Judge says graffiti artist ‘Smear’ needs to set example for young vandals

March 24th, 2011

smear

A Los Angeles County Superior Court judge on Thursday sentenced a graffiti artist to 13 days in jail and 45 days of graffiti removal for violating his probation, saying that his success as a tagger-turned-artist could help inspire young vandals to take their art into the studios.

Judge Marcelita Haynes sentenced Christian Gheorghiu, also known as Smear, after he acknowledged he violated the terms of his probation for vandalism by posting photos of illegal graffiti on his website.

Gheorghiu was arrested March 16 on a probation-violation charge, a day after sheriff’s deputies searched his East Hollywood home and The Times published an article recounting his rise from concrete walls to chic galleries. His work has appeared in art galleries from Long Beach to Romania. Gheorghiu’s arrest came as the city attorney sought a one-of-a-kind court injunction to bar him from profiting from his art.

Calling Gheorghiu a “renowned” artist, Haynes said she wanted him to set an example for youngsters vandalizing the streets and show them that they can make a real life from art. She is requiring him to work 45 days on a graffiti clean-up crew alongside young taggers.

“You have lived that life,” Haynes said. “You started off as a bad boy.”

The judge also sentenced him to 13 days in jail, but because he has already served time behind bars, he was expected to be released Thursday.

His attorney, Blair Berk, persuaded the judge to narrow and better define the conditions of his probation stemming from a 2007 vandalism conviction. She said he would accept restrictions on his website during the remainder of his probation. She said links to street graffiti had been removed.

“He has created as an artist a life that is perfectly lawful,” Berk said. “He doesn’t want to be the target of law enforcement.”

Haynes issued an order making it clear that Gheorghiu could have art tools and that they would not be considered a probation violation. He is allowed to possess them at his art studio, art shows and where he teaches. Sheriff’s deputies have alleged previously that his art supplies were tools of graffiti.

Gheorghiu is on probation for tagging buses. He received a 40-month suspended prison sentence, but the judge Thursday agreed to end his probation immediately after he pays off a remaining $23,000 in restitution.

In a prior interview, Gheorghiu said he stopped vandalizing property after his 2007 conviction. He insisted that his only artwork, pieces of which fetch about $2,000, is created in a studio.

Via: Latimes

First Major Historical Survey of Graffiti and Street Art Coming to Brooklyn Museum Next Spring

March 21st, 2011

Jeffrey Deitch, formerly of New York’s most street art-savvy gallery Deitch Projects and now director of Los Angeles’s Museum of Contemporary Art, has taken his brand of populist, youth-courting art west (see last year’s Dennis Hopper retrospective), and he’ll continue in that vein when the first major museum survey of graffiti, street art and street art photography, Art in the Streets, opens there next month. Better yet, the exhibition will be coming to the Brooklyn Museum next year, from March 30 to July 8, 2012.

Combined with the likely arrival of the National Portrait Gallery’s controversial—but by all accounts excellent—Hide/Seek at the end of this year, it’s shaping up to be a very exciting 2011-12 season at the Brooklyn Museum.

A centerpiece of the exhibition in L.A. will be a re-installation of Todd James, Barry McGee and Steve Powers’s massive Street Market installation from 2000 (pictured), originally mounted at Deitch’s 18 Wooster Street space in Soho. The original installation featured two over-turned trucks, a series of tagged-up storefronts and innumerable pieces by each artist. Seems like the kind of thing that would fit perfectly in the Brooklyn Museum’s newly renovated Great Hall, no? (art21)

Via: (The L Magazine)

A Bridgeport Art Exhibit Stands Up For Graffiti

March 21st, 2011

Bridgeport Graffiti

A Beautiful Crime
Read’s ArtSpace, 1042 Broad St., Bridgeport. Opening reception Fri., March 25, 5 p.m. Exhibit runs through April 25. For information, email BeautifulCrimeShow@gmail.com .

