Eduardo Moises Penalver & Sonia Kaytal Property Outlaws: How Squatters, Pirates, and Protesters Improve the Law of Ownership
Barbara Ehrenreich Dancing in the Streets: A History of Collective Joy
Lewis Hyde The Gift, Creativity and the Artist in the Modern World
Geoffrey Miller Spent: Sex, Evolution, & Consumer Behavior
Sharon Zukin The Cultures of Cities
Miriam Greenberg Branding New York
Friday, October 9, 2015
NO AD NYC: Another Face In The Crowd by Hugh Lippe
As you may have heard, NO AD NYC is shutting down at the end of the month so that we can work on other projects and take the time to look for meaningful institutional support for the NO AD app. Before we do, we are blessed to be able to present a final exhibition from my good friend Hugh Lippe. I went to school with Hugh at the Rhode Island School of Design and we were close friends. As photography students we worked with each other on numerous projects and even presented our final graduating exhibitions together in 2002.
I have always felt strongly about Hugh's eye. He has an uncanny ability to see deeply with his lens and find beauty in often unsettling subjects and environments. When I saw his most recent body of work entitled Another Face In The Crowd, I reached out to him immediately, knowing I wanted to present them as the final NO AD exhibition. These photos of NYC residents are intrusive and voyeuristic, and yet compassion runs through them all as I find myself deeply attached to the emotional lives that my mind builds for these individuals. A huge thanks to Hugh for allowing us access to this unfinished body of work and I hope everyone takes a moment to explore this final exhibition of photographs.
Today, 10-06-15, the NO AD app updates to feature Another Face In The Crowd, a selection of images from Hugh Lippe's ongoing body of work by the same name.
Another Face In The Crowd: In Hugh Lippe's latest body of work the faces of NYC come into sharp, and often unsettling focus. These photos, taken with a telephoto lens, isolate the individual and hone in on the subject with a compelling sense of compassion. Presented here as an unfinished project and as the final exhibition for the NO AD app, we hope NO AD viewers will find a glimpse of themselves in the images presented and are brought closer to those around them. We can't thank Hugh enough for his incredible work, so befitting our final exhibition.
Originally from Texas, Hugh relocated to the East Coast in pursuit of an art education. Having graduated from the Rhode Island School of Design in 2002, he developed a strong foundation within the arts. His work has been included in numerous group exhibitions including the Amsterdam-based museum FOAM. Hugh has had several solo exhibitions, his most recent, "The Dirt Under My Nails" exhibited at Rare Gallery NYC.
Hugh attributes his honest, humanistic and at times 'raw' approach to the many colorful memories he has experienced over the years.
If you take a look at panorama of some big city in the world, you will probably see some huge billboards around. These huge outdoor advertising structures might ruin your view, right? If you use public transport, there is a big chance you will be “forced” to read commercial messages from the advertising posters on bus, train or subway stations. Commercials and advertisements are all around us (in public and virtual world), and sometimes it can be exhausting – we are living in a world when it is difficult to absorb so much information. Imagine if you could transform ads into art! Well, it is possible thanks to the No Ad App (mobile application) created by Re+Public. This application has just been launched in Berlin! More [HERE]
You may or may not have noticed, on your trip to and from work this morning or the day before, some unusual posters in the advertising space usually reserved for city break deals, West End theatre and sexist currency exchange companies. More [HERE]
Update: another article about the same action appeared in the Guardian and can be viewed [HERE]
I couldnt be more excited to announce that NO AD, the NYC based mobile digital exhibition space that takes advantage of the vast subway advertising infrastructure of the New York subway system, now works in Berlin. Users can download a separate NO AD Berlin app on iOS [HERE] and Android [HERE] which uses the vast billboard advertising infrastructure that adorns Berlin streets and metro stations.
The NO AD mobile digital exhibition space began in New York City as a way to propose new strategies for art consumption as well as challenge the use of our public space for commercial messaging. NO AD works by using your mobile device and augmented reality technology to recognize outdoor advertising and overlay digital artwork in place of the advertisement on your phone or tablet. In NYC, the NO AD exhibition space took advantage of the vast number of subway advertisements in the NY transit system, turning every subway station into a mobile gallery. In Berlin, the NO AD exhibition space uses the the vast network of outdoor, and subway billboards found throughout the city. In order to reveal the exhibition, simply start NO AD and while standing directly in front of any billboard in Berlin, point your device at the advertisement.
