When Kenny Scharf was painting his mural—an orgy of candy-colored cartoon faces in various states of distortion—on the northwest corner of Houston and Bowery in downtown Manhattan, he said he wasn’t worried about graffiti writers painting over his piece, as they did to Shepard Fairey’s “May Day” mural at the same spot in July.
If you travel by rail between Berlin and Halle, Germany, and pay attention to the passing landscape, you will eventually set eyes on a 350-foot-long graffiti mural (obligatory football field metric: two and a third). It’s a series of detailed scenes: a laboratory overrun by rats, a shipping port under dark clouds, galleons fighting through rough waters and a giant octopus, and a cityscape at sunset. The graffiti name of the artist, MadC, is ubiquitous.
Just before Christmas in 1989, Arturo di Modica, a Sicilian artist living in New York City, recruited a few friends, loaded his sculpture, “Charging Bull,” a 7,000-pound, 16-foot-long bronze bull, onto a flatbed truck. They transported it from his studio to Wall Street and deposited it, without permission, in front of the New York Stock Exchange. The sculpture was swiftly removed by the city the next day, but due to public outcry it was reinstalled at a location nearby, where it has since become a neighborhood landmark (and judging by its prominence on Flickr, a popular tourist attraction).
When an artist friend returned from his first Art Basel Miami Beach experience a few years back he recounted a frenzy that made me think of Black Friday, only instead of flat-screens and digital cameras, the gate-crashing mob of insanity was hording multi-million-dollar works of art.
“There were people literally running from booth to booth,” he said. The best – and often most expensive – artwork was sold within 20 minutes.
That image of collectors sprinting from convention booth to convention booth has always stayed with me. And as I planned for this years event, I couldn’t help but feel that I, too, would be in a constant dash from one supposedly cool thing to the next.
