Buzz Art Auction takes NYC again, with appearances by Mr. Brainwash, Human Collective, Sonni, SeeOne, Adam Dare, and Bisco Smith, amongst others, in company of drinks by Bombay Sapphire Gin and empanadas by Mama’s.
It was a chic evening on a Chelsea rooftop, the rains of Joaquin clearing, and the city twinkling under a low sky. Inside Studio 450, prices climbed and the bidding was thrilling on account that these street pieces are inclined to increase in value as graffiti and street works increase in “artistic leverage”… that is to say, of course, that more people want them, or the “official voice” says they’re worthy of collection. Worth noting is holdings of street art is minor for major museums and curation efforts. But just like actual street art, fine street art is landing in the hands of anyone willing to recognize them (in other words, not have them promptly removed and the creator prosecuted). Street art, though, is systematically put-down, in part by virtue of their universality, its classic market functionality, low demand and high availability, low costs and a flooded market.
But street art is really the post-egalitarian approach to fine art, the stabilizer, the rent control, in the context of runaway industry that seems to hit new sale records weekly. Not to say street art is worthless, the works themselves are often more timely and ‘statement’ than any studio work, and like the new definition of ‘American Art’ (for Americans, by Americans or by students of America, i.e. Hudson Valley, Sarasota School), we’re seeing street art’s definition stretching: it’s for the street, by the street, or by a former street artist (in a sense, trained by the street), but now in the luxurious confines of a real studio. Who are we to stop them! If anything, Buzz Art Auctions and Bombay Sapphire are using strong brands and wicked fun parties to reinforce noble causes and validate street art as chic and approachable as it really can be. It takes an ambitious mind and one of initiative.