NO AD Berlin is presented by PublicAdCampaign and Open Walls Gallery for Berlin Art Week, 2015. The images and artworks included are taken from a collection of past NO AD NYC exhibitions that include street art, photography, painting, and animation works.
Exhibition Dates: Sept 14th - Oct 31st
A big thanks to Guillaume Trotin, Aida Gomez, Letitia Jacquot for their support in Berlin without which this exhibition would not have been possible.
The PublicAccess project continues to expand and offer access to more outdoor advertising infrastructure around the world. Recently we added three new keys allowing access to Miami, Berlin, Hangzhou, Bodoe, Philadelphia, and Mexico city.
To get involved or find out more about the project, visit the site [HERE] and take a look below.
A big part of the PublicAccess project is made possible by people around the world wanting to open bus shelters in thier own city. They contact us and then we work to figure out if we can help. Sometimes that means recognizing an old locking system that we already have access to, and other times that means making something new by working with an enthusiastic partner. In the end the process is always a collaborative effort that we enjoy, and often results in new markets being opened up for truly public communications.
Recently we gained access to Philadelphia and with new tools comes new thoughts and ideas on our streets. This PSA by NDA is an amazing example of the kind of lighthearted and yet generous ideas I think would populate a truly open public visual landscape free of advertising. I say good riddance to the disaster preparedness PSA's that demand we take personal responsibility for our fate in the next typhoon by hoarding tuna cans and batteries, and I say welcome to a constant reminder of my own tendency to preemptively sabotage my own desires... as offered by an actual human being! But seriously. If the placement of messages in our public space is to actually communicate ideas with each other, I think it should be noted that I have a tendency to contemplate the ideas of an individual over the bureaucracy, the local over the distant.
What people do with thier PublicAccess key is up to them. Sometimes a participant uses the key to promote thier own street wear brand, but more often than not, participants offer genuine outreach to others. This simple text installation on the streets of NY caught my eye, trying to enjoy each day, but finding myself failing to reach my goals and expectations, which always leaves me wanting more. Imperfectly calibrated happiness machines indeed...
We try hard to keep the PublicAccess project going so that the everyone can have access to our outdoor advertising infrastructure, and the predominant space for public visual communication.
The works presented below should also be viewed with a free augmented reality app, PublicAdCampaign Now! downloadable for Android [HERE].
I have been working on a new series of gallery pieces that focus on my long term struggle to take back outdoor advertising spaces without imposing my own aesthetics on the public or running an ad campaign for myself, while at the same time making visible my tactics in the hopes of promoting similar behavior in others. I do this to ask whether or not we should adorn our cities with commercial messages in light of the many other types of visual stimulus we could offer ourselves, and with the understanding that advertising in general has a net negative effect on our personal psychology and thus our global behavior as a species.
These works are as close as I think I have come to reaching that goal for a number of reasons. First, while people who are familiar with my work may look at these installations and assume it was me, I think thier utter simplicity anonymizes my actions and prevents the installation from being promotional. If you don't know who made the piece, you cant think about the person behind it and therefore must instead have a relationship to the image alone. That said, you must notice the installation in the first place and I think the striking difference between the imagery used for this series, and advertising, helps to create that initial interaction.
So now we have someone looking at an anonymous installation that removed an advertisement for some unknown reason. This is the space I want the viewer to end up, as it allows them to begin the conversation with themselves about the difference between the two types of imagery, advertisings ubiquity and role in our public spaces, and all of the other questions we should be asking ourselves when thinking about how we want our public visual environment to be used. Given the opportunity to disassociate these physical locations with thier expected advertising content, viewers are free to enter a line of thinking that is almost unheard of... "Should we have, and do we need, outdoor advertising intruding on our public spaces and minds?
While the initial performative aspect of these pieces works on the public viewer, these images are ultimately meant to hang in a gallery context, potentially loosing the credibility, and directness of the illegal physical takeover that is the proof of my ambitions. After all, these images are very clearly composites, a single moment created by compiling many hours of patient waiting into a single frame. If the images have gone through photoshop, what prevents the actual installation from being a fraud, and the proposed argument that the document depicts undeserving of our attention.
