Monty Python: Prophets of the Interwebs

"Oh great boobies honey bun! My lower intestine is full of Spam, egg, Spam, bacon, Spam, Spam, Spam, Spam...my nipples..." - Dirty Hungarian

I have to say that I feel immensely liberated by the whole natural evolution of this blog into a Spam artwork. I have always been a huge fan of Monty Python. I was remembering how much I love the Spam skit from their show (that I secretly watched as a kid even though my parents said it was inappropriate for kids...) while I was approving comments (flagged as spam by Blogger - thanks for nothing punk!) for my Marcel Duchamp and Invented Pseudo Algebra post when I thought I might share the Monty Python skit video. You know, kinda as homage to the creative ghost in the machine that drives this blog. I realize that some of you out there may find my shameless spam comment approval distasteful or unethical or morally objectionable or some other judgment you might levy against me that I've not thought of yet. If you are one of those people, I found an amusing Spam PSA to clear your conscience. Alternatively, if you find this video to be an inadequate warning, please....by all means....message me in the comments and let me know what you think I should be doing with my blog. I am open to suggestions and artistic directions for this work. I do plan to talk about Banksy at some point when his New York pop-up crap is sufficiently passe, but people are still infatuated with the character so I will stick to my Spam adventures for now. Unless you can convince me to stop.

I am open to your compelling argument.

Oh, so here's that nice video to remind you not to click on banner ads and what-not. It's probably produced by the lovely people at Snopes. They're trying to help you find the "truth" on the internet. So what if they make a small profit off of your clicks. Maybe I'll monetize this blog and make money off your clicks....oh wait, NO. That would scare away all my DELICIOUS spam!!!!

Online Graffiti Art

A fellow art educator and blogger posted an interesting link on his blog (which is a verrry nice blog, I might add) that I responded to earlier today, but I wanted to further explore the topic.
For proper background, first check out his post here:

The Carrot Revolution: A Blog About Art Education... and Vegetables.: online graffiti art

Now, assuming you read his post, investigated the web link he included, and read the beginning of my ramble in response format and decided that you wanted to hear me proceed with my thoughts on the subject, read on!

I clearly enjoy the visual experience that is graffiti, as my photography indicates. I enjoy the process of finding it and photographing it, too. I do not, however, engage in creating graffiti. I did grow up with friends that were taggers. They weren't the artists or writers that decorate the global human landscape that garnish gallery recognition. They were kids with sharpies and spraypaint stolen from the theatre department. We grew up in a poor community where 70% of the residents lived at or below national poverty level. I watched my friends tag their world without judging them as delinquent because I lived in two worlds. My 100 year old home was at the edge of town on 20 acres. We had horses, cows, a few milk goats, rabbits, labrador retrievers, and a variable number of feral cats in the hay barn. My parents were both educators by day and farmers in the evening. My siblings and I never went without. Just across the road that ran in front of our farm was a hill that served as a neighbor's hay field. Behind that was the Northside. It was one of the poorest neighborhoods in town. My tagging friends lived there.
Once those friends climbed the water tower and sprayed over the letters to change the name of the town into something humorous and illegal. Often though the tagging was restricted to bathrooms, lockers, walls on the Northside or desks in school. I knew my friends were angry. They wanted their tag on those things because they had nothing else to claim as their own. Many of my tagging friends went home from school to houses with no electricity or food. I doubt that any of my friends back then though of their actions as a way to claim territory, or have a sense of agency, or to bring attention to their plight. I think most of them just thought of tagging as a way to buck the system, in one of the few ways they could.
I wonder where some of those people are today. None of the handful of friends I had from that neighborhood went to college. I see some of them working around town when I go back to my hometown. I wonder if some of them finally had enough of being stuck in the Northside and found themselves stuck in jail as the alternative.
The point is, there is a certain amount of my personal identity that is wrapped up in photographing the graffiti. The tags are both beautiful and ugly to me, all at once. I see my friends and students reflected in those cryptic created identities. The invented names that the tags depict are mysteries to me. Is that name the one thing you can give yourself? Is it your property, your fame, your hopes, your dreams? Are you still tagging or have you found a way out? Do you tag because you need another identity after you leave your 8-5 job? I even wonder if the tags are a tiny bit of immortality for some of the writers that die in the perilous environments that squatters endure. It doesn't happen often, but the thought that some "anonymous" kid dies in the process of writing their alias sends a shiver down my spine.
I made an effort not to glorify or promote graffiti in my classroom when I taught middle school. We studied the history of graffiti (which is huuuuuge, by the way). We looked at the evolution of styles. I showed them some of my photography and some impressive urban bombing and expertly executed pieces. I contrasted that with simple tag images. We discussed key differences between categories of graffiti. The one point I emphasized in all cases was the legality and safety of writers from all categories. Rather than drag you through the rest of that unit, let me say that the students did create their own tags and they were displayed in our school. My principal and the campus police officer supported the unit wholeheartedly. I think that was due to my emphasis on the safety/legal issues and the fact that we didn't use spraypaint to create the final pieces.

