Something new for Perth: a couple of young Perth artists have set up their own urban marketing company. Kerbscrawl uses an environmentally friendly solution to stencil washable guerilla messages directly onto the footpath.

This post was submitted by Andrew McMillen.

Watch Melbourne street artist Phibs throw some paint around to create a custom beer bathtub.

It’s fresh from the VB Raw Speed Shop, where they’re currently stripping back a Porsche 911 live online for you to win. It’s free and simple to enter to win the custom VB Raw Porsche, and every entry is automatically entered to win prizes drawn regularly from the car’s boot. Here’s the most recent entry, ‘more raw than Tiger Woods’.

Phibs is the macdaddy when it comes to street art in Australia – one of the nicest and most respected guys around. He recently curated a painting exhibition in the VB Raw speed shop, where he brought together some of the oldest graffiti artists in Australia, along with some of the freshest making a name for themselves out there.

Phibs‘ work is highly visible around Melbourne, his home town, as well as across major cities in the world like New York, Berlin and Sydney, where he’s been commissioned by councils and city planners for his distinctive style. Phibs also donates a lot of his time to helping troubled teens find an artistic outlet.

Cheers,

This post was submitted by Andrew McMillen.

Just a reminder for people in Perth, this Saturday is the condor tower car park launch.
July 25th 2009. Doors open at 6pm.
Condor Tower Car Park
22 St Georges Terrace, Perth WA 6000‎
(between St Georges Tce and Hay St opposite the Perth Concert Hall and the Fire Station)

On Saturday July 25th, we will unveil what we deem to be the largest permanent street art exhibition in the southern hemisphere. Housed at the base of the newly built Condor Tower, the 5 level car park has seen more than 60 artists add their artwork to the space, mostly locals with a handful from over east and a couple of internationals.

Stormie Mills, Reka, Creepy, Daek, DrewFunk, Grumpster, Pat Doherty, Rifs, Trevor6025, Kid Zoom, Timothy Rollin, Hurben, Showbiz, Shime, Jodee Knowles, THNK, RegID, Griv, Yo-Yo are just a small selection of the artists who have donated their time to the project.

An international exposition showcasing the phenomenon of urban art in a global context, featuring works from 60+ leading street, pop and fine artists from Japan, UK, USA, Netherlands, Spain, France, NZ and around Australia.

Opening night party 6–9pm on Friday July 24, with beats by DJ Slinky and a live aerosol demo with Sydney artist, Bennett. Everyone welcome! Exhibition continues to August 13.

Retrospect Galleries 52 Jonson Street, Byron Bay

Green-wood Gallery South Melbourne
1 Hotham St, South Melbourne, Victoria 3205, Australia
Phone: + 61 3 9682 3205

Opening Night – Thurs 16th July 6-8pm
Runs: 16 July – 2 August
Hours: Wed-Sun 11-5

How is preparations for the show going?

Yok: Busy, busy, painting, cutting and sawing, at the moment I’m making a wooden Bushranger, its still a bit work in progress, we’ll see how he turns out. We still have a lot to do for the show when i arrive in Melbourne next week.

Reka: I tried my best to get out of this habit, but yet again iv left most things to the last minute! All hung artwork has been finished though. I’m working on the installation component at the moment. The last couple of days Iv’e
been sourcing old bits of timber and rusty iron sheets. Most I’ve found by riding the back streets near my studio.

What made you decide to explore the theme of bushrangers?

Yok: Reka and i decided to do something Australian, something that borrowed from Australian culture, i feel its a lot stronger if we take ideas from what’s around you. I’m inspired by interesting characters and these times had a whole list of bearded scallywags and charismatic outlaws so in terms of subject matter it was perfect.
There were a lot of great stories from those times so my work tries to capture a moment in the middle of those tales, usually a moment when the outlaws plans are coming unstuck.

Reka: It was a mutual decision. I find that exhibitions with consistent themes are alot more interesting and work better as a collection. I always wanted to do an Australian themed show but not make it too tacky. Bushrangers are celebrated as our nations heros. I found this really interesting. Even today we are celebrating our nations villains such as Chopper and even the controversial TV series, Underbelly. I found this as a good starting point for me to generate ideas for my work. This theme is quite broad in terms of how to approach it. I think we’ve both explored different areas within this theme.

How was it working with each other?

Yok: Easy

Reka: Yeah easy. Its the first time we’ve worked on a show together. Its been pretty smooth. nice.

Have you known each other long, prior to this collaboration?

Yok: I have always known and admired Rekas work, so i feel like i have known him for a long time.
We hung out, painted a bit and played super mario cart, when i moved to Melbs about 2 years ago.

Reka: Yeah I used to thrash Mario Cart on SNES. Man I love that game. We have both known each others work for years. This has been mainly through doing street art and characters. We both are heading in the same direction so it was only a matter of time before we collaborated on something like this.

What’s next for you both?

