FOR IMMEDIATE RELEASE
The Phantom Street Artist performance lecture titled “Scratching the $urface” taking place at the ESMOA Museum is scheduled for Sept 10th 2014 at 3pm.
The ART SAVES LIVES Collective and the Phantom Street Artist of PYR8FREETV has invited you to join our collective mobilized efforts in directing cultural critique through the forms of satirical irony and parody against the hegemonic power structures of the EXPLOITATIVE Art world..
Our guerilla street theater company would like to invite you to share in the latest Phantom Street Artist Directorial and its premiere project which calls into Question our Kulture in Question.
The Phantom Street Artist invites you to a biting commentary and narrative which level charges against the Dark History of our Kulture and its Time. A culture of travesty which details all forms of Post Kolonial transgression along with its barbaric acts through a satirical lectured performance gone awry lecture at the ESMOA Museum addressing its motif theme of CA$HING IN ON THE STREETS..
The Phantom Street Artist is one of the original MOCA Art in the Streets Protestors who combines tongue-in-cheek performance butt with humor through sampled hip hop segue-ways with electro clash site specific theater and installation, along with spoken word and FAIREY nice apologies referencing various tropes of the great tradition of critical satire followed by cynicism. The Phantom is one who questions our culture in question, casting himself in self-realized scripts through many different personas such as Jack’d in Yo Box, Abraham Lincoln been Drinking as well as the Gorilla Street Artist. The Phantom Street Artist is this generation’s American Anti Hero who acts through vignettes skits, prank calls, with smoked out signs from a local pizza joint cooking Master-pizza with the effect of looking at a my way cultural street art swindled indigenous historization. The Gorilla Street Artist meets mash up sounds of the Phantom’s Dubbed Parody of Midnight Star meets Lowend Theory mixed by Sound Designer Producer Fritz von Fingerhoff in seeking enlightened late night conversation with your local vato museum guard who cooks up a new kultural dish called BYE BYE Amerikan Kulture Bye.
If you don’t want a ticket you better zip it..
If you want a show you better pay your dues
Ain’t much better if you play it with your jewels…
Coz it’s so easy it’s so right
Coz it’s so easy it’s so right
To Teabag it all night
If you want a show you better pay your dues
Ain’t much better if you play it with your jewels…
Coz it’s so easy it’s so right
Coz it’s so easy it’s so right
To Ass-kiss it all night…
If you want a show you better pay your dues
Ain’t much better if you play it with your jewels…
Coz it’s so easy it’s so right
Coz it’s so easy it’s so right
To Brown-nose it all night…
As the international recognized Artist and Album Cover Artist for Rage Against The Machine aka the Phantom Street Artist who culturally contest a lampooned institutional critique by the Phantom Street Artist as this generations social satirist, critical commentator and epater..
The Phantom Street Artist is one of the exhibiting Artist in the most recent acclaimed group exhibit titled “Scratch” which has been given international media attention and coverage in diverse forms of social medial, media outlets and publications such as the KCRW, LA TIMES.
Several other media outlets have followed with its reviews including KCRW’s ESMoA Art Review by its Art Critic Edward Goldman.
The Phantom Street Artist would like to extend a personal invite to you all in attending ESMoA Museum Exhibit and its lectured performance..
ESMoA is run by artlab21 Foundation.
ESMoA is a new art laboratory in El Segundo that has purposely been built with leaks. Every experiment welcomes to spread the spark of creativity.
208 Main Street,
El Segundo, California
Phone: 424 277 1020
Phantom Street Artist and ART SAVES LIVES Collective Productions
(909) 276 -4799
“WINDOWS TO YOUR SOUL”: THE ART OF KEVIN T. WILLIAMS
In his new series of paintings titled “Windows to Your Soul” , Kevin T. Williams mission is to bring joy, soul, color and empathy to the human condition that appears more gray, harsh and dangerously bleak than he remembered before. In his piece titled “GOD speaks to Marvin” the artist pays tribute to one of his musical heroes, a way of prayer in a canvas. It is also a prayer or a moment of clarity from the subject in the painting, Marvin Gaye. A specific point in time when a man is touched by a higher power, a source other than himself. When his spirit is open to the possibility of a higher presence.
Born in 1957 at the crest of the new “Rock & Roll” wave Kevin t. Williams entered a world on the brink of change. In Levenworth Kansas, a Catholic home for “wayward” Mothers was where he was delivered by a Priest & staff to his then 17 year old mother. In a pre-civil rights America, he was raised by his mother & grandparents in Topeka Kansas until his mother decided there was a better future for her and her 2 year old son in Los Angeles, California. Los Angeles provided a tough but richly diverse setting that would influence Williams’ craving for creativity and expression. And then came the civil rights movement.