Bridgeport’s Fame City was one of the most celebrated graffiti spots in the country before it was shut down. Right now, New York City is in danger of losing its famed 5Pointz. Graffiti artists simply don’t have many hospitable environments where they can practice their craft and improve the public’s perception of them. The graffiti-inspired art show “A Beautiful Crime,” which runs from March 25 to April 25 at the ground floor gallery in Read’s Artspace, hopes to provide the chance to do both.

The show, which also puts up its works for sale, was conceived and put together by Razul Branch and three artists — Aisha Nailah, Gelator and Yves Wilson — as a way to clear up misconceptions about graffiti artists. The foursome also saw Bridgeport as a potential hub for artists. “We saw this would be a great opportunity to launch this arts scene here along the same scale as Hartford and New Haven,” says Branch. “Some of these guys are extremely accomplished artists, they just don’t have as many venues to showcase their talent because the moment someone hears they’re graffiti artists a lot of times their mind is closed off right after that.” (read more)

Graf Core 1.0 – Featuring Nace (R.I.P) & Chip

March 21st, 2011

Graf Core 1.0 – Featuring Nace (R.I.P) & Chip: Released in 1999, Produced By Videograf Productions.
Produced, Shot & Edited By Carl Weston
Music Produced by Carl Weston
Get the dvd @ www.videografproductions.net/store

City law requires businesses to lock up tools of the graffiti trade

March 20th, 2011

spray paint

Costa Mesa police have teamed up with the chamber of commerce to stop vandalism before it starts. Under a beefed-up anti-graffiti ordinance that the the City Council passed in October and went into effect in January, businesses have to limit access to popular tools of the graffiti trade: spray paint, marking pens and etching tools, among others.

According to the ordinance, spray paint cans must be locked up so that only store employees can take them off shelves and only people 18 or older can buy them. Etching tools — anything with a sharp edge that can carve, according to police — have to be monitored around the clock while the store is open. Security cameras can cover that requirement, said police Officer Jason Chamness.

Police point to Ganahl Lumber on Bristol Street as a shining example of how to limit access to products without hurting the bottom line.

“It’s not a big deal, there’s no one around that wants graffiti,” said Brad Satterfield, the store’s general manager. “Customers understand why we’re doing it and what we do.”

To taggers, Ganahl Lumber is a virtual Fort Knox. Not only is spray paint locked up, so are construction marking pens and etching tools such as tile cutters.

Read the full story: Crackdown on graffiti starts with businesses

Crackdown Feeds a Flourishing World of Graffiti

March 20th, 2011

Every big city in America has graffiti, and each tries, with varying degrees of success, to eliminate it. It is illegal, and at its worst it helps perpetuate gang violence and can foment a sense of urban disorder. At its best, graffiti is a kind of graphic art, treating city surfaces as gallery walls where anyone with a spray can may give a show. For nearly 20 years, Chicago and Cook County have waged war on graffiti.

The city estimates it will spend $5.5 million to remove graffiti this year, and despite a $487 million budget deficit, the Cook County board renewed its commitment to the cleanup by rejecting Sheriff Thomas J. Dart’s proposal to scrap a suburban graffiti-removal unit costing $600,000 a year.

But the anti-graffiti strategy — deploying crews called graffiti blasters to quickly erase or blot out painted surfaces — has imposed a kind of natural-selection process in the graffiti subculture. By discouraging all but the shrewdest and most determined practitioners, the city and county have inadvertently contributed to making Chicago a vibrant hub of graffiti activity, according to experts.

“It made Chicago graffiti an aggressive and competitive sport,” said Sebastian Napoli, 32, who began writing graffiti around the city in the 1990s when writers called Chicago “the chocolate city” after the brown paint used to cover their work. The enforcement efforts “weeded out guys that get up once or twice and tried to call themselves writers,” Mr. Napoli said.

Roger Gastman, co-author of “The History of American Graffiti” (HarperCollins), said Chicago was “the biggest scene in the U.S. that is the most undocumented.” The book, to be published next month, explores graffiti in several cities and devotes two chapters to Chicago. It will be the first look into the city’s elusive subculture since William Upski Wimsatt’s self-published “Bomb the Suburbs” in 1994.

