WAR 42

Bun-B – Damn I’m Cold ft. Lil Wayne

 

 Bun B - Damn I'm Cold ft. Lil Wayne [4:31m]: Play Now | Play in Popup | Download

While looking for decent picture of the UGK mural above I also found this new Bun B video. Which it looks like the mural was painted for.

Bun-B – That’s Gangsta

another Tloko gallery and already got enough pics for another one…
more Tlok pictues and video
warfour.com/takeover-tlok-tko-live-bombing-footage/
warfour.com/tloks-money-talks/
warfour.com/graffiti/tloks-tko/
some other sites you should check out
molotow.com/toomer
myspace.com/toomerone

GRAFFITI: IS IT ART OR VANDALISM?Or, are the stylized smears, colored tags and toilet scribblings found nationwide a little of both? See what TIME has said about the graffiti phenomenon over the years:

The aerosol paint can is science’s contribution to the ancient art of public defacement, and the vacant-minded or vicious are taking to it in ever-increasing numbers — gleefully spraying their names, initials, class numerals and favorite biological functions over national monuments and natural wonders. The taxpayers’ bill for cleaning up after them is getting higher all the time.

From The Spoilers
Jul. 3, 1964

When Manhattan’s Museum of Modern Art this winter staged ‘Word and Image,’ a poster survey, the artist selected to design the show’s theme poster was neither Glaser nor Max. Instead, the museum commissioned a fragile, mop-topped Japanese named Tadanori Yokoo.

From Commercial Graffiti
Jun. 7, 1968

No one can fix an accurate price tag on vandalism, which is not always reported, not always identifiable as such and covers everything from toilet graffiti to arson….Contemporary life invites the vandalistic act. The media play so endlessly on themes of violence and aggression that they become, to the young at least, an accepted part of life.
From The Vandal: Society’s Outsider
Jan. 19, 1970

There are still an estimated 10,000 graffitists on the loose in the City of Brotherly Love, and some people profess to see an aesthetic value in their obsession. ‘We sense that there is a lot of creativity in these graffiti.’ says the Philadelphia Art Museum’s David Katzive. ‘Most interesting, the trend is away from profanity and toward simple signatures — a kind of identity thing.’

From An Identity Thing
Mar. 13, 1972

One realizes where a New York graffiti artist like the fulsomely promoted Keith Haring, 25 ‘the Peter Max of the subways’ filched his ideas, a decade later. Penck’s paintings consist of stick figures and linear signs, enacting parodies of myth, ritual and archaic language.

From German Expressionism Lives
By Robert Hughes
Aug. 8, 1983

Today American pop-culture imagery is being recycled more obliquely by Italy’s Memphis group of furniture designers and by French painters mimicking the East Village fashion for graffiti art.

From Pop Goes the Culture
By Kurt Andersen
Jun. 16, 1986

The stylized smears born in the South Bronx have spread across the country, covering buildings, bridges and highways in every urban center. From Philadelphia to Santa Barbara, Calif., the annual costs of cleaning up after the underground artists are soaring into the billions.

From Zap! You’ve Been Tagged!
By Jonathan Beaty
Sep. 10, 1990

Twombly was one of the first American artists to interest himself in graffiti. Forty years ago, the term didn’t suggest city kids’ spraying their aggressive colored tags all over subway cars and buildings. It wasn’t bound up with the seizure and degradation of public space. It was, so to speak, more muted and pastoral: harmless scratches, small obscenities, chalk on Roman distemper. To adopt graffiti to the painted canvas was to pay homage to European art informel — Fautrier, Wols and especially Jean Dubuffet.

From The Grafitti of Loss
By Robert Hughes
Oct. 17, 1994

Brassai discovered the weird beauty of graffiti. Just as he had seen what was lovely in the louche spectacle of the Parisian cafes, he recognized what was indelible about graffiti, the bad penmanship of the group unconscious. In his photographs of the stick figures and screaming heads carved and scribbled on Paris walls, you find the most unruly human impulses–sex, anger, even exaltation–brought alive and made legible in odd corners.

From The Night Watchman
By Richard Lacayo
Jan. 18, 1999

The other route an artist can pursue is to borrow from readily understood sources in pop culture. That would describe Basquiat’s graffiti-derived gestures and Koons’ life-size renditions of Michael Jackson and the Pink Panther.

From How Does ’80s Art Look Now?
By Richard Lacayo
Mar. 28, 2005

In the brief annals of street-art history, graffiti ranks as something like cave painting–a first gesture, recognized for its primal intuition that public space is up for grabs–and has, in the past four or so years, been overtaken by a host of new practices: wheat-pasted posters, adhesive stickers with oddball images on them, elaborately stenciled images and even three-dimensional objects. And like many things that start below the Establishment’s radar, it has caught the eye of the mainstream and is edging into the galleries.

From Takin’ It To The Streets
By Richard Lacayo
Oct. 24, 2005
Photo Essay: Art of the Street

Many British fans never forgave Eno when he split from Roxy Music after just two albums and headed off into musical outer space. But in New York City they came to adore him Ñ eno is god read the graffiti in the late ’70s Ñ as he set about reinventing the studio as an instrument for making music rather than a place for capturing it. Light Years Into The Future

From A Coming-Out Party
By Michael Brunton
Nov. 27, 2006

Majerus made waves by painting the entire faade of the Italian pavilion at the 1999 Venice Biennale with a pastiche of famous artworks. In 2002 he covered Berlin’s famed Brandenburg Gate with a digital rendering of a graffiti-blighted East Berlin housing block.

From A Coming-Out Party
By Donald Morrison
Feb. 28, 2007

It’s humiliating, and hard not to interpret this as a collective punishment against Palestinians. First, I walk into a long, wire mesh cage that runs along a 20-ft.-high concrete wall which, on the Palestinian side, is smeared with graffiti. On the wall, someone has painted a big pair of scissors as if to say: Cut along the dotted Line. If only it were that easy.

From No Room for Civility at the Checkpoint
By Jamil Hamad
Mar. 5, 2007