To sell out, or not to sell out; that is the question—isn’t it? Whether someone be a musician, artist, or anything else, there’s always a line between “keeping it real” and cashing in; selling your soul to the devil of capitalism, so to speak. That’s especially true when it comes to graffiti writers. Time and again, incredible artists have risen from humble beginnings involving nothing more than creating what many find to be petty vandalism, and transformed into respected, sought after artists.

There’s nothing more prolific and accessible than a piece of art put on display in a public urban setting for all to see.

With that incredible level of popularity, it’s likely difficult to stay authentic. Profitable opportunities arise that eclipse the desire to risk getting in trouble with the law, all for something that you’ll never make a dime off of. Still, just about any artist who has a history in graffiti has to appreciate that vital chunk of history. There’s nothing more prolific and accessible than a piece of art put on display in a public urban setting for all to see. That sort of exhibitory natured medium is a powerful tool in honing and evolving an artist’s skill and vision. You needn’t look far to find a talented, popular artist or muralist with some shady bits to his past.

But where does that line between staying true to your roots and selling out lay? Wherever that invisible line might be, no one could tell you more about it than Shepard Fairey. Born in 1970 in South Carolina to doctor and a realtor, you might think that a young Fairey had business in the genes. Instead, Fairey drew, and beginning in ’84, the boy started down a road that would eventually lead him to artistic stardom, putting his work on shirts and skateboards. In ’88 he graduated from Idyllwild Arts Academy, and then in ’92 he received his BFA in illustration from the Rhode Island School of Design. What catapulted this young man into the spotlight, though?

The original “Andre The Giant Has A Posse” and its evolution.

In ’89 Fairey created the “Andre The Giant Has A Posse” sticker while still attending RISD. Admittedly he imagined the sticker campaign would be “few weeks of mischief”, eliciting a response within his circle of art and skateboard friends. Instead, the simple yet striking image of the “Giant’s” face highlighted by the single word “Obey” spread like wildfire. What was this confusing image? Advertisement? For what? Or was it simple vandalism? What exactly did it mean?

While even Fairey’s own definition of the image has evolved over the years, originally it meant nothing at all. However, as he observed the variety of reactions towards the sticker, his mind began to turn. Perhaps what once was nothing more than a nonsensical design could now actually serve a purpose. Inspired by Heidegger’s concept of phenomenology and the John Carpenter movie “They Live”, Fairey began the “Obey” campaign in full, enlisting a wide network of collaborators to spread this strangely iconic image.

… even attributed to an Obey clothing line. Still, what did the visual mean in the first place? In a sense: everything and yet nothing at all.

Over two decades later, the ambiguity and mystery of the image has lost a great deal of impact, now even attributed to an Obey clothing line. Still, what did the visual mean in the first place? In a sense: everything and yet nothing at all. The entire sticker campaign worked to see how people would react, primarily. While some found it intriguing and thought-provoking, others saw it as nothing more than vandalism. The idea that your everyday bystander might press the button for the crosswalk, find this odd sticker, and be driven to research and find out exactly what it meant excited Fairey. Each individual interpretation of the image played its own role in the experiment, and its perpetuator still looks back on the campaign fondly.

A striking example of Fairey’s silkscreen work.

Beyond all the experimental nonsense, Fairey struck up a small printing business in Providence, Rhode Island, called Alternate Graphics. Focusing on sticker and t-shirt silk screening, Fairey explained that the business went towards supporting the efforts close to his heart, including but not limited to the Obey campaign. While his claims towards the purpose of the business are likely true, the practical and profitable side of the artist began to show itself in full. Starting in ’97, Fairey worked with Dave Kinsey and Phillip DeWolff to found the design studio BLK/MRKT Inc. The company specialized in guerrilla marketing, doing work for high level clients as large as even Pepsi. Later he founded a design agency with his wife, called Studio Number One, creating albums covers for a number of popular artists such as the Black Eyed Peas and Smashing Pumpkins.

