Vertelli (Solo Show) @ Bristol-Lisboa Gallery

Vertelli (Solo Show) @ Bristol-Lisboa Gallery 
2nd July - 5th November

Vertelli lives and works in London. From an early age he liked to pull apart then reconstruct his toys, creating improved characters or machines. Later on in life, an understanding of the power of the written word led to judgement of the media and a sense of manipulation of the public. The artist believes “the images tell the real story. The fragmentation of these, to break down the limitations of social moulding, allows inner truth as the eventual result”

SEE THE WEBSITE FOR MORE INFORMATION
Bristol-Lisboa Gallery

Open publication - Free publishing - More lsd magazine

LSD Magazine Interviews - Street Artist 'ACE' (Issue 2)

You are probably London’s most prolific poster paster, what’s your motivation? 

Is that right?! My motivation really hasn’t changed from my tags, throwies, stickers or paste ups; it’s all about just getting up! Simple. No hidden agenda, no hidden messages. I just prefer now using this medium to get up. I personally find it a bit more sophisticated than the stuff I used to do. 

Why did you choose the poster format? 

They were a natural extension from the stickers that I started to really enjoy putting up in the early days. I like working graphically and this seems to be the cheapest and most effective way of doing it on a variety of scales! I really like how they tie in with the bill posters ubiquitous with the decaying urban environment. They look better when they’re ripped or dirty and start looking like part of their surroundings. Screen printing or laser copying gives you the chance to repeat the same image again and again in that Warhol/commercial/ magazine kind of way. I also like to hand paint them, so again this format affords me the time to take time painting them and then bang them up real quick! 

 
What and who influences your work? 

I look a lot at pop art, graphic design and graffiti so I think those influences are always quite apparent in my work. I think as an artist you consciously or subconsciously get inspired by all artists you come across. New ideas will come when you discover something new. For me it might be a technique, a layout, a colourscheme or whatever. Recently I’ve been looking a lot at Stuart Cumberland and Peter Blake. Maybe that’ll come out somehow or sometime in my work! It’s nice to kind of teach yourself new things.


Do you live in fear of arrest? 

I don’t think you can let that bother you too much or you’ll never get off your arse and do anything! I just have to learn from past mistakes when I have been caught or whatever. 

 Street, warehouse or Gallery? 

Street always first. You’re always going to lose something when you take it out of its original context. Saying that; I don’t think my work necessarily relies on being on the street to look its best; like say; some of Banksy or Eine’s work. I like it being on the street though. It’s a natural extension of being on the street, or at one with the street as a skater, which I was for many years.

READ FULL INTERVIEW IN LSD MAGAZINE ISSUE TWO

Open publication - Free publishing - More dance music

RUMP Urban Art Show Bristol - December

RUMP Urban Art Show Bristol - December

RUMP Urban art show in Bristol Dec 3rd till 7th @ Hamilton House, Stokes croft and from Dec 12th till Jan 12th @ The Lanes, Nelson street

Artists...

Fake, Levi C, Ben Slow, Craww, Dan, lll Joseph, K-Guy, Milk, Dora, Deadgirl,
Static, .Com, DNT, LL Brainwashed, Starchild, BS51, Copyright, MYNE, Haka, MNKY, Simon Mills, James Starr, SPzero76, Reggie Jackson, McLevey, Lee Ellis, K148, 3megabits, Alison Black, James Bates, Tmajik, Mike Healey, The Art Tart, Bonnie & Clyde, Dan Kitchener, Eyesaw, Filthy Luker...

Supply and Demand - Fairey (Exhibition)

Supply and Demand

Supply and Demand, at the Andy Warhol Museum in Pittsburgh, Pennsylvania, October 18, 2009-January 31, 2010.

With more than 80 works, the exhibition traces the artist's career over 20 years, from the Obey Giant stencil to screen prints of political revolutionaries and rock stars to recent mixed-media works. Organized by the Institute of Contemporary Art, Boston, the show features posters, prints, stencils, and illustrations by the LA-based graphic artist. Inspired by Warhol, Fairey's work often includes "appropriated" imagery and propaganda-style design, including his renowned stylized image of Obama, acquired by the National Gallery of Art, Washington DC. His work is also in the collections of the Museum of Modern Art, Smithsonian, and London's Victoria and Albert Museum.

The 38-year-old has been arrested 14 times for graffiti and sniping (putting up flyers/posters in public spaces without permission. Boston police arrested him earlier this year for "vandalism," when promoting his exhibition. The "Hope" poster is also not without controversy. With reference to a source photo from an Associated Press photograph, Fairey cut out actor George Clooney from the shot and altered the image with graphic enhancements in shades of red, white, and blue. But the AP accused Fairey of copyright infringement for the original photo by Mannie Garcia, demanding credit and compensation. Fairey in turn filed suit against the AP, claiming his work is protected by the Fair Use Doctrine. Sales are donated to charity.

Fairey defends his "appropriation" of the photograph, stating on his website that the "illustration transforms it aesthetically in its stylization and idealization." Also, he believes it's a political statement with the purpose to inspire, unlike the news photo. Guerrilla tactics are found in Fairey's first work, a pop image of professional wrestler Andre the Giant, called "Obey Giant." He encourages people to download the image and post on street signs and buildings. The amusing nonsensical image is intended to stimulate curiosity. http://obeygiant.com/free

On October 17, Fairey speaks at the Andy Warhol Museum about his work's shift between the fine, commercial, and political art and the meaning of his tagline: "Manufacturing quality dissent since 1989." http://www.warhol.org/

The Croft Alley Project, Sat Sept 12th

Don’t Ban the Can (DBTC) is a non-profit arts and culture movement with an underground urban philosophy, formed as a result of harsh, unjust anti graffiti laws within Victoria, Australia. Jeremy Gaschk together with the We Make Stuff Good collective felt the need for a voice from the streets. Created and run by artists for artists, the movement began with a stand against the new anti graffiti laws introduced into Victoria in June 2008. With a successful initial event in September 2008, the project received support from tens of thousand’s of people from around the globe. DBTC has felt the need to expand into a world wide pro graffiti and street art movement. This has involved tackling issues that inhibit the art form’s culture, ethos and creativity to successfully prosper, evolve and expand.

The Croft Alley Project will bring together an all-star line up of artists from around Australia to create a world-class, large-scale, urban masterpiece. Using graffiti, street, stencil, sticker and paste up artists the project will transform the Croft laneway from a dirty back alley into a creative, colourful and socially innovative thoroughfare visited by tens of thousands of tourists each year.

The DBTC team are very excited to announce this project, believing it will be a very beneficial event to positively enrich Melbourne’s most neglected, persecuted and advantageous art form. This project is one of many initiatives the DBTC team are currently undertaking, including a pioneering month long urban arts and culture festival in January 2010.

There is a great list of DJ’s lined up and there will be some dope headlining acts dropping next week, just wanna keep some suspense for ya’ll…

Here’s a link straight to the event on Facebook