This started his musical journey that currently spans 5 decades of American & World music. Singing and then later playing guitar with groups from the age of 13. The list includes The Bonedaddys, English Beat, Ben Harper, The Untouchables and many others — performing in over 35 countries.
The dream to paint was always in the back of Williams’ mind. Constantly drawing as a child, he dreamed that one day life would afford him the time & opportunity to start painting, even though he never had a formally trained background in art. In August, 2009 at age 51, Williams was growing a new family and tiring of the constant touring a rock and roll lifestyle required. He found the time and the courage to explore putting the visions of humanity, emotion, freedom and explosions of color in his head on to canvas.
Kevin’s clientele include Mosaic Entertainment, Sony Executive Studios, Dreamworks, Green Valley Dispensary and many more…
“I’m in love with the human form and faces. No two are really alike. If eyes are the windows to the soul I want the eyes in my paintings to be the windows to your soul as well.” -Kevin T. Williams
THE ARTWORK OF KEVIN T. WILLIAMS WILL BE ON DISPLAY AT THE CENTRAL AVENUE JAZZ FESTIVAL INSIDE THE ARTS PAVILION: Located on Central Avenue, between 42nd and 43rd streets, in front of the newly renovated historic Dunbar Hotel. SATURDAY & SUNDAY, JULY 25th AND 26th, 2015 FROM 11-7PM
NUMBER OF WORKS UNDER CONSIGNMENT: 8
FRAME SIZES: Various
Current presentation is under consignment to La Mancha Gallery in Los Angeles To inquire about any of the artworks or commission Kevin T. Williams for hire, please include your contact information or send us a note on the Contact Us page and a La Mancha Gallery representative will get back to you shortly. Curators and many of the artists are available for programming possibilities.
Check out our Online Store
if you are interested in purchasing Kevin’s Artwork
KEVIN T. WILLIAMS REVIEWS AND NEWS:
“He’s got a bluesy, folky, soulful thing.” – L. Corskey, co-founder of Cannibal Flower
Articles provided upon request
19th Annual Central Avenue Jazz Festival 2014
La Mancha Gallery partners with the 19th Central Avenue Jazz Festival
Los Angeles, June 9, 2014: La Mancha Gallery is proud to be a sponsor and contributor for this annual celebration of jazz music, arts and culture.
The Central Avenue Jazz Festival is an event that takes place on the last week of July at the South Central section of Los Angeles between 42nd and 43rd Streets in front of the historic and newly renovated Dunbar Hotel. This celebration of community arts and music is an event that celebrates the rich cultural history of Los Angeles Central Avenue vibrant jazz scene since the 1930’s.
Thousands of Angelinos gathered on July 26-27 in the Vernon-Central neighborhood of South Los Angeles to enjoy a free celebration of community, vibrant music and contemporary art. At the invitation of 9th District Los Angeles City Councilman Curren D. Price, Jr., La Mancha Gallery contributios for this event included a 30’x60′ foot tent that will house cutting-edge art from top artists in Los Angeles as well as live muralists and graffiti artists. Curated by Omar Holguin the selected artwork ranging from all sizes and mediums will include talented artists like Enoch Mack, Carlos Chavez, Mohammed Mubarak, Philippe Previl, Mia Watson, Kevin T. Williams, Neneki “Nick” McGee, Luis Genaro Garcia and many, many more. The art installation by Stephen M. Gates will be set against the backdrop aesthetic of black tubes, colorful hats and lampshades with white trees accents. Directly across from the historic Dunbar Hotel, the beautifully-restored mecca for jazz legends of the l930’s and l940’s, Virtually all of the artists represented had personal and emotional connections to the neighborhood and the African-American jazz culture which had flourished there in decades past. Many artists participating have achieved widespread recognition, even worldwide acclaim.
About La Mancha Gallery
Since its inception in 2006, La Mancha has been an avenue and voice for intellectual and social activism in Los Angeles. Its unique mission is to develop and expand art consciousness beyond the traditional “gallery” paradigm into a more widespread, public and unifying encounter. La Mancha seeks to tell a story through its exhibitions in reflecting and re-energizing the community. Its major goal serves to entertain, educate and illuminate. La Mancha provides traveling exhibitions for profit and non-profit organizations and serves as well as a great resource for fine art services and artwork .
If you would like more information please contact Omar Holguin at (213) 537-7561 or email at email@example.com.
