fitzgibbon, said on Sunday that it was difficult to immediately address Mr. Seiler’s claims.

“If outdoor advertisement is allowed, a permit from D.O.B. must be obtained in order to post an advertisement or a sign,” she said. “Advertisements are not allowed on construction fences.”

It is no secret, however, that such advertisements abound, and on Sunday morning Mr. Seiler pointed to a construction fence near his studio that was covered with dozens of pasted posters.

“We’re bombarded by ads every day,” he said. “Advertising frames the public environment as being for sale but public space is not inherently commercial.”

At 10:30, Mr. Seiler and his confederates broke up into pairs, bringing along five-gallon buckets of white paint and long-handled rollers to use to spread the paint over ads.

There were ads for drinks (Bulldog Gin, Hendrick’s Gin and Dr Pepper), movies (a comedy called “Black Dynamite,” along with a documentary about President Obama called “By the People”) and albums (“World Painted Blood” by Slayer was pasted next to “Soulbook” by Rod Stewart).

Some passers-by liked the commandolike cover-ups; an artist named Jane Gennaro, who was not connected to the project, approved of the men painting over an ad for the video game Grand Theft Auto, saying, “We need to get rid of all the visual noise.”

But on West 25th Street, a man chased two of the whitewashers, shouting, “I will sue you.”

In any event, the newly painted-over spots were not to remain blank for long. Within hours, men driving pickup trucks with New Jersey license plates put up new ads where the artists had obscured the old ones.

One of those men, on West 25th Street, refused to identify himself or the company he was working for, instead responding to an inquiry from a reporter with an epithet, and the directive, “Take a walk.”

Over the next hour or so, control of the billboards changed hands several times, with the pickup truck drivers pasting up ads for movies and parties, as — sometimes separated by only a block or so — groups of artists pasted their own images over the ads.

Meanwhile, Mr. Seiler said, five people taking part in the project were arrested on unspecified charges.

Near the end of the afternoon, one of the artists, who gave his name as Gaia, donned a disguise consisting of a black eye mask and a plastic bag that he pulled over his head like a hood. He then pasted up an image he had made of a snarling grizzly bear.

“Hopefully, this gets a chance to engage in some dialogue with the viewers,” said the artist. “In two hours it’s going to be gone.”

The Streets Were Alive Today In NYC

The streets were alive today in NYC. Cronicas Barbaras caught a bit of the action. Look her up cause she has been privy to all of the best.

How To Break Into Bus Shelter Ads In Berlin

KEYTIME_part 3 from nothingbutprinting on Vimeo.

This video was sent to us by Luna Park of the Street Spot. It's a behind the scenes for the recent bus shelter takeover in Berlin. Thanks Luna.

Tilt Bus Stop Piece

A friend of mine just sent me this image of a Tilt bus stop takeover. I'm not sure when or where this is from but any public ad takeover is a good photo to us.

New PosterBoy Interview From UK Street Art

I haven't heard much from PosterBoy recently so it is good to see him still preaching the gospel. In his defense, I think he is working hard on an upcoming book that we anxiously await.

VIA UK Street Art

Up-close and personal with Poster Boy: The definitive interview

We’re big fans of Poster Boy here at UKSA, and although he’s not technically from the UK scene, we’d like to make an exception and introduce you all to this sterling talent!

Clever, Creative and seriously cool, Poster Boy is the masked crusader waging war on advertising billboards across NYC will only a razor blade as his weapon of choice. Interview by Helen Soteriou. All photos from Poster Boy’s Flickr, which you can check out here

Who is the guy behind the mask? Can you tell me about yourself and your background?

No ones behind the mask. There’s only the mask.

Do many people know your real identity? Do you parents know?

Only the people who need to know, including mummy and pop-pop.

How did Poster Boy come about? Why did you start cutting-up posters and did you ever think it would turn into the phenomenon it is?

I’m constantly torn between wanting to be an activist and an artist. I’m not the greatest artist nor am I the greatest activist, but I’m a pretty good Poster Boy and that requires being little of both.

New York is inundated with advertisements. So why spend money on materials when posters and billboards are ripe for the picking? Stealing and vandalising ads is illegal, but littering the public’s visual space with images and messages that are motivated by profit is wrong. There’s a lot of potential in working with your environment, especially if the motives are well place. Besides, the traditional mediums have never satisfied my ambitions.

I always hoped this would catch on. I couldn’t have been the only one with these sentiments floating around.

What are your views on advertising?

Advertising is bizarro art. Both are cut from the same cloth, but what sets them apart is intent. Art is driven, at least in theory, by the desire to express oneself. Advertising is driven by the desire to promote a product or service. Often times the two overlap making it hard to tell the difference. As long as there’s money to be made there’ll be advertising. I can’t deny that. With development of technology and the market comes increasingly elaborate ad campaigns. Sometimes the campaigns are funny. Sometimes they’re artful. But one thing I’ll never accept is public advertising no matter how clever the campaign is.

Do you think that people are more wary about believing the images / messages that are printed because of the worldwide economic downturn?

The economic pinch continues to breed skepticism. However, people have been wary of the media lies for a while now.

I remember our first conversation and the email you sent me:
Have you ever read something and said to yourself, “Christ, where have I been the last few years of my life?” Well, your email just did that to me. These type of requests and acknowledgements have always humbled me. …

Why do you think people are so taken by your work?

I think people relate to the work mostly because of the commentary. There’s a lot going on in the world financially, politically, culturally, and environmentally. The work touches on some of these topics. Often times with humor, which is very important in serious situations.