You know the Barrack Obama “Hope” stickers and posters? Yeah, that was Fairey

At this point, many might say that Shepard Fairey “sold out”. In the end, the truth behind that idea lays in the eye of the beholder. Down to this day, Fairey still hasn’t abandoned his roots. When asked about his view on the idea of selling out, Fairey brought out that “… it is very possible to make money and be a suffering martyr!” That’s an understandable sentiment coming from someone who’s been arrested 10 times and has suffered physical abuse by the authorities. Regardless of how some might view his commercial endeavors, powerful examples of his freeform work are easy to see. You know the Barrack Obama “Hope” stickers and posters? Yeah, that was Fairey, and while Obama’s campaign might have made a few suggestions on it’s design—which they vehemently deny due to the material’s illegal distribution—the iconic image is a result of nothing more than a man and pure, public artistic and intellectual expression.

An image a little more than iconic, courtesy of Mr. Shepard Fairey.

So where is that line we talked about? When does a graffiti writer become a “sell out” through their commercial actions? That’s a difficult subject, with opinions that would likely vary from artist to artist. In the end, Fairey has his goals in focus, at least on a personal level. His commercial contracts allow him to do what he loves on a wide level, as well as keep open an art gallery that he admits is “never profitable”. Some might see a Fairey designed illustration for Saks Fifth Avenue and groan in disgust, but it all comes down to personal views. Then again, maybe a wife and kids have turned a man with a history forged in skateboards and graffiti into a bit of a softy. Can you really criticize that?

Banksy Sucks

Take a spray can, or a brush, or a pencil, and sit down and create something amazing. What makes it amazing? Is it wild originality in the piece? Is it pure, innate talent screaming out through the paint? Is it some deep emotional message? Or is it garbage? Odds are that it’s garbage, but the point is that you’ve got to have something beyond just a nice a piece of art.

Most artists cling to something to establish a name for themselves, whether it be something orthodox, odd, or emotional. The graffiti and mural artist known only as “Banksy” doesn’t. When tasked at critically examining Banksy as an artist, you can’t say that he’s exceptionally skilled. You can’t say that “Banksy graffiti” is incredibly unique. You also can’t say that the message beneath his work is more powerful or unique than the next pessimistic, downtrodden graffiti writer. Now take a step back, disregard those ideas, and realize that Banksy is one the most popular graffiti and mural artists in the world.

Why? Clearly he’s doing something right. He obviously isn’t a terrible artist, his work must be original enough to set him apart from the next guy, and there must be something deep and hard hitting behind his art to build such a following. So what is it that skyrocketed the name Banksy into worldwide fame? In 2007, a piece that probably took no more than 20 minutes for Banksy to create was sold for over a half a million dollars. Are you confused yet? Good, because we’re just getting started.

Skill

If you asked Banksy, he wouldn’t tell you much about how good he is. You won’t get any droning egotistical spiels of expertise and artistic technique from this guy. No, instead he’d probably tell you that his stuff is garbage. Commenting on his mysterious identity—which we’ll talk about in a bit—Banksy has said “anyone described as being ‘good at drawing’ doesn’t sound like Banksy to me.”

Banksy isn’t the talentless shmuck he’d have you believe him to be

Whether or not that’s just his dark, facetious sense of humor, Banksy isn’t the talentless shmuck he’d have you believe him to be. As a young artist on the streets Banksy had a hard time finishing his pieces quickly enough, so he resorted to creating the very intricate stencils that have created his trademark style. Many graffiti writers have strong opinions on stencils, going as far as calling their use “cheating”.

That might be belittling the skill and effort behind drawing and creating stencils, but regardless of naysayers, Banksy is good at what he does. He’s got a simplistic aesthetic that strikes a good balance between a pleasant messiness with crisp photorealism. Is it the most masterfully done stuff out there? Probably not, but then again is graffiti supposed to be perfect? You decide.