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Hispanic Heritage Month at The Vex Fine Arts
An event produced and curated by La Mancha Gallery’s Omar Holguin and Installation by Stephen Gates
The Vex Fine Arts presents an exhibition featuring a selection of recent works by established artists including: Pola Lopez, Linda Vallejo, Neca Dantas, Victor Herminio Lopez, Olivia Barrionuevo, Raul Paulino Baltazar, Leo Limon, Isabel Martinez, Fernando Lozano, Ester Petschar, Felipe Ramos, Xavier Yarto, Nestor Rodriguez, Rafael Escamilla, Ester Petchar, David Botello, and many more. Celebrating Hispanic Heritage Month, The Vex Fine Arts introduces the histories, cultures and contributions of American artists whose ancestors came from Mexico, South America, the Caribbean and Central America
The Vex Arts Center’s mission is to provide high-quality arts programming that enhances the cultural lives of Los Angeles’ diverse communities and serves as a catalyst for civic participation and sustainable community development through the arts.
I worked in San Cristobal de Las Casas, Mexico as a photojournalist covering the Mexican elections next to President to be Ernesto Zedillo, after the slain candidate Luis Donaldo Colosio to whom I was the main photographer. In Chiapas, I encountered for the first time with the Chamulas, Zapotecs and was fascinated by their Mayan traditions and how they have survived for many centuries. As an artist I wanted to capture their body, soul, pride and spirit without being literal to what I was seeing. Through this research, The Ancient Mexicans project was born, this project explores the cultural value of identity, mythology and traditions of Mexico. My works honors tradition and community, connecting the day to day living and seeing to the experience of other persons who have lived in our societies in the past. My feeling is best stated by one of my favorite photographers, Manuel Alvarez Bravo who says that, “Photography is the conscience of myself and the most profound, human and personal self.” This pulls me into a deeper feeling of alliance with my fellow human beings, I see and through seeing, feel their needs and longings. By seeing social changes around me, I continue my own evolution.
Olivia Barrionuevo, Mujer Jaguar (Jaguar Woman), Photography, 2010
Olivia Barrionuevo, Lagarto Guardiante (Guardian Lizard), Photography, 2010
Pointillism work is somewhat traditional with a little mysticism but follows no rules. I have my own style of painting pointillism, I manipulate color, shape, shading and space, I’m always learning new techniques to add to my work.
Ester Petchar, Magu & Angel, Pointillism, 14” x 14”, 2012
Ester Petchar, Young Frida, Pointillism, 14” x 14”, 2008
I am Brazilian photographer living in Los Angeles for the past 13 years. My work focuses on capturing moments that evoke the social and economic aspects of the world. When I am not involved in a project or traveling around the world I like to experiment different cameras, formats and styles. Celebrating my Hispanic heritage, Walls of Cuba is a series of abstract photos taken during my trip to Cuba. I tried to capture the complexity of Cuban society- happiness and angst … lively, colorful people whose creativity and imagination are necessities to everyday life. Included are photos taken in Trinidad– a beautiful artsy cobblestone small town.
Neca Dantas, The Walls of Cuba 4, Photography, 2013
Neca Dantas, The Walls of Cuba 3, Photography, 2013
My work features Contemporary fine art flavor fusion of Mestizo (mixed indigenous/European background), Latina (Latin feminist), Chicana/Chicano (social and political art) and Hispanic art genres. I create Colorist oil paintings with the spirit of magic realism, crows, corn, Mayan symbols and local images of my native New Mexico.
Pola Lopez, Spiritual Warrior, Acrylic on canvas, 30” x 48”, 2011
Pola Lopez, The Emergence of The Quinto Sol, Acrylic on canvas, 40” x 60”, 1998
Due to the Salvadoran Civil War, Escamilla sought refuge first in Guatemala and then in Oaxaca, southern Mexico. Escamilla appreciated intuitively and quickly internalized new landscapes, colors and indigenous artistic traditions in each place he sojourned. By the mid-1980s, he took up residence in Los Angeles. Although Rafael Escamilla is fluent in current trends in the painterly and other arts as evidenced in his wide range of work, visual memory remains an important element of his artwork.
Rafael Escamilla, Mountain Festival, Acrylic on canvas, 36” x 60”, 1997
Rafael Escamilla, City, Acrylic on canvas, 48” x 84”, 1998
The Vex Fine Arts will host a two day event, in a curated group exhibition by award winning curators Omar Holguin and Steve Gates. A special live stage performance by Victor Herminio Lopez, poetry by Iris De Anda, The Funny Bones Dance Studio, An end of Summer Fashion Show with Lancelot Dawkins, Raphael Patricio and Fashion Designer Krizta Huang, guest DJ Edward Transylvania and a surprise musical guest appearance. The event will take place on September 27th and 28th both starting at 7:00 pm at The Vex Arts.
