2018 ushered in the continued growth of street art’s monumental importance to the wider cultural sphere. Banksy made international headlines when their work “Girl With Balloon” fetched a record-shattering $1.4 million at auction before self-destructing in a botched shredding prank. The work is now titled “Love Is In the Bin” and I personally posit that its notoriety will remain for ages to come.
Street art asserted its rights this year with two key showdowns. In February, New York Times reported that a federal judge in Brooklyn mandated Jerry Wolkoff, the developer who owns the legendary site, provide a $6.7 million payout to the artists whose work he destroyed in 2013. In September, the copyright dispute between H&M and Revok concluded after the artist contended that the retailer used his work in an advertising campaign without proper permission or compensation. H&M dropped their countersuit after swift backlash from the worldwide arts community, and agreed to fund Detroit arts organizations including City Year, Living Arts Detroit, MOCAD, Teen Council, and the Empowerment Plan, according to Artnet.
Artists also fought for their own creative voices this year. When Los Angeles School District announced its intentions to paint over Beau Stanton’s mural for the RFK Community Schools due to claims that it resembled a Japanese War Flag, renowned artist Shepard Fairey threatened to have his work whitewashed too, saying “I’m proud of that mural, I’d love for that mural to stay, but this is the only leverage I have,” in a quote provided to LA Times. The festival that fostered these works, presented by Branded Arts, marked its first edition in 2018, a year which also heralded the continued rise and importance of street art festivals.
I entered 2018 with two weeks of sobriety, chugging Zenify to find its calming effects while others toasted champagne as the ball dropped. For eight months, I stayed out of my own way, kept my head down, and repaired my life. I’d moved to New York to write and participate in the art scene. When an opportunity to write for Street Art United States fell into my lap, I jumped at the occasion, hungry for the chance to make my name. That first article grew into a strong working relationship, and I can never express how grateful I am to be a part of this publication’s family. My editor Sami Wakim has stuck by me through thick and thin, not only as a colleague, but a close friend. With his support alongside a lush network of artists, friends, and mentors, I will celebrate 90 days on January 1st.
Around this time of year, growth proves a prevailing theme. It’s not always comfortable, but it is always necessary. Furthermore, it cannot take place without reflection. Before we turn our hopeful eyes towards the future, please enjoy Street Art United State’s top twenty images of the previous year. We look forward to experiencing the year ahead alongside you, our cherished readers.
Vittoria