For this, the final element of AR, and the PublicAdCampaign Now! app come in to tell the rest of the story. Video of me actually installing the piece which is to become the image you are looking at in the gallery plays over the still image when viewed through the app, proving the aesthetics to be in service of the idea and the work to be sincere. Once this sincerity is established, I think the gallery viewer can come to a similar thought trajectory as the public viewer and honestly consider the proposed argument that is established by me actively breaking the law to remove commercial media and replace it with something else, whatever that might be.
Banksy's Dismaland: 'amusements and anarchism' in artist’s biggest project yet
Oh the missed opportunities. Banksy recently opened a theme park with a decidedly twisted facade. While its all fun and games ridicule of mass spectacle culture, there is a wonderfully anarchistic prize to be taken home in lieu of the shitty stuffed animals that one usually wanders away with at these things. For 5 Pounds you can get an Adshel bus shelter key and presumably a little walkthrough on how to use it.
In one tent would-be anarchists can find out how to unlock the Adshel posters seen at bus stops. For £5 people can buy the tools to break into them, replacing the official posters with any propaganda they please. Is it legal? “It’s not illegal,” said the vendor.
We couldn't agree more. If you want keys of your own, try this LINK
He describes it as a “family theme park unsuitable for small children” – and with the Grim Reaper whooping it up on the dodgems and Cinderella horribly mangled in a pumpkin carriage crash, it is easy to see why. More [HERE]
Funny Math? Clear Channel’s $3.9 Million Donation to the LAPD
Dennis over at Ban Billboard Blight is a solid crusader who sees through the bullshit and tells it like it is regarding all things advertising and public space in LA. Follow his insights for the incredibly specific and yet oddly universal tactics that the billboard industry is using to edge its way further into the LA city fabric.
The Los Angeles City Council is expected to vote this Wednesday on accepting Clear Channel’s donation of space on 12 billboards for LAPD public safety messages. That space for ads running for five weeks is worth a total of $3,978,630, says Clear Channel, which has been heavily lobbying city councilmembers to allow more digital billboards on city streets and to grant amnesty to hundreds of billboards that don’t have permits or have been altered in violation of their permits. More [HERE]
"Across the way from our apartment—on Houston, I guess—there’s a new wall ad. The site is forty feet high, twenty feet wide. It changes once or twice a year. Whatever’s on that wall is my view: I look at it more than the sky or the new World Trade Center, more than the water towers, the passing cabs. It has a subliminal effect. Last semester it was a spot for high-end vodka, and while I wrangled children into their snowsuits, chock-full of domestic resentment, I’d find myself dreaming of cold martinis." More [HERE]
Can cities kick ads? Inside the global movement to ban urban billboards
My friend Dennis over at Ban Billboard Blight sent me this article from the Guardian. Many of the issues that I find most interesting about advertising and public space are addressed in the article, if only briefly. It is after all a short news story. I was particularly happy with fact that the author addresses the tone of the OOH industry towards thier occupation of our public environment, and what that means about thier overall goals and appreciation for the public to which they subject thier business.
And then there is the mention of a Zadie Smith essay in the NY Review of Books, which all of my smart friends failed to alert me of. I guess all of thier constant pressure to subscribe was not only well intended, but also a good idea.
Something seemed strange. Staring out of a hotel window in São Paulo, my eye was caught by an oversized digital display crowning the top of an undersized skyscraper. Steadily flashing the time, then the temperature, the display was incongruous in a way that I couldn’t quite put my finger on. More [HERE]
While advertising is a fact of life in the New York City subway today and we even wax nostalgic when we see them in the vintage subway cars, it was noted that the first passengers didn’t like the ones in the station. Before the opening, the stations had been free of advertising. “Until then the stations had depended on their beautiful mural ornamentation for decoration. Everyone in the train was expressing regret that the fine appearance of things was to be marred,” writes the Times. And Mayor McClellan was just as upset, saying he didn’t know about the ads in the subway stations until then and admitted that from an artistic standpoint, “They look very bad.” Article [HERE]
Here is a nice little article on the NO AD app from Atlas Obscura. We are currently actively looking for curators and artists with interesting projects as well as for a full time NO AD media representative. The NO AD platform has been put through its paces and we think works like a charm. Now we need someone who wants to help it grow by reaching out to new audiences and engaging institutions that can provide progressive content. If you would like to talk with us about this opportunity, please contact us over email.