Featured image: Ester Petchar, Young Frida, Pointillism, 14” x 14”, 2008
All images courtesy of The Vex Fine Arts
Collect Ester Petchar Hispanic Heritage Month Issue 27 Neca Dantas Olivia Barrionuevo Pola Lopez Rafael Escamilla The Vex Fine Arts
Punk rock’s connection to politics dates back to the Civil Rights era. Groups like MC5 and the Stooges in the ’60s, Sex Pistols, Bad Brains, Black Flag, and Fishbone in the ’70s and the ’80s reveal punk rock’s connection to social justice and questioning the status quo. Moreover there’s a school of poets, like KCRW DJ Henry Rollins and Jamaican Dub Poet Linton Kwesi Johnson, that have emerged from the Punk Rock perspective. Rollins in his book “Fanatic” recalls the ethos of the punk era: “there was a time in punk rock, a flashing moment when there was no irony and the moves weren’t choreographed and no one knew where it was all going and it was all very real.”
Many have said that a similar energy is currently thriving on the Eastside. As recent documentaries have shown, the energy of punk rock reverberated loudly throughout the Southland in not only Hollywood and the South Bay, but also in Boyle Heights. This week L.A. Letters spotlights a historic Eastside punk rock venue making a return, a travelling poetry festival, and neighborhood activists sharing the same ethos to improve local public policy.
One of the most important bridge-builders in Eastside musical history is Joe Vex. Beginning in 1977, his Boyle Heights venue, “The Vex” near First and Lorena, featured notable bands like Black Flag, Red Hot Chili Peppers, The Damned, X, Suicidal Tendencies, The Cramps, Social Distortion, Circle Jerks, The Germs, TSOL, The Adolescents, Los Lobos, and many more iconic bands. Originally a close comrade with the ASCO Muralists and the Chicano Arts Movement, Vex concentrated his energy and efforts on promoting the live music community. Besides featuring well known acts, he also opened the door for many emerging local artists until the venue closed its’ doors in 1984.
Besides the historic series of live events held at the original Vex, Boyle Heights’ central geographic location made it a local music mecca that bridged the gap between Hollywood and Orange County’s local punk and new wave music scenes. The mythology about the original Vex can now be found referenced in several published books, as well as the Rock and Roll Hall of Fame, The Smithsonian, Los Angeles County Museum of Art, and many other art museums and music history archives.
Girl Scouts at The Vex, August 7, 1980 | Photo Courtesy of Diane Gamboa.
Good news for music enthusiasts is that Joe Vex has reopened his venue in a large performance space/gallery/workshop venue on Alhambra Avenue in El Sereno, just a few miles north of his original Boyle Heights venue. The new venue is 9,700 square feet, equipped with a large stage and performance space spacious enough to hold several hundred music listeners comfortably, and hold an art show simultaneously. After 30-plus years of experience in hosting music and art events, Vex is applying all of his wisdom in the newest incarnation. They will not only be hosting live music, but will be having gallery events, fashion shows, writing workshops and other types of community arts-oriented activities. Vex wants to give back to the El Sereno community. As a longtime Eastside resident and arts advocate, giving back to the city that gave to him is an important piece in the new venue.
Omar Holguin is the Executive Director of the Vex Arts. Holguin’s excited about the future possibilities in the local area. He explains, “The Vex’s goal is to enrich the lives of the El Sereno Community by providing a hands-on arts and education program, as well as providing needed services for the community and its surrounding areas. The legacy of the Vex will continue providing a thriving music venue as well as challenging all art disciplines and forms.”
They have had a series of secret shows so far, with groups like Black Flag and quiet openings, but Holguien is collaborating with artist Steve Gates for an official opening with live performances that will exhibit artists Diane Gamboa, Bo Jennings, George Combs, Ngene Mwana, Ellla Sarkisian, Donald Frazell, Silvio Sangiorgi, Velma Gay, Lika Brutian, and other artists in a special curated group show.
El Sereno is an underserved community with a lot of teens living near the space. Vex and Holguin are in the process of working with the city to establish after school arts programs and other related workshops for the local youth under nonprofit status. They know that one of the best ways to keep the arts legacy going to cultivate the next generation of musicians and artists. This is why arts programming is just as important as their live events and gallery shows.
Holguin adds, “The Vex Arts mission is to enrich the lives of children by offering a continued arts and education program for all in safe haven, while introducing them to a variety of programs that would teach them about empowerment, techniques, structure, and enhance mental creativity, while teaching them to embrace each other’s cultures.” Holguin jokes that “the punk rockers have all grown up.” The Vex is taking the raw energy of punk rock and reapplying the kinetic force to cultivate the youth and improve the neighborhood.
