Bringing graffiti indoors at LA's Geffen Contemporary

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Art in the Streets is the catalogue for the enormous blockbuster exhibition (of the same name) of graffiti and street art held during the spring and summer of 2011 at the Geffen Contemporary, a satellite location for the Museum of Contemporary Art in Los Angeles. The exhibition explores the origins of graffiti in New York City and the explosion of the art form throughout the world in the subsequent decades. This includes the emergence of street art, which is related to graffiti but has developed into a subculture itself, with Shepard Fairey being one of its main proponents. While the catalogue has the same goal as the exhibition—it does this in a very different manner.

The reviews of the exhibition were generally positive and favoured the overabundance of brightly coloured displays. From painted cars, mural size installations, and even a skateboard ramp, the show seemed to extend for miles. The negative criticism focused primarily on who was not included rather than being a critique of what was actually on display. The final selection highly favoured graffiti and showcased only a handful of street artists. This is a fair curatorial decision since the boom of graffiti in the 1970s predates street art.

There are several contradictions raised through the exhibition and these have ramifications for those interested in the catalogue. Graffiti and street art are both specifically intended for public areas and this essential aspect is intrinsic to their impact. By placing graffiti and street art inside the gallery, several sacrifices were made, with the result that some of the works look like caged animals. The work also has a relatively short lifespan (sometimes just a few hours) owing to its illegal nature and the wear and tear of the elements. In some cases, the pieces still exist but may have become worn or cannot be removed because of the permanence of their location (the side of a building). The curators thus arranged for many contemporary installations that were brand new yet evoked past work or ideas. In addition, a healthy amount of photography was used to provide context.

These issues create problems for producing a catalogue that is representative of the exhibition. For example, the final installation by the infamous street artist Banksy was virtually unknown to museum officials when the exhibition was planned. A section was reserved for him and the work was installed just before the opening. Thus it could not be photographed for inclusion in the catalogue. This is the case for the majority of the exhibition, so the catalogue proves to be a very different experience from the actual show. It is perhaps more successful in presenting a ‘popcorn’ perspective of graffiti and street art. The section on Banksy includes a short description of the artist and several colour photographs of his major works. The difference is that the catalogue is able to explain and share a considerable amount of background information and details about the artists themselves, which would have had a negative effect if presented in the museum installation. In addition, the catalogue draws attention to significant artworks that no longer exist.

Art in the Streetswill be of great interest to graffiti aficionados and those interested in the origins of street art. Overall it has a very different aesthetic from most books on this subject matter and is a welcome addition to the library of great books on this art form. Essentially organized as a collection of interviews, short articles, and reflections, it’s a good book to skip around, looking up a subject or topic of interest. Highlights include interviews with writers from the cholo graffiti movement in California, showing how it differed from the styles of graffiti found in New York City. Hip-hop music and break dancing were influential components for many writers in New York, but in California writing itself defined their neighbourhoods and was tied to cultural pride. In contrast to these articles, Os Gemeos, the twin street artists from São Paulo, are highlighted in one chapter, as they discuss how they became street artists and the importance of graffiti in their formative years.

Many aspects and personal histories are presented but no attempt is made to weave these narratives together in a detailed or authoritarian manner. Instead, they exist as separate chapters that happen simultaneously and loosely to relate to one another. Organizing the artists and subjects according to geography, the catalogue is an in-depth introduction to significant voices from around the world. Overall the catalogue is visually striking and there are many avenues to explore that will provide hours of enjoyment.

Art in the Streetsby Jeffrey Deitch with Roger Gastman and Aaron Roseis published by Skira Rizzoli/MOCA 2011. 320 pp., 275 colour illus.ISBN 978-0-8478-3617-8