Yok: I have a few plans of more shows in OZ, nothing to tell yet.

Reka: I want to travel next year. Ive got to get over to New York and maybe squeeze Tokyo in there too. There’s talk of a studio tour to South America next year, but i don’t think it will happen. I’ve locked in another show in Melbourne. My focus will be on 3D objects and sculpture installations.

Links:
www.rekaone.com
www.theyok.com
www.green-woodgallery.com

Green-wood Gallery South Melbourne
1 Hotham St, South Melbourne, Victoria 3205, Australia
Phone: + 61 3 9682 3205

Opening Night – Thurs 16th July 6-8pm
Runs: 16 July – 2 August
Hours: Wed-Sun 11-5

Fresh stuff from Anthony Lister.
via Wooster Collective

If you are in Perth from June 27th, check out the Overgrowth show, featuring artists like Andrew Gordon, Beastman, Creepy, Sean Morris, Timba Smits and more.

When: Saturday 27 June 2009. VIP 6PM – 7PM. Public 7PM – LATE
Where: Last Chance Studio. 456 William Street, Perth, WA

The book has been 9 years in the making. What took it so long?
Duro Cubrilo: Being so close to the scene our collective knowledge was huge and we knew it had to be comprehensive. I did however have no idea of the enourmity the task would become.  It was a part time project for a long time so I wouldn’t say it really took nine years. I quit my job a year and half ago and it has been full steam since then to get it over the line.

Karl Stamer: It began as one of those on and off projects. The original idea came about approximately 9 years ago but we have been working on it full steam for the last two years.

Martin Harvey: A host of reasons. The subsequent research of both the Melbourne scene and associated local historical information. Amassing images and interviews from over 50 people from all over Melbourne and locating these people that had not been seen or heard from for years. A definitive commitment to get the project finished between 3 people with full time jobs and personal commitments.

How did you all first get into Graffiti at that time?
Duro: Through the New York hip hop wave that was being broadcast throughout the world and inspiration from the older generation of local neighborhood graffiti pioneers.

Karl: I fell into it progressively from 1984 when I was interested in the early breakdance music. Soon after an old mate and me started to dabble in it, then we met others in the scene and things just unfolded from there on.

Martin: Through imported American media. Films, records and video clips.

In such a comprehensive book, who was responsible for what?
Duro: I am the creative director, designer and co-author. I had a clear vision of how I knew it had to be for multiple reasons, mainly to represent a balanced account on the evolution of local styles and which writers were responsible for what, when and where.

Karl: That’s an easy one… Duro took care of the layout and design, Marty was responsible for the text and I undertook all the imaging and restoration of all the old photos. Obviously we consulted each other and bounced ideas back and forth, it was a collaborative effort.

Martin: The three authors all contributed key historical and subject information through collective decision making throughout the project. I was responsible for decoding and formalising the facts through textual information into a dynamic, emotive and factual account of people, pieces and places. A lot of our primary roles merged throughout the project.

How is the Australian/Melbourne graffiti scene different from what is going on in the rest of the world?
Duro: It’s important to note that this book focuses on the decade of 1983 to 1993 and solely in Melbourne. During this period the standard and originality of pieces were well on par with other movements throughout the world. There were certain individuals, featured in the book, that made epic contributions to the development of local city styles and global graffiti originality.

Karl: A tricky one to answer. I am completely removed from the scene and have been since about 93’.  I’m pleased to see that it continues to evolve both here in Melbourne and internationally.

Martin: I’m not involved with the current Melbourne graffiti scene, so I don’t know. There is some quality work around, but I do however, see a larger majority of mediocre work appearing around town which I find lacks originality, follows cliche composition models, global style trends and is not pushing the parameters of the artform into new dimensions or directions. Too many writers are easily influenced by ‘whos trendy’, like Revok, Sento and diposable style that is dated before it even goes on the wall. Graffiti Art has always been about getting out there and experimenting, having fun and getting your name out there, but, like any discipline, there has to be discipline. The easiest and hardest thing in the world is to be original. The most important aspect of graffiti art is understanding what style is. Not painting huge multi coloured walls with 100 pieces on it, characters, landscapes and shit that have pieces with no style. If there is no style, there’s no point, that to me is one of the most fundamental things that have been overlooked in the current climate. Writers like Tame and Paris have endured over generations and still continue to produce astonishing, wholly original work and develop ‘fresh’ style. Hopefully new writers will see the innovations and enormous reputation Melbourne carved out for itself over the formative years, be inspired and take things to a new level of letter construction supremacy and innovation.

How has the scene and attitudes developed since 1983?
Duro: In the early days it was new. Never seen before, a new movement inspired directly from New York City. With this came accumulated knowledge, the handing down of traditions, local folklore, painting techniques etc. It was all about mentoring, learning, competing and being inspired by each other.