The new Vex space in El Sereno | Photo: The Vex Facebook
Whether you are preparing for an exhibition, performance, a fundraiser or launching a new body of work. We will customize a package for you to get the best return possible. We provide event management services for art, music, fashion events and more. We provide exhibitions and management services for art, music, fashion events and more. We help promote the mission or goals of private companies, non-profit organizations, corporations, collectors and individuals. Whether you are preparing for an exhibition, performance, a fundraiser or launching a new body of work. We will customize a package for you to get the best return possible. We provide production value for Corporate Events, Special Events, and Weddings; musicians, DJ’s, live bands, ethnic music, classical, blues and jazz, and much more. We bring extensive experience in fashion events production and visual styling to create outstanding events customized to your specific needs. We help promote the mission or goals of private companies, non-profit organizations, corporations, collectors and individuals.
La Mancha Gallery draws on extensive experience in event production and visual styling to create outstanding events customized to your specific needs. We work with you in pre-production and concept meetings to ensure the right look, feel, sound and taste for your event. Our event management is unsurpassed and our experience comes from producing:
- Art Exhibits
- Fashion Events
- Product Launches
- Charity Benefits
- Informal Presentations
- Music Events
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With state of the art production, refined skills and attention to detail La Mancha Gallery will work closely with you to oversee your show or event from concept through completion and manage the following areas:
- Stage and Set
- Art Installation
- Fashion Styling
- Model Casting and Selection
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The Phantom Street Artist explains that Shepard Fairey “does not represent the voice of the populace but he is the voice of the Elitist Media disguised” and that “he is nothing other then a consumer being consumed buying media time buying publicity buying legal representation to justify his infringed violations buying everything to present himself as a legit street artist.”
The Phantom Street Artist goes on to explain, that Modern mass media, Network, museums and galleries are often historically used by hegemonic institutions to seduce public and popular opinion. Shepard Fairey’s recent Retrospective at the Institute of Contemporary Art in Boston on February 6th 2009 is an example of a conjured 20 year retrospective. The ICA was once a reputable Museum which has chosen to support over a decade of Fairey’s unapologetic infringed actions.
The Phantom Street Artist was quoted in review of my performance as a cultural critique whether it be a staged act or a fight in the cage interest is interested in initiating a debate which critically goes beyond the valuation of a given work of art, forcing one to question, modify, develop, refine one’s own independent value system.
“It is a sign of the degeneration of our society and culture which is being conformed by mediocrity by the likes of Shepard Fairey and OBEY as well as his publication SWINDLE as the true life metaphor to inveigle beliefs systems and values all in the interest of mammon.”
The Phantom Street Artist
“The Phantom Street Artist” aka “Joey Krebs” aka “Caine 2,” etc. whose own claims to fame include cover art for the infamous punk-rock-rap-blend group, Rage Against the Machine’s of their platinum award winning album, “Battle of Los Angeles.”
The multi-masked Phantom creatively directed Rage against the Machine in several music videos, including the MTV award-winning “Bulls on Parade”, and “Renegades of Funk,” which is currently receiving heavy airplay. The MTV videos feature Phantom’s signature artwork, the silhouette or Shadow, which serves as the archetype for the Public Everyman.
Phantom is also a daring performance artist whose drawn huge crowds at events like the Academy Awards, where he cast himself in personae in realizing his own scripts for a spoof on culture titled Mr. Big Money wedded to Miss Cult-cha-cha.
The addressed theme was a Hollywood Marriage, which wed Mr. BIG MONEY to Commerce a.k.a. the Film Ms. Culture as appropriate motifs. The event was theatrically acted out and staged to express a critical commentary of the Academy’s Major Self Congratulatory Multi-million dollar Event. The Bride and Groom’s Announcement was a metaphorical matrimony of Radical Protest politics wed to activism.
The Union expressed Guerrilla Satire with critical irony: where else but at the Oscars can B.I.G. Money with Commerce and Cult-CHA (Film) be bedded. The Phantom Street Artist says “Come celebrate the anniversary of The Phantom Street Artist because don’t we all want to be fucked by BIG Money? “
And, “a thinly veiled scene where my intent is to comment on the marriage of the culture of greed.”
On inauguration night Jan 19th 2009 the Phantom Street Artist created a titled piece called THE IN$ULTING PRICE is RIGHT, a Street Alley Target Installation for BUSHBASHLA.
The Phantom Street Artist created a street alley target range as an installation where individuals purchased 2 shoes for a fee dipped in red paint.
For a small fee a throw, visitors were given the opportunity for two chances to hurl and insult the Bush Machine.
Our proposed concept was a “statement of solidarity” with the Iraq Journalist Muntadar al-Zeidi.The Iraqi journalist is the individual who was arrested after hurling two shoes at Bush in protest during a Baghdad news conference earlier this year.
THE IN$ULTING PRICE is RIGHT is a game as well as a metaphor imposed as a guideline which serves to critique the outgoing political administration.