Bulbous yellow Minions. Protein World urgently asking if you're "beach body ready." Promises to make money as a dental technician—all of these advertisements are repetitive parts of one's daily subway commute. More [HERE]
A big thanks to Freshmilk.tv for the interview and for Open Walls Gallery for setting it up and hosting a fantastic two man show with Vermibus. I think the questions Freshmilk asked prompted some honest answers, and other than my obnoxious use of the word "pupeteering", I think my thoughts are well reflected in this piece.
In Bushwick, Street Art Comes with a Copious Side of Advertising Billboards
Everyone asked for comment in this article, including myself have something interesting to say. On a compete side note, I wish writers would let you know that they may quote entire sections of your emails verbatim. I always assume they will integrate your ideas into a story and so often whatever grammatically deficient gibberish i spew out in an email on the plane home from Germany ends up as a quote. :)
A Bushwick Collective mural by Joe Iurato at Troutman Street and St Nicholas Avenue with a large Coors billboard in the background. (photo by Joe Iurato, courtesy the artist)
The latest additions to the Bushwick Collective, the street art project founded and curated by Joe Ficalora around the intersection of Troutman Street and St Nicholas Avenue in Brooklyn, are a number of big, garish billboards. Since artists began transforming warehouse walls in the area with large-scale murals three years ago, there has been remarkably little infringement by the type of advertisements and hand-painted billboards that have overtaken many popular street art spots in Williamsburg and Greenpoint. But in recent weeks, as Bushwick Daily has pointed out, advertisements have begun appearing on the Bushwick Collective blocks, some of them installed directly atop existing murals. More [HERE]
Recently I had the pleasure of exhibiting with my new friend Vermibus at Openwalls Gallery in Berlin. His work, like my own, takes advantage of the large outdoor advertising infrastructure in our public spaces in order to tease out questions of how we choose to adorn the cities we live in. Focusing on fashion imagery, Vermibus removes, reworks, and then reinstalls fashion advertising in public spaces. It is quite effective and given my background in the fashion photography world, something that I feel strongly about supporting.
While I was in Berlin I put up a few pieces, including a quick hit with Vermibus which saw us each take a single side of a two sided bus shelter. Once I get those images together I will make them available here.
The Street Art of Bushwick Collective Is Disappearing Under Billboards
This is incredibly sad article is further proof that outdoor advertising is simply incompatible with public space. I know Anya of the House of Yes through friends, and she is a nice woman who has been seduced by the money that advertising is willing to pay for outdoor space. Her folding under the pressure of money is not her fault, but our collective fault for allowing advertising to use its incredibly large resources to sway normal citizens to profit at the expense of the rest of us. If advertising was not allowed in our public spaces we would continue to enjoy Bushwick as the arts mecca that it is, instead of watch the artists efforts be subsumed under a glut of paid commercial signage.
Last week Frank Mattarella received an interesting phone call. Jason Medrano from Seen Outdoor Media was offering him $24,000 per year to rent a single wall on his building at 14 Wyckoff Avenue. Frank Mattarella was born in Bushwick- his family has owned the building on Wyckoff and Troutman for decades and they’ve rented it as a metal fabrication shop. His neighbors are North East Kingdom on one side and an industrial warehouse on the other. The recently painted warehouse is already sporting two billboards- a larger one with a Sprite ad, and a smaller one with an Atlantic ad. More [HERE]
GRAND OPENING: JORDAN SEILER (NYC) | VERMIBUS (Berlin)
Celebrating its Grand Opening on July 3rd 2015, OPEN WALLS Gallery brings New York based Public Art pioneer Jordan Seiler together with European art activist Vermibus for a very special show, which consciously sets a statement against the superficial surface of today’s commercialized cityscapes and the visual pollution of outdoor advertising.