According to Mr. Gastman and his co-author, Caleb Neelon, the rise of Chicago’s new breed of graffiti writers dates to Mayor Richard M. Daley’s campaign to eradicate graffiti as part of preparations for the 1994 World Cup games at Soldier Field and the 1996 Democratic National Convention.

In 1993, Mr. Daley unleashed what became known as the graffiti blasters, a removal initiative graffiti writers call “the buff.” Two years later, the sale of spray paint was banned within city limits, and its possession was prohibited except for commercial use. Around the same time, graffiti writers caught painting on trains became more commonly subject to felony charges, not just misdemeanors.

Mr. Gastman and Mr. Neelon said the city’s crackdown prompted some graffiti crews to focus on painting Chicago Transit Authority trains, since their graffiti was likely to be removed from walls and buildings hours after it was done.

The elevated and exposed trains also provided an irresistible canvas for graffiti writers hungry for a challenge.

“The elevated trains allow for a whole new way of writing graffiti,” said Jim Clay Harper, 26, originally from Wilmette, who goes by the tag name Ether. “It’s a mark of Chicago. It affects the landscape, and within that, the landscape of graffiti.”

The city’s aggressive anti-graffiti campaign “changed the dynamic of a lot of writers in Chicago,” Mr. Harper said. “It dictates how they paint, where they paint.”

Mr. Harper became a high-profile example of graffiti writing’s risks when he was arrested in 2008 for tagging New York subway trains. He also was convicted of vandalizing property in Boston and spent the last year serving sentences in New York and Boston.

“Any writer after the ’90s I consider five times the writers we were,” said Tyrue Jones, 41, known as Slang, who painted trains in the 1980s when they would bear a writer’s tag for weeks as they circulated the city.

Alderman Proco Moreno (1st Ward) has sought to keep graffiti taggers away from small businesses by commissioning them to paint designated walls. If they ignore his initiative, Mr. Moreno said, he will attend their hearings and recommend maximum punishment.

“You need to use a carrot and a stick approach to this,” he said. “I would prefer to use a carrot.”

Because of budget cuts, graffiti blasters can be slow to remove graffiti, so Mr. Moreno organized and personally financed a volunteer crew that paints over graffiti in his ward within 48 hours.

“Don’t give me this anticorporate idea,” he said of writers’ explanation of their graffiti. “We don’t have Microsoft headquarters on Milwaukee Avenue.”

Without a doubt, the buff’s regime conditioned graffiti writers. “If you could be a writer in Chicago,” Mr. Harper said. “You could be a writer anywhere.”

LA wants to stop tagger from making money off art

March 15th, 2011

LOS ANGELES—A graffiti vandal who caused hundreds of thousands of dollars in damage to Los Angeles property is trying to make it in the legitimate art world—but the city attorney doesn’t want him profiting from his notoriety.
The Los Angeles Times says the city attorney sued Cristian Gheorghiu and nine others last year. The suit seeks at least $1 million in penalties and a court order barring them from making money off artwork under their street names.
The 34-year-old Gheorghiu has an arrest record dating back to 1999. He was ordered to pay $28,000 in restitution after a 2007 felony conviction.
But Gheorghiu now sells legitimate artworks under his tag, “Smear.”
Some graffiti vandals, such as the British Banksy, have become artistic sensations.
Peter Bibring, an attorney with the American Civil Liberties Union of Southern California, says the suit violates artistic freedom.
Via:mercury news

Tag He’s It – Roger Gastman

March 11th, 2011

Roger Gastman

In the first issue of his graffiti and pop-culture magazine While You Were Sleeping, Roger Gastman thanked “Mom for the loot,” and then thanked “everyone who ever told me that graff was a dumb waste of my time.” Gastman, who was 19 at the time, had already been running a graffiti supply business in Bethesda, Md., for three years and was starting to assemble a valuable collection of graffiti ephemera, sourcing discontinued Krylon paint colors at mom-and-pop hardware stores as though he knew, even as a teen, that his obsession would serve him well.