Originality & Message

We’ll knock two topics out in one go this time. Why? So we can hurry it up and get to the good stuff. Banksy’s aesthetic style isn’t revolutionary. Cel shaded characters and blocky graffiti writing has been seen before, and considering that he only started his graffiti career in the early ‘90s, he certainly isn’t a pioneer in his style. Banksy has no problem with being called a copycat though, in fact he’s even directly admitted that he copied and based his style off of the artist 3D.

Banksy carries the same dismal disposition towards authority and control in general as the next writer

With originality in the trash, what’s left? Right, the message. You don’t see a whole lot of graffiti preaching the message of a happy, carefree society where the government is just dandy and life in the city is just the most darn pleasant thing in the world. No, Banksy’s personal views might not be the most original out there, but they come across strongly in his pieces. Anti-disestablishment, anti-authoritarianism, anti-war, anti-imperialism, anti-capitalism, and any other “anti”s I forgot to add in there, Banksy carries the same dismal disposition towards authority and control in general as the next writer.

Still, he comes at it with a dark sort of humor that sets his work apart from similar stuff. “We can’t do anything to change the world until capitalism crumbles. In the meantime we should all go shopping to console ourselves.” Says Banksy, and doesn’t that snarky comment tell you a lot about the guy? Maybe his humor isn’t for everyone, but combined with strong, catchy visuals, Banksy knows what he’s doing. At least he knows that people like what he’s doing.

Why Banksy Doesn’t Suck

Maybe that subheading is a little harsh and misleading since there are clearly facets to his style that don’t suck. Still, that doesn’t explain why ridiculous amounts of pounds and dollars are being thrown around when his stuff comes up in auctions. I don’t know how long it takes for the guy to draw out and create his stencils, but once they’re finished and ready, Banksy is a swift guy when it comes to laying down the paint. When something sells for a small fortune, usually its creation was a painstaking process. Just saying.

So what makes Banksy such an icon? What makes his work so sought after? Why have celebrities from Brangelina to Jude Law purchased Banksy creations? Simply put, it’s the man behind the paint. Banksy is an enigma. He does what he wants—without stepping on too many toes—and put short: he’s fun. Sometimes people want to take a step back from the stuffy aesthetics and literary fashion of by-the-book modern arts, and a step towards something a little more free; an artist with a different spin on things, a good sense of humor, and an acquired mastery over telling people exactly what he’s thinking… without actually telling them.

Banksy never fails to devise a new stunt worthy of his name

How does he do this? That’s the key question. Most graffiti writers and mural artists alike convey their presence and message by putting their heart and soul into their work, for all to see and absorb. Does Banksy do that? Sort of, but since most of his stuff gets buffed by the authorities as soon as it goes up, Banksy hits his audience in other ways. Whether it’s throwing spoof £10 “Banksy of England” notes into a carnival crowd, or rigging up a blowup doll dressed up like a Guantanamo Bay prisoner inside of Disneyland’s Thunder Mountain, Banksy never fails to devise a new stunt worthy of his name. In 2008 he rented out Leake Street for 6 months so he could create an incredible urban exhibit featuring 39 other stencil artists, which ended its 3 day festivities with the security encouraging spectators to destroy and steal the exhibits.

Did you know streets could be rented like that? Have you ever been to an art show where theft and vandalism was encouraged? Probably not, and it’s these kind of things that give Banksy such a powerful name. But it’s just a name, right? Who’s the man behind the mayhem? We may never know, as Banksy is religiously secretive about his identity. In all actuality, that may be an idea that’s wise beyond just stirring up intrigue and curious appeal. With the stunts he pulls, his dislike for authority is probably very mutual.

But what’s all this with his identity? Graffiti writers around the world might have an alias—a street name to throw down on the city walls and serve as a sort of “pen name” towards their line of work. Banksy definitely has that, but he isn’t telling anyone what’s on his birth certificate. His agent and partner in crime, Steve Lazarides, has even admitted that he’s not 100% sure on Banksy’s true identity. That might be some very successful marketing at work, but it doesn’t change the fact that over the course of his 30 some odd year career media moguls from London’s Evening Standard, Esquire, The New Yorker, The LA Times, and even the BBC haven’t been able to pin an identity to him. Have there been convincing rumors? Sure, but there’s a big difference between coincidental similarities and hard facts. For all intents and purposes, Banksy is a ghost.

