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Lately, I’ve been talking to installation artists about their choices in site-specificity, and how they respond to spaces. But first I want to talk about the artists’ choice of space, and the tension between an installation and the audience – especially with the public knowledge that the piece itself, and not just its installation, is temporary. Jeff Zimmerman, who just recently had a solo painting installation at the Chicago Cultural Center, sees his designated installation work as a more liberating practice, which is understandable coming from the public installation background of mural painting. Jessica Witte, famous for her birdseed installations, has had similar experiences during the process of applying for a space. Much of the tactile consideration, and decisions made before the install are equally as influential in designating the space once it is finally installed and open to the public; “I need to be able to begin the drawing or installing as soon as possible to capitalize on the available time,” explains Witte. Most pieces of ephemeral art are altered by time; very rarely will you visit an ephemeral piece twice and have it look the same. Similarly to Zimmerman’s relationship to painting, the fragility and vulnerability of Witte’s drawings encompass a different standpoint on the history of the drawing medium.

The act of “entering a space” brings up the ever-prominent issue of immersion, a topic of debate for installation art from the very beginning, which I will tackle with Pt. Brown Eyed Girls' Ga In's beautiful eyes stands out the most during the photoshoot with Campus10 Magazine. Although Fairey’s name has been known in underground art circles for decades, and his work has been commissioned by everyone from hip-hop group The Black-Eyed Peas to Showtime and Pepsi, it is his ubiquitous image of the presidential hopeful that has catapulted him into mainstream consciousness.
Fairey, along with artists like billboard hacker Ron English and British graffiti artist Banksy, has helped elevate street art, changing public perception of such works. Marc Schiller, CEO of New York-based ElectricArtists and co-founder of the street art blog Wooster Collective, agrees. Although Fairey rose to fame for illicitly papering cities around the world with his signature stencils, the Los Angeles-based graphic designer says he hopes his iconic Obama posters will inspire more than just an underground revolution: He wants to infect the masses with the spirit of change. Before going into production on his first Obama-inspired print, Fairey, a fan of the senator after seeing him speak in 2004, was careful to seek approval from the campaign.

Instead of vandalism, street art increasingly is viewed as a radical art movement worth preserving.
He says Fairey’s DIY approach and masterful use of iconography contribute to his successes.
He recently added an arrest to his already sizable rap sheet, this time for papering Denver with Obama- and Obey-themed stickers and fliers during the Democratic National Convention. 4 at White Walls Gallery in downtown San Francisco, still deals in the pop culture ironies Fairey became known for with his earlier work. So, add us to your ad blocker’s whitelist or pay $1 per week for an ad-free version of WIRED.

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