Now 33 and living in Los Angeles, Gastman is still having the last laugh. The Museum of Contemporary Art, Los Angeles, is gearing up for the April opening of “Art in the Streets,” a major graffiti and street-art survey he’s curating along with the museum’s new director, Jeffrey Deitch, and the independent curator Aaron Rose. “The History of American Graffiti” (HarperCollins), written by Gastman and Caleb Neelon, also comes out next month.

While the tattooed, baseball-capped Gastman says he wasn’t expecting the e-mail he received from Deitch about the MoCA show, “I sort of feel like I’ve been training for it my whole life.”

He was introduced to his calling in the streets of Washington, D.C. “Everyone had a tag,” he recalls, sitting under an Adam Wallacavage octopus chandelier in his Los Feliz living room. “It was just what you did.” His skills may have been “average at best,” but he was there — climbing the rooftops, painting the freight train cars and documenting it all. He says his tight network of artists, collaborators and friends is simply a product of being in the right place at the right time — he met the now legendary Saber under a bridge when he was 15 — and an ability to keep his word. “Most people are flaky,” he says with a shrug.

“What I really liked about Roger from the beginning,” says Shepard Fairey, a fixture in the pages of While You Were Sleeping and later Gastman’s partner in Swindle magazine, “was that he seemed really self-motivated, smart, funny and irreverent. But he’s also professional enough to put out a magazine and organize all the moving parts that go into that. It’s a pretty unique blend.”

(READ MORE)

 

Graffiti writer sentenced to nine months in jail, pay $25,000

March 10th, 2011

SANTA CRUZ – The sloppy, black graffiti tags sprayed by Alfonso Jaquez cost one trucking company nearly $10,000 to clean up.

It cost the city of Santa Cruz and the Santa Cruz Redevelopment Agency $5,900 to wash his tags off West Cliff Drive, the San Lorenzo River Levee, Neary Lagoon and other places because they are protected waterways that required special solvents, city officials said.

In front of a packed courtroom Wednesday, Santa Cruz County Superior Judge Paul Marigonda sentenced Jaquez to 270 days in County Jail and ordered him to pay $25,758 in restitution to the businesses and cities he damaged. He was ordered to serve 400 hours in community service – including 200 hours removing graffiti. He also will be on probation for three years, he cannot possess graffiti tools and will be subject to search and tests for alcohol and drugs.

Jaquez pleaded guilty on Feb. 8 to spraying 176 tags from Watsonville to Santa Cruz.

“This is not just another graffiti case. Every serial tagger is watching this courtroom,” prosecutor Jason Gill before the sentence. “This case is about punishment. It’s about sending a message to the community.”

Jaquez, who appeared in orange jail clothes and shackles, told the judge he was sorry during the hearing, but he smirked during parts of it.

When Jaquez’s girlfriend visited him in jail, he bragged about his recent media coverage and said he looked forward to meeting with his tagging crew, Gill said.

Jaquez pleaded with the judge.

“I would like to apologize for what I’ve done. Whatever it takes to get past this, I’m willing to do,” he said.

Judge Marigonda said his tags essentially stole money from the businesses and cities he vandalized, and he called the acts “so unnecessary.”

Diana August, Jaquez’s attorney, asked the judge not to be swayed by “mob justice” because opponents of Jaquez packed the court.

Dozens of people attended the hearing, from business owners who were victimized to members of Take Back Santa Cruz to concerned residents.

J. Guevara, a city of Santa Cruz management analyst, said graffiti can deter economic activity and it costs tax dollars to clean up.

“This has been one of the worst crews in several years, and we have to send a message that these are real crimes,” Guevara said.

Janet Forgette said she attended the sentencing because she hates graffiti.