Jordan Seiler already started to challenge the relationship between public spaces and commercial advertising while attending The Rhode Island School of Design in 2000 with his PublicAdCampaign, for which he took over billboards to use them as canvases for his own artworks. Over the years Seiler’s campaign has grown from an individual art project to a collective work, which peaked in the New York Street Advertising Takeover, where more than 100 participants replaced ads with artworks. Later he launched a digital equivalent with an App titled NO AD, which replaces NYC subway advertisement with curated artwork.
Taking this idea even one step further Jordan Seiler and Vermibus joined forces for the NO AD DAY in November 2014, wherefore activists from all over the world were asked to remove outdoor advertisings, leaving plain white display cases as signs of the elimination of the commercial media behind. Just as in Vermibus’ individual work, in which the Berlin based artist removes ads and transforms the high gloss bikini beauties into deformed beasts, it’s the irritation of the common viewing habit that expresses his critique against the advertising industry.
The OPEN WALLS Gallery Grand Opening show will gather a collection of recent works from both artists - including a multimedia segment by Seiler - as well as a photo series by Thomas von Wittich, taken from his “Dissolving Europe“ project, for which he followed Vermibus around the continent. An introduction to Ad-Busting and Public Art will be given by Jordan Seiler during the vernissage.
Press & Private View Friday July 3rd. 17:00 - 18:00
Vernissage & Opening Ceremony Friday July 3rd. 18:00 - 22:00
Introduction Speech by Jordan Seiler Friday July 3rd. 19:00
Mobstr just sent over these two new street pieces and I am of course enjoying them. The above piece in particular intrigues me as I think about the viewer who knows nothing about street art, and less about the ad takeover sub-genre that Mobstr sometimes traverses. Whose voice do they assume Mobstr's text work is speaking in, and who is it speaking to? See more of Mobstr's work [HERE]
Websites are already able to serve up ads customized for whoever happens to be viewing a page. Now an ad agency in Russia is taking that idea one step further with an outdoor billboard that’s able to automatically hide when it spots the police coming. More [HERE]
The posting here at PublicAdCampaign has been decidedly less political lately, and that is in part because it is just hard to keep all the balls in the air at anyone time, and so some aspects of the project suffer when others get more attention.
With that said, below is a little press release about an ad related to horse drawn carriages, that is not being allowed to appear in the NYC subway system. Recently the MTA has adopted a limited ability to censor ad content if it is deemed to be political. This is in large part due to ads related to the Jewish/Palestinian conflict that have used the subway advertising platform for some pretty hateful messages. The fact that this limited censorship is now being applied to a less aggressive ad campaign that isn't even outright political, shows the slippery slope the MTA has put itself on.
We can argue for days whether or not it is in the publics interest to limit the speech we see while traveling our underground rivers, but that is not what is interesting to me about this particular situation. What I find amazing is that Outfront Media, the outdoor advertising company that operates the vast network of ads within the subway system, is the one making the censorship call.
With a vested interest in using the subway system for commercial advertising only, tasking Outfront to determine what is, and what is not, appropriate free speech within thier network of advertising, is bound to result in aggressive censorship of anything non commercial. Now I am not saying that Outfront would have a policy to support this, but they do have a business model which is about making money and not engaging the question of how we use public space for public speech in the best way possible. Thier default reaction, and rightly so, is to keep things simple and pass on any "ad" which does not comply to a neat definition of what is acceptable use of our public advertising infrastructure, mainly commercial.
This is what happens when we allow OOH advertising to control the our visual public landscape and the messages which are put there. Thier interests are simply not aligned with the public's and therefore over time, the publics interests are left behind for the interest of those in charge, Outfront. Advertising in public space itself is not the end of our visual public dialogue, but given enough time and complacency, advertising will envelop all other forms of speech and leave our public spaces commercial opportunities and nothing more.
NEW YORK, NY--(Marketwired - May 20, 2015) - The Metropolitan Transit Authority has rejected a PSA billboard about the dangers of horse-drawn carriages, submitted April 30 by nonprofit animal rights organization Last Chance for Animals. In response, LCA has hired prominent First Amendment Attorney Floyd Abrams to protect their constitutional right to free speech. More [HERE]
I had the luck of capturing a few wonderful moments in front of this recent installation. The image above is by far my preference and I will likely turn it into a print edition over the next month or so.
