Street Art

Amsterdam, Berlin, Barcelona: these are the cities renowned or reviled, depending on one's perspective, for their street art. They are graphic, uncompromising und situated safely within stable European countries, therefore they can afford to take such risks. Munich does not make the cut because its street art, when existent, is not remarkable. Or, to put it more diplomatically, the rare good works are few and far between due to a lower percentage of active artists and an over-eager clean-up crew.

Munich is known for its elegant, classic buildings and sprawling parks, not for it's dinginess or counterculture scene. Former East Germany has more opportunities for larger public design ventures, as the old bureaucratic buildings, abandoned factories and ramshackle apartments can be used as a canvas. This public display area cannot be found in cities like Munich or Venice, where the focus is almost always placed on architecture, church steeples and the old masters' works in museums.

Tragically, this means that Munich's streets are not a constantly fluctating gallery but rather a near-sterile embodiment and reminder of propriety as well as the city's wealth and conservative roots. For me, street art is just as viable a form of expression as sculpture, textile work, photography, portraiture and landscapes on canvas or found art (any comment about the last one?). Its ties to the clandestine graffiti culture of the past make it more adrenaline-fueled and novel. All that is good and worthwhile should be a touch on the dangerous side, right?

Photos from my time in Amsterdam

My bias on this issue lies in the fact that I am highly drawn to alternative culture in all forms. When traveling, my goals are as follows: visit modern art museums, explore the pathways, parks and buildings, take in the café, bike and street art culture, and lastly but still of utmost importance, to enjoy the food. I seek out cities like Copenhagen or London, where I know these aspects are present and thriving. I have participated, in my own small way, in the propagation of street art. This was, however, a transient and temporary experience, thus I wasn't terribly unhappy when the piece was painted over with a drab grey the next day. The point was that in the twelve hours that my work existed, people noticed and commented on it (as I was to later find out). Even during the creation process in the middle of the night, people stopped to quietly observe and sometimes pose questions.

Me with my ephemeral but enjoyable mandala mural, Fall 2006.

Street art is about pushing the boundaries of what we label as art, just as Duchamp did with his "Fountain" or Monet with his then-scorned painting "Sunrise" which served to spark the impressionist movement. The intent of this particular form is to make us, a happenstance audience of pedestrians, bikers and those who make use of side streets, to pause, observe, ponder and reevaluate our daily environment via its direct impact on our lives. A wall is more than just a wall when it is used as a surface for something great.

Street art is a noteworthy and culturally signifcant movement that inspires those who are interested and disgusts those who are not. A phenomenon that attracts a select demographic while enduring the ridicule of another signals that it effectively triggers an emotional response, a key element behind what seems to be its absolute staying power.