Customer Reviews

Trespass: A History Of Uncommissioned Urban Art

5 star:		(2)
4 star:		(1)
3 star:		(1)
2 star:		(2)
1 star:		(0)

 

 

It was fairly clear from the first early news that Trespass was going to become an unavoidable urban art reference. The book, coming from the efforts of the founders of the Wooster Collective, with Ethel Seno, Carlo McCormick, and under publishing patronage of Taschen was set to make a lasting impression in the perception and dissemination of street art. Quality or merit aside, the marketing machine of the big publisher alongside the street creed and devotion raised by the networks fostered by the authors has a strong traction, and Trespass sure seems like a "must" for the urban culture world. And initially, it may even seem a good book to recommend. But in being so influential and prominent it risks reinforcing some trends stereotyping urban culture, open communication, and a strong public realm.

In order to frame the "discipline" the book incurs in a series of generalizations and clichés, which work relatively well, with some notable exceptions. For instance, there are the laughable remarks illustrated in the promotional video, linking all urban artistic practice to a defense of "our democracy". However, the most handy conceptual tool used is the notion of "uncommissioned urban art" to throw together a long series of mostly, public, city-centric, and disconnected street expressions. And while some rigor is applied around the concept, it fails to be entirely accurate, and misses an opportunity to really open a more complex analysis. Among the most obvious misgivings are the samplings of the actions that took place in the German city of Wuppertal, like the featured work of Hitotzuki, which was sponsored, commissioned that is, by a well know energy drink. It is not the first time that a product from the Schiller's Wooster Collective enters a controversy about its commercial ties, or marketing machinery. And in this case in particular, it hurts what otherwise might be a good attempt to develop a different analytical framework for urban expressions.

The book might work rather well as a sampling case of tendencies, typologies, and milestones in the "discipline". But the way it concludes is rather bothersome. The last pages are dedicated to a legal appendix by J. Tony Serra, titled "Graffiti and U.S. Law". Not only this illustrates right there the almost perfunctory U.S./Western emphasis of the volume, but as the author tries to offer a broad brush portrait of the legal prosecution of graffiti it ends emphasizing certain aesthetic values. As he tries to construct an argument around free speech and legitimate expressions, he defends the trite and murky solution of differentiating between vandalism and art:

"It is important to distinguish between graffiti writers that are driven by artistic expression and those who are driven primarily by the desire to deface property.[] The distinction between graffiti and vandalism needs to be drawn more clearly in the laws, in public debate, and by the art community. "

The idea to articulate a taste patrol, a series of regulations that are based on the distinction associated with certain works in order to make them acceptable or not, is quite convoluted and simplistic on a variety of levels. Not only it forgets that the dominant paradigm does survive pivoting precisely in such ideas. But it also forgets the subversive and critical value of those expressions that precisely do not sit well with the establishment, those that may not belong to a decoration of the urban realm, and that may not be necessarily subject to the rapid absorption in processes of gentrification, mercantilization, or propaganda. It is precisely this subversive capacity, and the whole range of critical opportunities that it offers, that is put in question when one argues for a distinction based on aesthetic prejudice between what one views as vandalism vs. what one considers art. With this concluding note Trespass might be contributing precisely to perpetuate those cliches, sets itself as a judge of taste, and misses an opportunity to open up a broader debate.

For all of it's problems, Art in the Streets by Jeffrey Deitch is a much better book, with much better illustrations. I'm not going to repeat the criticisms in the other reviews- since I'm simply agree with everything they've written whole-heartedly- except to emphasize the fact that the images are just bad, ugly, muddy, and uninteresting. You would think a book about urban art with the title of "trespass" (and all of it's faux-sincerity in homage to the French origin of the word) would be a lot more daring, a lot more exciting, something that would make the eyes and fingertips tingle with every page turn... but no. I just started flipping through pages, wondering, hoping for it to end.

Not a good book. I wouldn't even recommend it second-hand or in a bibliography unless you're desperate.

was dispointed by the pics and also the finish of the paper. Its a matte uncoated paper... which makes the images stale and not as crisp. also one would think the pics would be better, brighter... eh

An interesting and informative work on the history and development of "street art".
Amazing photos with excellent examples from around the world.
A must for the art historian, collector and any fan of urban art

Gorgeous illustrations & thought provoking text. I am so glad I bought this book. Also worth mentioning that the book is a great buy for its insanely-low price!

More on the facinating evolution of art. It's a balance between creativity and abuse of property rights. I think I know the answer, yet I'm still headed to the local hardware store for spray paint and glue, then off to Kinkos...