“I’m a victim because I live in Santa Cruz and I see graffiti all the time,” Forgette said. “That’s not art, it’s ego,” she said.

Killed for his graffiti tag.

March 8th, 2011

Brian Kachur

Two youths hit a 19-year-old over the head with a brick, then dumped him in the river. Why? For cross-tagging

MONTREAL – On a Saturday night in November 2009, three teenagers from Verdun headed out to a secluded area under a Highway 15 overpass where local youths gather to paint graffiti and drink beer.

The longtime friends were there to celebrate the upcoming 16th birthday of one of the boys. The youths, one 14-year-old and two 15-year-olds, were drinking beer when an affable 19-year-old named Brian Kachur showed up.

Kachur had spent the early part of the evening eating pizza and chatting with his extended family at a dinner in his Verdun home. While the rest of his family sat down to watch a film, Kachur told his mother he was going out “bombing.”

Kachur fancied himself a “graffiti artist” and his graffiti tag “Razor” could be found on buildings and cement pillars across southwestern Montreal. As he struck up a conversation with the three strangers, Kachur told the boys his tag name was Razor.

The name was familiar to one of the 15-year-olds, who had been miffed a while back after noticing that on two occasions, someone named Razor had spraypainted his name over part of his own tag – a frowned-upon practice in the graffiti world known as cross-tagging.

The youth had been trying to find out “who Razor was” and now the culprit was standing right beside him.

As the teenagers consumed beer, smoked marijuana and took ecstasy, the 15-year-old began to devise a plan to exact revenge on Kachur.

Kachur had no specific plans that Saturday night so he was likely happy to tag along with the three younger teens who shared his hobby.

Some details of what happened next are unclear because those involved were under the influence of drugs and alcohol.

However, according to evidence presented at the preliminary hearing of the 14-year-old, Kachur suggested they return to his house on Moffat St. so he could collect some more cans of spray paint.

While Kachur was in his house, the 15-year-old whose graffiti had been cross-tagged told the other boys he wanted to beat Kachur up. The 14-year-old agreed, but the other youth said he wasn’t sure whether he would participate.

After Kachur came out of his house, the four headed toward the St. Rémi tunnel. Along the way, the 15-year-old picked up a brick and asked his two friends to do the same. Some of the bricks were placed in a knapsack carried by one of the youths.

Kachur became uncomfortable when he noticed bricks being collected and he nervously joked that he hoped the bricks weren’t meant for him. One of the 15-year-olds reassured him the bricks were “for their protection” because he had been attacked at that spot once before.

The youths spent the next few hours doing graffiti in the industrial sector of Verdun.

Around 3 a.m., the 15-year-old put his plan into action.

He told Kachur that he had to meet his brother near the Verdun Marina so they could all attend a party.

As they made their way to a park beside the St. Lawrence River, the other 15-year-old boy decided to head home, uncomfortable with what was about to unfold.

The park beside the marina was familiar to Kachur. He had been there the day before and had started a new tag on a small pumping station in the park.

As Kachur was finishing the tag, the 15-year-old came up behind him and smashed a brick across the back of his head, according to testimony that he gave last December at the preliminary hearing of the 14-year-old.

As Kachur slumped to the ground, the 15-year-old struck him with the brick several more times and kicked him repeatedly, leaving him clinging to life. According to the 15-year-old, his 14-year-old friend also kicked Kachur and threw a brick at his head, although the younger boy claims he has no memory of this because he was intoxicated.

One of the boys then stomped on Kachur’s face.

The two teens then picked up Kachur’s 133-pound body and carried it more than 100 metres to the river’s edge.

They took off his shoes and trousers and dropped him into the frigid water.

The next morning, a man walking on a path beside the St. Lawrence River discovered Kachur’s body in shallow water near the marina.

Later that day, the 15-year-old who planned the attack returned to the park with a friend to retrieve one of the bricks.

André Bourgault, the pathologist who examined Kachur’s body, confirmed the victim received several forceful blows to the back of his head during the attack. There were also cuts on his face, his lip and his left ear. Kachur had very few defensive wounds, Bourgault testified at the preliminary hearing.