In conclusion, Banksy doesn’t suck. No—while he’s not the most talented, original, or prolific artist out there, he’s incredibly unique in the sense that he does what he wants and it works. The everyday occurrences of the average person’s life wouldn’t turn any heads; it wouldn’t excite onlookers and inspire ones young and old. Through his own wild exploits, Banksy has singlehandedly turned his life into a moving exhibit, full of twists, turns, and a whole lot of paint. If only he charged admission to ride shotgun.

Without a certain frame of mind, it’s near impossible to get where you’re going. More than the necessity of effort, a leveled mindset works to drive someone forward towards whatever it is that they’re searching for. When it comes to artists, this idea is especially true. Whether it be a strictly structured set of principles, aiming towards an ever growing mastery over chosen aesthetics, or a loose system of radical personal beliefs, it takes strong ideas to emerge from a sea of artists as someone unique, original, and inspiring.

Let’s take a look at Barry McGee and see if we can dissect his personal philosophy and what makes him the artist he is. Born in 1966, McGee graduated from the San Francisco Art Institute in 1991 with a BFA in both painting and printmaking. Before then, he established the name “Twist” on the San Francisco Bay Area streets. As a graffiti artist, McGee still continued to hone his skills, all the while sticking to his inspiration and ideals.

Philosophy

So what is it that drove this artist in his youth, and what continues to drive him today? Growing up in an area rich in art and rife with radical activism, McGee developed an aesthetic philosophy strong in it’s pessimism towards the urban experience. Anti-disestablishment in nature, his creations frequently focus on objects such as empty bottles, spray cans, and more industrial things such as wood and metal.

While there’s a definite negative feeling in this sort of art, it also pushes a message of personal social responsibility, and beauty in simple parts of urban life that might otherwise seem dirty and irrelevant. McGee has said, “Sometimes a rock soaring through a plate of glass can be the most beautiful, compelling work of art I have ever seen.”, so clearly we’re looking at someone who has a very artistically inspired mind amidst the doldrums of life in the city.

Aesthetics

The idea and motive behind the art can be interesting and inspiring by itself, but in the end, what’s on the wall or canvas is what matters. Early in his career as a graffiti artist, McGee became known for male characters with tired eyes and heavy expressions, reminiscent of the homeless and vagrants living on city streets of his youth. Besides that (and the ever present use of urban and industrial objects), McGee likes to incorporate wilder elements in his art, including abstract backgrounds and patterns often highlighted with drips and color fields that really make his creations pop.

Impact

McGee’s work not only serves to satisfy his own creative drive, but also that of a more inspirational nature. In fact, his use of color drips in his designs strongly influenced and popularized the same use in graphic design following a distinctively urban aesthetic. He also was one of the first to paint directly on gallery walls, creating a feel of true graffiti within a gallery setting. Even more, his practice of clustering paintings together in artistic arrays—inspired by similar installations he found in Brazilian churches—popularized a new gallery display technique.

An artist on the cusp of new and interesting techniques and ideas, McGee has clearly made a dramatic impact on the art world. Going even further to aid and inspire fellow artists around the world, McGee came into contact with Os Gêmeos in 1993 while on study program through the San Francisco Art Institute, introducing them to popular techniques and examples of American graffiti.

Today

Through his artistic journey, McGee met Margaret Kilgallen. Much of his later works—and even his works today—have been connected in style to hers, which is an unsurprising fact in light of their marriage in the ‘90s. Unfortunately in 2001 the woman died of cancer, leaving McGee with a young daughter named Asha. The heartache of losing a loved one might put a heavy damper on imagination and creative ability, but McGee continues on in his artistic endeavors.