At the moment, The Phantom development of a creative project that rages against what both he and his subject matter, Shepard Fairey says Fairey’s Obey Giant ‘artwork’ represents: “the power of propaganda” or in actual application, brand imaging through repetition.
In defending his work as art that makes social commentary, Fairey has repeatedly said, “the medium is the message.”
“Shepherd Fairey has become the poster boy for Big Brother,” says The Phantom.
“Fairey’s own comments on his work which is nothing other then décor, ambiguous and nihilist, OBEY has no responsible message other then to brand self promotion in the self interest of commerce.”
To bring attention to his point, the Phantom is challenging Fairey to a cage fight.
“What Shepard Fairey is doing is the epitome of rape,” Phantom says “Fairey’s is a cultural scavenger ravaging important historical and revolutionary cultures, ideas, concepts and visions for only profit alone.” On the contrary, Fairey claims his right to use cultural iconography and appropriate copyright work without reference is protected under “fair use.”
In the age of Socrates those who were social outsiders employed “irony or what would be considered modern fair use. The oppressed have historically carried an arcane language to subvert” Fair Use was originally adopted which allowed for social commentary, critique or satire on work previously well known as a reference.
“There’s fair use and then there’s ‘Fairey Use™,’” says Phantom who has trademarked the term in Fairey mockery. “Fairey is so full of hubris he’s taken OWNERSHIP of icons in the public domain and threatened to sue artists, like Baxter Orr, who dare to parody the same icons Fairey has foolishly misappropriated.”
The Phantom Street Artist says “Fair use is vital to safeguarding the importance of our historical culture” Fair Use is limited for a reason. If visual artist or merchandiser like Shepard Fairey aka OBEYS can cite Fair use only in the interest of protecting their corporate interest of profit, we have lost the value of “fair use”. He adds “Fair Use protect the legacy of important revolutionary cultures and history. This cage fight takes a stand for that difference of respecting the integrity of those historic cultures.”
Phantom, not his real surname, who is the off-spring of first generation immigrants from Ecuador, also finds it offensive that Fairey labels significant art belonging to Latino cultural history such as the work of Rene’ Mederos, “propaganda.”
Fairey, however, arguable alters public domain and copy right works–which he HAS referred to in interviews as “MY icons” and “propaganda”—to a degree, over 10% subjectively, a factor that may make them fair game for fair use or already immune to copyright infringement accusations.
But Phantom views such alterations as all the more demeaning to the integrity of the borrowed works and the voice of the disenfranchised cultures from which many have emerged.
“He’s making a novelty out of, degrading our historical cultural imagery. Satire, irony and political commentary are the tools of the oppressed,” explains Phantom. “We cannot allow vacuity, emptiness, meaninglessness, novelty, mere branding for the sake of making Shepherd filthy rich. “Fair Use protects language and true social commentary without suffocating independent voices.”
And, “If Shephard Fairey case wins in a court of law we will lose fair Use to the RICH!!!”
We are seeing the structures of society collapse around us because of the lack of reference and the true understanding of our foundations that Fairey and his publicity machine propagate.
What he’s doing is part of what’s tearing at, breaking down the structures of humanity! It is GREED revealed?”
The Phantom, Joey Krebs authored a fictitious Book titled “SOME-1 EL$E’S AMERIKKKA”, which was followed by a successful situationlist advertisement campaign placed in City Beat Magazine… The book was a self portrait which detailed the many hundred year history of cultural displacement in Amerika .
Many of his previous performance received excellent reviews from Black Book Magazine, and other subversive media including a wonderfully written critique from our own Craig Stevens who contributes to Citizen LA. The performance referenced in a review of Black Book Magazine which featured Krebs transgress performance in their Fall 2005 issue.
The Phantom Street Artist cast himself as a simulacrum Andy Warhol counting a briefcase full of play money at the Warhol Retrospective held at MOCA Los Angeles. Black book Magazine followed with a feature which addressed Artists like Krebs who explore the relationship between the personality cult and art stars like Jean Michel Basquiat, Julian Schnabel, Francesco Clemente, with Actors and Directors like Benecio Del Toro, Sofia Coppola, Vigo Mortensen, Spike Jonze and Musician Beck. The Phantom Street Artist motto is “the world is his stage or canvas for social commentary and self realized scripts.”
There’s also a stunning book cover graphic, a half-naked child with the caption: “Father, forgive those who have sinned against us…” Krebs aka The Phantom Street Artist worked with SNAP (Society Network Abused by Priest ) who collectively authored and created a series of photo projections on the LA Cathedral in defense of those victimized and abused by the Roman Catholic clergy. Krebs directed the image of the child on the cross in intentionally imposing the critique of Clergy Impunity.