Bourgault also told the Youth Court judge that Kachur was still alive when he was dumped in the water.

“He took a few breaths in the water.”

Theresa Brochet picked up a newspaper while riding the métro to work on the Monday morning and shuddered at the headline: “Body pulled from St. Lawrence River.”

Brochet had been worried sick about her son after he failed to come home on the weekend. He wasn’t answering his phone and she couldn’t understand why he hadn’t returned messages she and her daughter, Laurie Ann, had left.

At lunch, she showed the article to a friend and said: “I hope this isn’t my son.”

Brochet had spent many years fretting about her son, a “sweet and charming” young man who was struggling to find his way in life.

As a boy, he was diagnosed with attention deficit hyperactivity disorder, which led to difficulty at school. He dropped out of school in his early teens and came off Ritalin because it made him ill. He had started smoking marijuana instead.

When he wasn’t tagging, he spent time with his father, Walter Kachur, and a small circle of close friends. He wrote rap songs about his life, but he lacked the money or the contacts to record his work.

His graffiti was an outlet for his artistic talent, his mother said, adding that she often pleaded with him not to tag on private property. Despite his difficulties, Brochet said, her son was a good boy who cooked her dinner when she was tired and baked her a cake on her birthday.

After her son’s death, Brochet said, she received a phone call from one of Kachur’s elementary school teachers. The woman told her that she had kept mementoes from former students and among them was a graffiti-style sketch of her name that Kachur had proudly presented to her when he was about 10 years old.

“She said he was so proud of it,” Brochet recalled.

Two months after Kachur’s death, in February 2010, Montreal police released the video showing the youths walking behind the tire store in Verdun the night Kachur was killed.

Within days, Brochet and Montreal police began receiving phone calls from people identifying the youths who had been with Kachur the night he was killed. Police questioned the teens and then let them go while they pursued their investigation.

After learning the identity of the 15-year-old boy, Brochet said she sent him a message on Facebook to set up a meeting. “You’re one of the last people who saw my son and I would like to find out what my son did the last few hours of his life,” Brochet told him.

The youth, who had devised the plan to assault Kachur, agreed to meet with her.

When he turned up at her house, he was dressed in his Sunday best and had neatly combed hair. “He had an angelic face,” she recalled. The youth sat in her home and expressed his condolences over Kachur’s death.

“Brian était un bon gars,” he said.

Two months later, in April 2010, Brochet received a phone call from the lead homicide detective in the case. He was calling with good news. Police had arrested the 14-year-old and the 15-year-old who had the temerity to visit her home two months earlier. Both teens were initially charged with second-degree murder.

Under the Youth Criminal Justice Act, the media is prohibited from identifying them because they are minors.

The detective later showed Brochet a photo of Kachur’s tag on a Metro grocery store in Verdun. It partially covered the tag of the 15-year-old. “This is why your son died,” the detective told her.

Two months ago, the 15-year-old, who is now 17, pleaded guilty to second-degree murder in Youth Court in Montreal. A date for his sentencing has not been set.

The 14-year-old, who is now 16, pleaded guilty yesterday to a lesser charge of manslaughter. He received a three-year sentence.

Brochet said she finds it unfathomable that her son was killed because of a cross tag. She thinks that “two violent kids” used it as an excuse to beat up her son and wonders whether the 15-year-old was trying to “make a name for himself on the street.”

After the youth was arrested, police learned that he had told some friends that he had “killed Razor.”

Brochet said she can’t imagine what went through her son’s mind during the attack.

“Brian didn’t use his fists,” she said. “He didn’t know how to fight.”

In an emotional victim impact statement delivered in court yesterday, Brochet told Judge André Vincent that she is haunted by the sickening images of her son’s final moments.

“My son was far from perfect,” she said. “I loved him and he loved me. I will always remember the day his coffin was closed and I knew I would never see my son smile again.”