Karl: The scene back then was extremely raw and gritty, we didn’t have the internet to depend on for personal research and you had to rely on limited resources such as Subway art and movies like Beat Street and Style Wars to gain an idea on what was happening overseas. The hype was spread through word of mouth.
The current Graff scene is increasingly gaining more public acceptance and appears to be fashionable. There seems to be just as much competition now between current artists and crews which will continue to keep the art form fresh and stimulating.

Martin: Due to the nature of the original generation, I think the ethos was harder, more uncompromising and people worked under much more scene and peer pressure to produce before unseen styles and innovation, rather than merely jumping on the bandwagon and producing what is trendy today. I also think that writers were completely motivated by the romance of New York and what was created on the subways by the true masters of this art and architects of the culture. The 83 – 93 kings way timeframe reflects 3 generations of writers that were all intrinsically connected, taught one another, knew the history and followed the same models and rules. As with any golden age, there was a vibe, a feeling and a unity that enveloped the entire scene and influenced the way people painted and lived. Its one of those visceral entities that doesn’t have a literal description or palpable explanation. It just was and is still felt through the memories of those that experienced it. You can see the magic in the artwork and tag styles that inhabit the book.

Was there ever a golden age of Australian graffiti, or has each generation brought its own flavour?
Duro: Once again I can only talk about Melbourne. I consider the height of the scene 1988 to 1990 when the evolution of letter styles reached a more sophisticated nature making a complete evolutionary transition from naïve and abstract styles into a more technical and considered approach. Every generation since graffiti’s inception has brought its own flavour, Melbourne, Australia or wherever.

Karl: In 1986 USA crew formed. They were at the forefront of original and unique styles, crew members were prolific and they were leaders of the pack so to say. Their pieces were so memorable and inspiring. I was in awe of Prime Style and Astro Gaza. Later in 1988-89 this was also an unforgettable time for panels. Richmond station hosted Melbourne’s writers bench. On any given Saturday you could view up to 15 panels running.

Martin: The golden age of Melbourne was without doubt for me from 84 – 89. The originality and incredible quality of work produced in these times was encased in gold, locked in a vault of time and until now has only been accessible through private photographs. The book itself, now provides everyone an opportunity to share this history and interpret lost treasure through their own eyes. Every generation without a doubt brings their own flavour. The artform inevitably changes through a myriad of influences and generational mutations.

The book covers quite a broad time frame in the history of Aussie graffiti. Where do you see it headed and who in your opinion are the current stand outs in bringing this artform forward?
Duro: There are too many current writers to name, Melbourne and Australia wide, that have enourmous talent and skill. What I hope people take away from this book is the understanding and acknowledgement that this is a 25 year old Melbourne and Australian subculture that still to this day plays host to generation after generation. Surely this is testament to the power and importance of writing.

Karl: We had to start somewhere; obviously we were compelled to highlight things as they were from the beginning. 83 to 93’ was a decade of decadence for Melbourne graffiti. The book celebrates this unforgettable era. Some of the artists currently involved in the scene are doing amazing stuff but I can’t really name names, but I’m constantly amazed by some of the stuff I see.

Where can we find more about the book?
kingswaybook.blogspot.com

Check out issue 20 of weAREtheIMAGEmakers now online featuring interviews with 12×12 participating artists – phibs, max berry and adrian knott, also interviews with nate holmes trapnell and kitty horton.

I think it’s fairly certain that when it comes to graffiti, Melbourne is Australia’s capital. With that in mind comes a new book profiling the beginnings of Graffiti in Melbourne, from 83 -93: “Kings Way: The Beginning of Australian Graffiti”. Release date is July the 1st, with a launch party happening over at the ACMI. Looking forward to this book, we will keep you posted..

TimeBomb is the brainchild of digital artist Lukasz Karluk (Holler) and Sydney sculptor/painter Maddi Boyd (KissKiss). Register for free tickets to the opening at Museum of Contemporary Art, Sydney on May 27 here.

“Over four days nine urban artists contributed to the TimeBomb piece: DMOTE, Ben Frost, Kid Zoom, Numskull, Roach, Creon, John Doe, Bennett and KissKiss. Painting layers upon layers of different styles, their work was documented through time-lapse photography, creating an animated film of the whole process. Shots from the work can be seen here.”

STUPIDKRAP.COM & WORLDS END STUDIOS present
DMOTE PRINT LAUNCH + WORLDS END OPEN STUDIO

Saturday 9th of May 5-7PM
103A/342 Elizabeth St
Surry Hills

Featuring
DMOTE & the exclusive Australian
release of his new limited edition art prints

Meet the Worlds End studio artists and see their work in their own studio environment. Ben Frost, Numskull, Rico, Kid Zoom, Miss Link John Doe, Anton Benois, Solo No Shoes, Kiss Kiss, Bennett, John Hynd, Esjay, Seamus Heidenreich.

An art Installation by Kid Zoom, at Boutwell Draper Gallery in Sydney.
Opening night 30th April, 6-8pm then showing until 23rd May.