The Phantom was born in Queens, New York City. He has two sisters both of whom are now wards of the state, the Nation. Mentally, emotionally disabled. “Beautiful, beautiful souls,” the Phantom finally tells me. She only responds to music. But Mary is higher functioning. They were abused in foster care as children, their single working Mom unable to consistently support her children alone. They were always being displaced by evicting landlords, moving from the City out to Long Island, back to the City, and back together again when Mom could afford them.
The Phantom found mentors, a family of other displaced big brothers who roamed the streets at night. They claimed City corners, blocks as their home. There was no computer or even refrigerator to post up their pictures, or essays so they placed their angst on buildings, platforms, made their mark on exposed walls and it was called street art. It was the ‘80’s, the height of the graffiti art movement, all the rage. So, that’s what they did. They could have done worse. They couldn’t do any better.
Eddie Glowaski, Caine 1, was doing well with his art. The bully’s thought he had money and wanted a piece of it. Eddie ran up the fire escape of an old man who’d been robbed and didn’t care to be victimized again. The old man shot Eddie rather than let them in. The police report says the murder was in self-defense during a robbery.
But Phantom says Eddie wasn’t armed or meaning harm. “It was a case of mistaken identity.” Eddie was cuffed before his wound was treated. He was a hemophiliac. He died of blood loss and no one knew.
The Phantom fled the City, ran off to the Island again where he was sent to a renowned wrestling academy to sharpen his mind, build his strength and physical awareness. And the Phantom began doing well at school. Eventually he made his way to LA and studied interdisciplinary studies at UCLA.
“Knowledge is power,” Phantom says.
He never paid college tuition, but he showed up, auditing the classes regularly at diverse schools such as UCI, Cal Arts and other colleges. No one ever noticed but soon his artwork was.
“Jackdando Mi Kultura taking back Kulture Yo,” is a project of Phantom’ Art Saves Lives (ASL) collective dedicated to preserving ethnic cultural history and promoting social interaction across “diverse expressions,” says Phantom. “We are visionary believers who are returning media to its true messengers.”
“Jack’d in da Hood®” is ASL’s new mascot ‘originated’ by The Phantom in “homage, irreverence” to Fairey’s Andre’ the Giant street bully branding methods.
Though “Jack’d” is reminiscent of a faintly familiar public figure, identified by vigilant experts as fast food magnet “Jack in the Box,” Phantom insists any resemblance is strictly incidental.
The Shepard Fairey Propaganda Machine
The Phantom is not the only Shepard Fairey detractor who’s popped out of the box.
Mat Gleason, founder of Coagula Magazine an Ovation Satallite TV, Mark Vallen of Art for A Change, Art Blogger Brian Sherwin, Dan Wasserman of The Boston Globe and other critics have all weighed in against Fairey Use™.
As have certain voices of the street. At Shepard Fairey’s New York show last year a 24-year-old man known by the Tag, “The Slasher,” set off a stink bomb. He now faces a 15-year prison term sentence.
At the Art Basel show in Miami “All City Crew” tagged Shepherd Fairey’s work on display and posted their video doing so on You Tube.
Fairey also has fingers wagging on the web, ‘for shame.’ A two-year debate raged on Flickr, sparked by a former Fairey fan who was shocked upon her discovery that an Obey Giant trademarked poster she purchased “Black Noveau” was not an original Fairey illustration but a traced composite of a classic Koloman Moser reprint bordered by clip art. Fairey or his shop workers only added the Obey Giant logo, with a pithy anti-war epithet and a price TAG.
(Moser + Border = Obey trademark graphic)
The Flickr® thread is at this email address:
Now, more grist’s been tossed into the Zeitgeist since the Stanford Center for Internet and Society’s “Fair Use Project” filed suit on behalf of Shepherd Fairey and Obey Giant Art, Inc. vs. the Associated Press on February 9, 2009.
The Fair Use Project (FUP) complaint, which can be read at http://cyberlaw.stanford.edu/taxonomy/term/374, seeks legal vindication over Fairey’s appropriation of ‘the photograph’ snapped by AP freelancer Mannie Garcia.
“Have you read John Keane, ‘The Media and Democracy’?” Phantom pointedly asks. “The media is run by elitists to manipulate public opinion. They’ve also overtaken the independent media, including Satellite Radio.” The Phantom believes the elitists, Fairey among them, are buying out the last bastions of free speech, the Internet, and the very streets. “Shepard Fairey is a sell-out, a TOY, a dupe for Big Brother.”
Indeed, Fairey’s newly retained legal representative does have an agenda. One of their stated objectives found on FUB’s website is to “clarify and extend the boundaries of “fair use” in order to enhance creative freedom.” And FUB’s website does debatable endorse Silicon Valley giants such as “Google and other major corporate giants including Shepard Fairey.”