One of his latest projects, known as “Advanced Mature Work”, featured wrecked vehicles in a gallery setting, complete with graffiti across their husks and elaborate backdrops of wild patterns and designs. The exhibit is filled out with a number of existing pieces, showing a wide scope of the artist’s career and ideas behind his work.

Barry McGee is an artist, plain and simple. He combines unique ideas and talent with a mindset that propels his pieces beyond simple paint and surface. This is clearly evident when we see his impact on art in modern times as far as the birth of new techniques, whether they be on the streets, on a computer screen, or in an art gallery. Still young and always creating, it’s doubtful that we’ve seen the last of this aesthetic giant.

Beauty comes from places you might not expect. To some, graffiti might not be synonymous with the word beauty. Illicit creations in public places, fueling a constant struggle between authorities and the freedom of artistic imagination, might seem more like a stain against society than something beautiful. To others, beauty can be found in anything, whether it be on a canvas in a gallery or within a grimy alleyway. In the same way, beauty can be found within a variety of different artists. From self-taught artists doodling at home, to ones who have trained their whole lives in celebrated art schools. Skill levels vary, but how do you correctly measure artistic talent?

Some might judge an artist based on their professional artistic education and accolades. The Mac absolutely breaks that concept apart. The son of an engineer and an artist, Mac was born in 1980, and has been obsessed with art since he was a child. While he never attended art school, Mac began studying art on his own at a very young age. Growing up in Phoenix, Mac drew much inspiration from the Mexican and Chicano culture around him, as well as his mother, classical artists such as Mucha and Vermeer, and the style of religious art, pin-ups, and even comic book graphics. Whatever Mac did to teach himself, it worked.

Fast-forward to the mid ‘90s—Mac begins his graffiti legacy, bombing around his hometown and honing the style that later makes him famous. In an area strict towards graffiti and swift in buffing any sort of vandalism, a young desperate Mac sought out secluded, out of the way places to lay down paint, but even the most remote of canvases didn’t escape the watchful eye of the law. Looking back on the situation, Mac has expressed that the attitude towards graffiti in Phoenix while he was growing up discouraged a lot of the young graffiti artists, and made the city streets feel a little soulless. Still, he never gave up, even working with acrylics off the streets. A little bit of civil censorship wasn’t going to stop this rising new artist.

Mac’s style and preferences in subject quickly made him a unique figure in the graffiti world. While most artists on the streets create amazing 2D work, that wasn’t what Mac had in mind. While he put a lot of effort into honing his aerosol skills, even recreating technicolor versions of famous works of art, Mac’s signature photo-realistic portrait style is what has made him the phenom that he is today. The guy has been called a modern Michelangelo of the graffiti world, and looking at his finished pieces, that’s arguably true.

Photorealism is something many artists strive for. Take a step back now and realize that most artists are trying to do that on a canvas with conventional supplies. It’s not an easy thing starting with a blank slate and trying to create an image that steps off the canvas and hits you with an image you might expect to see in a photograph. Mac takes on that difficult task and demolishes it—all with nothing more than spraypaint and a lot of patience! Mac creates breathtaking displays of the human figure with beautiful focus on the feminine face, all while creating the appearance of brushstrokes.

In something of an ode to both traditional graffiti styles and classical ideals, the Mac smashes boundaries and has developed an incredible fusion of styles. Nowadays he carries out much fewer risky crusades into the city, and much more legitimate mural projects, but he has a great deal of love and respect for both sides of his artistic soul. The 32-year-old artist’s work can be seen in over 15 different countries, and as he continues to grow in infamy and well-deserved popularity, that number is likely to grow.

So what defines a true artist? How do you define skill? For many, pricey art schools just may not be possible. Should that be a discouragement towards the less fortunate artists around the world? Looking at the rise of The Mac, it’s easy to say the answer to that question is no. From humble beginnings and countless hours of focused effort, fueled by an insatiable craving for art and the desire to create, Mac forged his destiny with his own two hands and sharp young mind. That example should be highlighted today and forever, a testament to the fact that with enough willpower and concerted effort, anything is possible—at least when it comes to paint and an empty canvas.