The other reason is the medium. I mean really, with the exception of the people profiting, who doesn’t hate public advertising?

We talked about some of your future plans and what Poster Boy intends to do next. You strike me as someone who has a strong passion and desire to follow his dreams – to continue to grow and be creative in the way you want.

I should hope so. My dreams are pretty much all I have right now.

To me you are sending out a clear message to people that they should not give-up on their desires -to listen to their hearts and pursue the path that they want without being afraid to voice their opinions. Do you think this is a fair statement?

I believe it’s a fair statement. As long as your path doesn’t involve the destruction of life I say follow it. The worst that can come from following your heart is knowledge and wisdom.

I believe that the whole point of street art is that it is on the street for everyone to see– you are not stifled creatively and not drawn by the $$$. Nobody tells you whether you are good enough. It is art for the people, not the selective few.

Street art is for anyone to experience. It works both ways. The streets serve as a venue for artists who wish to forego gallery-world hierarchies.

I’m not stifled or drawn by the money. Doesn’t mean the pressure doesn’t affect me. I’ve turned down some very lucrative deals in order to make a statement. I’ll be honest, when rent is late or I can’t manage three squares a day I feel a little gypped, but when those feelings start bubbling I just remind myself of why I started this. All my life I wanted someone or something to believe in. Except for a few inspirations here and there I never found it. So I set out to be the that thing I always yearned for. So what if PB&J has been the menu for weeks or the lies to my landlord are getting better, life could always be worse. Besides, poverty tends to be quite the motivator these days.

I think the popularity of street art has exploded over the last couple of years and I feel that it is good and bad. Great street artists are enjoying the success they deserve and some are just riding on their coat-tails.

Actually, I don’t believe bad street art exists. I say cover every Goddam inch of concrete and steel! What bothers me are the people who try to mask gallery art as street art and vice versa. I’m not one for strict labels or definitions of anything, but there’s a fundamental difference. At the same time I understand certain situations call for compromise. I know I’m not the purest street artist or activist. There have been Poster boy shows with prints being sold, and I’m not even sure if I should feel guilty for it. I’ve always tried to bring something different to a show and I’ve never sold an actual Poster Boy piece. The point being that the street art persona should be critiqued and presented differently than the gallery art persona. Once street, graf, or whatever art, is brought into a controlled environment it ceases to be street art, period.

With the phenomenal costs prints and original works are going for it has become de rigueur to like street art. Yesterday, I went to opening night of an exhibition on Brick Lane in London , and it was dominated by the young and trendy. Like a few of the street artists who were present, I felt awkward and out of place. My question to you is how do you feel about how street art has evolved and do you feel proud to be labelled a street artist. Do you always see the streets as your playground?

Let me guess, some guy in a Basquiat shirt, skinny jeans, and an ironic mustache gave you the, “where the fuck is your Murakami bag” look? Don’t worry, we’ve got that too. It happens whenever something is in vogue. Next time just make a scene. Tell everyone you’re Banksy or that your dad owns the Tate.

I’m proud to be a street artist in the literal sense. I find comfort in the uncertainty of the streets.

How does it feel to have a platform? You have the attention of all the major media players in New York who are raving about the statements that you put out?

It feels really weird, ’cause I’m not that cool.

Who influenced you growing-up – people and / or other artists?

This one’s hard. You’d expect me to say Keith Haring or something. Not that he hasn’t, but I’ve been inspired by many characters in my short life. I can honestly say that Bugs Bunny inspired me as much as Fredrick Douglas.

How do you work – do you come-up with ideas on the spot or do you see posters and then think about how you can create images from them?

The work is always impromptu. It has to be, the ads are always changing. Even the gallery work relies on materials in the immediate environment.

Are there any other comments that you would like to make?

God Save the Obama.

Princess Hijab Hits Paris Again!

This newest piece from Princess Hijab was recently photographed by Christophe Meiries in Paris. The image shows a level of detail and sophistication I haven't seen in the Princess's work thus far. I like it a lot and I hope to see more soon.

As I have no contact with the artist, I may make assumptions here that aren't true. Please forgive me. As I understand it, this project isn't ultimately about the companies behind the advertisements, so much as it is about the proliferation of a cultural minority in media more generally. Despite this I still wish the logos were removed along with the "hijabizing," as the artist calls it. Without the company logo, the image refers only to the artist, whereas with the logo the image is somehow still a bastardized ad for Arena, but an ad nonetheless. I understand the artist might want the viewer to associate the new media content with the company, but that's just my thought on the matter.

Sam3 Helps Billboards Get in to Fall Spirit

I've always been a big fan of Sam3's work. This is my favorite piece of his by far.

VIA Animal NY

After his continuous line portrait on a building in Queens, Sam3 is back in Spain, hitting billboards. Noting that “in the autumn the leaves fall,” the street artist enlisted one of his silhouetted figures to trash some old ads in the city of Murcia. |Sam3|

Photo by Sam3

Berlin Street Advertising Takeover

We posted about this Berlin Advertising Takeover a few days ago when Luna Park made us aware of the liberation. It seems Ekosystem has the full story as well as images of all the artwork created for this non-violent act of civil disobedience. We are tickled pink to see artists and activists around the world taking back their public environment for personal communication over private messages. Check it out [HERE]

NY Ghost: How to Bake A Brownie

Yet another NY Ghost phone kiosk install is put up on the streets of NY, this time providing much needed information on how to bake a brownie. Wonder if it was intentional that this piece followed the one on how to smoke marijuana.