BOMBIN’ Magazine Responds to Structure of Street Art

I forwarded the conversation that Vandalog and I have been engaged in to the editor at Bombin’ Magazine and he had some input:

“Interesting dialogue but I fear that it suffers from a too simplistic review of political structures.

Allow me to add this bit of laughter: Graffiti and Street Art are Banana Republics, low-level functioning democracies that exist only at the will and allowance of a far superior power that often sits at a remove but can and will interject either to expunge some wealth from its subjects or punish its subjects for their wrongdoings.

It is not the relationship between the street artists and the graffiti artists that control, but, rather, the hand wielding the greatest power up above. The gangs of New York got too powerful and Tamany Hall co-opted them. The Jamaican Sound Systems got too large and political parties brought them in. Banksy became important and powerful and London allowed his works to remain unmolested.

All the other back and forth is simply a dog and pony show, a play for the “evil overlords,” that is, if you excuse me, full of sound and fury and signifying nothing. It is at once anarchy, meritocritous, and democratic and dictatorship at once because it has absolutely no signifigance.

And, it is not until we realize this matter that we will ever have any autonomy.”

Autonomy definitely comes with its sacrifices, meaning that the rewards and priviliges offered by being “coopted” if you will must be forgone or resisted. But I feel that this premise and response posed by Bombin’ is aimed more towards gallery involvement and I would not go so far as to say that what happens on the street is now irrelevant in light of artists who also cooperate and collaborate with galleries and institutions.

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