The PublicAccess Website Has Been Updated To Include New Cities and Photos
The PublicAccess Project site has updated with new cities, new keys, and new work done by artists and individuals from around the world. As PublicAdCampaign readers will know, we launched the PublicAccess project just a few months ago and have been steadily sending out keys ever since, as well as gathering information about distant lands and thier advertising infrastructure. Check the video shot during a much needed stock replenishment.
As an ongoing project, we are always looking to expand the PublicAccess map and get more people involved. If you don't see your city on the map, but want to help us figure it out, email us and we will be happy to troubleshoot the problem with you.
Until then, enjoy some of the fantastic work that is being produced with PublicAccess tools and get involved yourself by getting a key right now.
Soren Solkaer is Offering A Signed Book to NO AD Users
As many PublicAdCampaign readers know, the NO AD mobile app has been running for close to a year now, exhibiting a wonderfully diverse lineup of shows. From Sebastiao Salgado, to a group show of Gif artists, we have been trying to keep things exciting for those long term users we love so much. It has always been a hope of ours to encourage user participation, as well as offer prints or art through the app, so we are excited to announce a little contest.
If this is all new to you, visit the NO AD website [HERE]
This month, NO AD is exhibiting 100 images from the Surface Project by Soren Solkaer, and he has decided to make things interesting by offering a signed copy of the Surface book to the NO AD user who finds the most images, takes a screenshot, and posts it to Instagram with the hashtag #sorensolkaer. For instance, tagging the image below gets you two points towards a win. May 30th NO AD will change content and the contest will be over. Soren will tally the hastaged posts and contact the winner directly shortly after. Happy Hunting!
Don't be fooled, they use this billboard for advertising too, it just gets art sometimes as well. Hey it's a step in the right direction...
The Baltimore LED Art Billboard is an advertising billboard, but it is also a digital art display. We have taken a technology typically used for advertising and created a one of a kind digital art gallery. providing local artists incredible exposure to the public…absolutely FREE. Rotated in among the advertising are submitted images of every form of art, from painting, drawing, and illustration, to sculpture, photography, and game design. We welcome submissions from all local artists, student, amateur, and professional alike. After every few ads we will display a piece of art. More [HERE]
On the south-east corner of Times Square, where Minnie Mouse and Spider Man wait for customers, a crowd of tourists can be seen standing still and staring up at a billboard expectantly.
Every ten minutes or so, the screen they’re staring at projects their own faces back at them, which sets off a flurry of big-screen selfies.
But it turns out this billboard, and others plastering Times Square, may actually be illegal. Under a federal highway beautification law, the billboards are too big - the law states that highways should not be larger than 1200 square feet.More [HERE]
The Age of Drone Vandalism Begins With an Epic NYC Tag
While I wouldn't say this is a particularly well achieved culture jam, or ad takeover, Katsu has proven that even those sky high billboards, so entirely off limits, are vulnerable. Excited to see what he is up to next.
IN THE EARLY hours of Wednesday morning, the age of robotic graffiti was born. KATSU, a well-known graffiti artist and vandal, used a hacked Phantom drone to paint a giant red scribble across Kendall Jenner’s face on one of New York City’s largest and most viewed billboards. By all accounts, it is the first time that a drone has been deployed for a major act of public vandalism. More [HERE]
A few years ago I was photographed by Søren Solkær in Norway for the Surface project. He set out to document the street art and graffiti artists that have helped make the genre such an important part of the art world, and came away with hundreds of portraits of some of its most influential characters. I was proud to be one of them, and even more proud to be showing with a select few at two upcoming exhibitions in New York and Los Angeles.
The first is exhibition opens tonight at Subliminal Projects, 1331 W Sunset Blvd. Los Angeles. For this exhibition, Søren asked the participating artists to integrate the original portrait he took of us into a new piece for the show. I chose to break Søren's image into two so that I could install each piece separately in a phonebooth. Once installed, each phonebooth was photographed to produce the framed diptych above.
The second exhibition opens on May 2nd at the Allouche Gallery, 115 Spring street, NYC. For this show, the gallery wanted each participating artist to work in a 3'x3' format. Because my gallery work usually happens in stolen ad frames, 3'x3' doesn't make a lot of sense to me and so I chose to take the opportunity to do a material study built around one of my favorite objects these days, the JCDHEX Public Access key.