-Jackd in Da Fairey Hood
List of Contributors and expressed thanks from ASL:
Art Saves Lives, The Collective is a Firm organization committed to social interaction across cultural differences and ideas through exhibition, education and community activities.
We foster developmental projects with diverse Artists who cross many media’s genre, and definition of culture to help define art and education of the future.
Our Collective is composed of unnamed individuals who are today’s anonymous voices of artists who are critics of tomorrows hegemonic power structures.
We are advocates of Credit rather than Dis-credit, respectfully sourcing both Historical and Cultural references.
Art Saves Lives is an organic formed collective group of watch dogs of the Media, Culture and the Arts.
The goal of Art Saves Lives, The Collective is to create an aesthetic strategy which creates commentary, revelation, and exegesis whose purpose is to reach a mass audience in the interest of challenging our conditioned society.
Our performance mimics and models itself after the proposed event but is disguised with a inveigled statement which questions our culture in question.
Our conceptual work essentially departs from the traditional definitions of Art. Our Art is of a New Genre which is provocative and confrontation with social and political issues that are engaging.
We welcome people from all inter-disciplines to challenge existing intellectual, economical and aesthetic models of its time.
La Mancha Gallery chooses a limited number of artists to work with on a monthly or annual contract agreement. This agreement specializes in developing and creating all needed materials for marketing and promotion, one-on-one consulting each month, support services through our staff, research and follow up of possible local, national and international exhibition opportunities and local exhibition opportunities.
Artists interested in this service are required to set an appointment, bring up to twelve images of work, and complete any needed paperwork. We will then review your information and notify you of any openings. For the last 8 years La Mancha Gallery has been proud to represent top talent from around the world, helping them achieve success in one of the most exciting, dynamic and challenging areas of the global art scene. Through strenuous and proactive publicity and promotional efforts, the gallery gives artists the opportunity to present their work to the world.
Gallery representation is offered to talented artists at every stage of their career, who benefit from showing their work in this vibrant area of the art world and from the PR campaigns carried out by our experienced team. Acceptance is granted only to those whose work qualifies, on the basis of a portfolio review carried out by La Mancha Gallery.
Portfolio Submission Requirements:
- At least 5 images of your artwork.
- Artwork title, medium and dimensions
- Images must be jpg’s, smaller than 5MB but larger than 900 pixels wide
- Your biography
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E-Mail or mail images of the work you are interested in showing and your contact information (name, phone #, address, website, etc.). If you would like to meet in person please call and set an appointment. We appreciate your interest and thank you for your submissions.
Services for Artists chooses a limited number of artists to work with on an annual contract agreement. This annual agreement specializes in developing and creating all needed materials for marketing and promotion, one-on-one consulting each month, support services through our staff, research and follow up of possible local, national and international exhibition opportunities and local exhibition opportunities.
Artists interested in this service are required to set an appointment, bring up to twelve images of work, and complete any needed paperwork. We will then review your information and notify you of any openings.
We offer a variety of services and packages that can benefit any budget.
Whether you are preparing for an exhibition or performance, launching a new body of work or releasing a new CD, we will customize a package for you to get the best return possible. From social networking and electronic marketing, press release distribution and PR, even staffing and follow up, Services for Artists will help you through the process giving you the peace of mind to focus on yourself and your work.
Services for Artists will include your invitations, flyers, promotional materials all over Los Angeles for less than mailing. Saving you time and money while increasing the numbers familiar with your event. Services for Artists distributes to all major art districts throughout Los Angeles whitin a 20 mile radius from the event and throughout the Downtown Los Angeles including the artist district.
Prices start at $225 per distribution
1000 – 3000 pieces required
We can write your press release, distribute it to all local, national and international press, list your event on all local event based bulletin boards and you can watch the numbers of visitors to your event rise.
Press Release Creation beginning at $60
Press Release Distribution (to our local/national/international lists) beginning at $125
Event Listings beginning at $50
Social Network Listings beginning at $100
Our print design is adapted to the specific needs of an artist or gallery. It is about more than just pretty pictures, our print design work is a product of 20 years of experience. Through research and in studying what works best in the art market, and what doesn’t, we have formulated a specific approach to create that indelible first impression.
Whether what we’re designing is destined for a gallery or collector, you can trust in us from design to delivery. Get a bigger bang for your hard-earned dollars. How? By constantly researching printers around the US we make sure that all of your marketing materials are printed on schedule, of the best quality at a low price.
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Web and Print Promotion
Looking for simple design that works? Whether you need an artist site or print design to promote your work or event you can rest assured that what we create for you will be on target.
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