ObjectivesStudents will learn that art occursoutside of galleries and museums.Students will understand that theplacement or location is significantto arts impact.Students will gain insight intothe value of connecting with anunsuspecting audience.
Birth Name: Caledonia Dance CurryBorn in 1977 in Daytona Beach,Florida she now resides inBrooklyn, New York.She is a Street Artist who’s knownfor her life size wheatpasteingprints and her flotillas.
A word about Banksystreet art…It is important that street art be Shepard Fairy (Obey Giant)placed very quickly due to its illegality.Street artists accomplish this throughvarious means including spray painting,stencilling and wheatpasting. Evenwith these techniques most street artis created in remote locations undercover of night. These locations areusually neglected urban areas whereone wouldn’t usually expect to findprovocative art. Because the art isn’tbeing sold or paid for by a commercialinterest the content of the art iscompletely up to the artists discretion. Miss Van
SocialSculpture Swoon painstakingly creates life size woodblock prints, wherein the“reverse” of the image is carved into wood and then stamped onto huge sheets of paper, then cut out and placed on almost any surface using a homemade glue called wheatpaste. This allows her to create an image with a lot of detail that can still be placed relatively quickly.
Sylvia ElenaShe was killed in 1995 in Juarez, Mexico at the age of 17.This image was created to raise awareness of the rampantnumber of women that are murdered (600 since the 90s)or go missing (3000 since the 90s) in Juarez.
InfluenceHer art draws from the influence of previous artists whileappealing to modern audiences.Henri de Talouse-Lautrec Rembrandt van Rijn Max Ernst
HoweverSwoon has taken these influences to the street whereeveryone can experience them, not only gallery andmuseum goers.
Braddock,PennsylvaniaA suburb of Pennsylvania,Braddock’s populationhas decreases 90% sincethe 1950s. It’s primaryindustry, steel, collapsedwhile a crack cocaine Gustav Klimtepidemic took place in creative life back into the The Kissthe 80s leaving the city decrepid city. Countless Österreichische Galerie Belvedere,dilapidated and rife with artists have responded, Vienna, Austriacrime. In 2005 is mayor including Swoon and her Admission Approx. $20extended an open invitation community. Now residentsto street artists to have and visitors get to enjoyfree run of the community incredible street artin hopes of breathing a throughout Braddock every day for absolutely free.
New Orleans, LouisianaPortland, What do you know aboutOregon these cities and why do you think swoon chose these locations?
New Orleans, Louisiana Placed outside the location for her up coming installation Dithyrambalina—aPortland, musical house.OregonPlaced under the 205bridge in the recentlygentrified Pearl District.
Lower ClarionEast Side, Alley, SanManhattan, Francisco,New York California
Lower ClarionEast Side, Alley, SanManhattan, Francisco,New York CaliforniaAn immigrant neighbourhood, Formerly a Latin Americanit has undergone recent neighbourhood it’s now a notable artgentrification. community.
Floating ExhibitionsBeginning in 2006 Swoon and her community of artistsbegan collaborating to construct a series of amphibiousexhibitions to navigate various waterways aroundthe world.
The Miss RockawayArmadaIn 2006 Swoon and a collective of 30 artists navigated theMississippi from Minneapolis to St. Louis in craft madefrom recycled and found materials.
Swimming Citiesof Switchback SeaIn 2008 Swoon and her collaborators took seven vesselsdown the Hudson River from Troy, NY to Long Island.Along their route the company would stop at night toperform live music along the riverbank.
Swimming Cities ofSerenissimaIn 2009 Swoon and her “crew” transported two vesselsto Slovenia and constructed a third from materialsscavenged from the coast. They proceeded to travel toVienna, Italy stopping by the shore to preform and collectartefacts for their “Cabinet Of Curiosities”.
Konbit ShelterA sustainable building project with the objective ofsharing knowledge and resources through the creation ofhomes and community spaces in post-earthquake Haiti
RefrencesSwoon. New York: Abrams, 2010. Print.“Deitch.” Deitch. N.p., n.d. Web. 5 Nov. 2011. <http://deitch.com/artists/sub.php?artistId=31>.“The Miss Rockaway Armada.” The Miss Rockaway Armada. N.p., n.d. Web. 5 Nov.2011. <http://missrockaway.org/>.Bloom, Julie. “Swimming Cities of Switchback Sea - A Floating City With JunkyardRoots - NYTimes.com.” The New York Times - Breaking News, World News &Multimedia. N.p., n.d. Web. 5 Nov. 2011. <http://www.nytimes.com/2008/08/18/arts/design/18flot.html?pagewanted=all>.“Swimming Cities Of Serenissima.” Swimming Cities Of Serenissima. N.p., n.d. Web. 5Nov. 2011. <http://www.swimmingcities.org/>.“The Konbit Shelter Project | konbitshelter.org.” The Konbit Shelter Project |konbitshelter.org. N.p., n.d. Web. 5 Nov. 2011. <http://konbitshelter.org/>.
What do you think?Can a piece of art raise more awareness about a specificissue if it is placed in a controversial location?Can art on a street impact people differently than artin a museum or gallery? Does this only apply to visualarts? What about streetmusicians, performers,bridges or architecture?Why are some peopleallowed to make public artand some are not? Who hasthe right to determine whatwe see, smell hear or feel?Are you prepared to decidewhat’s suitable for publicviewing and what’s not?
ActivityBefore the lesson begins print and distribute an image and a piece of tape to everyparticipant. (See attached image file or find your own.)Without explaining why or giving limitations invite the participants to hang theirselected image anywhere and in any fashion.After the lesson invite the participants to discuss and critique how they and their fellowparticipants hung their individual images. Invite them to re-hang theirs or to hanganother.Points to consider: • Are museums and galleries good or bad for art in general? Where else can one view so much different art in one place? • Should street art be illegal? What about violent, racist or sexist images? Where is street art OK? What about the front of your home? • What authority does a street artist have over their work after they create it? Could a building owner cut a piece of art off their wall and sell it? Does the art belong to the owner of the wall it is on? • What responsibilities do property owners have to their community? Should they be required to make their property look “good”?