I reflect on that unit often since leaving that school. I have mixed feelings about the results. While I think the students learned quite a bit and were proud of their finished products, I can't help but think something about the unit was askew. The finished works weren't really graffiti, by street definition. It's the same weird feeling I got when I saw that the Brooklyn Museum's Graffiti Exhibit. I can't help but think that many people, including my students and the museum goers, have the same voyeuristic fascination I have with graffiti. For some of those people it becomes an interest in making artistic creations of many forms. For others, viewing is enough. Do these hybrid creative forms and appreciative cultural audiences take the urgent messages out of what some of those street tags are shouting? Does transforming graffiti into an acceptable art form further silence the disempowered? As an educator with a heart for the underdogs, I hope not. Conversely, can this proliferation of sophisticated tagging such as the kinds found at Graffiti Research Lab bring the message of youth in peril to the forefront by presenting in in a flashy new media format? I have a sinking feeling that it's often a mixed message that isn't living up to its socially transformative potential.

Tagging the metaphor

So if creative processes are my way of making sense of the world, tagging is my metaphor.

Much of my artistic process has been a thinly veiled attempt to get outdoors and get myself off the computer or get my nose out of a book. I crave adventure, even if it's the small scale variety. Also, I find myself drawn to graffiti. The fascination began when I taught public school and my students and I explored the history and techniques involved with graffiti.

Here's a bit of that history.
Tags, in graffiti writing, are a fairly recent development. A "tag" is the most basic writing of an artist's name in either spray paint, marker, or other often permanent writing/painting tool. A graffiti writer's tag is his or her personalized signature. "Tagging" is often the example given when opponents of graffiti refer to vandalism; the term used to label all acts of graffiti writing (it is by far the most common form of graffiti). Graffiti often has a reputation as being a visible act of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990's a growing number of artists are switching to temporary paints for a variety of reasons, primarily because is it difficult for the police to apprehend and for the courts to sentence or even convict a person for a protest that is as fleeting and less intrusive than marching in the streets. In some communities, such impermanent works survive longer than works created with permanent paints because the community views the work in the same vein as that of the civil protestor who marches in the street. Protests are finite actions in their duration, but they can have lasting impressions on the "powers that be". In some areas where a number of artist share the impermance ideal, there grows an informal competition. That is, the length of time that a work escapes destruction is related to the amount of respect the work garners in the community. (A crude work that deserves little respect would likely be removed immediately.) The most talented artist might have works last for days.
Artists whose primary object is to assert contol over property and not primarily to create of an expressive work of art (political or otherwise) resist switching to impermanent paints.

These are but a few of the considerations I weighed when I chose the "tag" as my metaphor for artistic and intellectual discovery. Beyond the confines of graffiti, the tag is known as a signification of ownership in many forms. Take for instance, the metadata tag.

We tag web objects to create order, to leave our mark or two cents worth of input to the great information collective. A tag is a keyword or term associated with or assigned to a piece of information (a picture, a map, a blog entry, a video clip etc.), thus describing the item and enabling keyword-based classification and search of information.
Tags are usually chosen informally and personally by item author/creator or by its consumer/viewers/community. Tags are typically used for resources such as computer files, web pages, digital images, and internet bookmarks. For this reason, "tagging" has become associated with the Web 2.0 buzz. Many people associate "tagging" with the idea of the semantic web, however some believe that tagging may not be having a positive effect on the overall drive towards the semantic web. Tag classification, and the concept of connecting sets of tags between web/blog servers, has led to the rise of folksonomy classification over the Internet, the concept of social bookmarking, and other forms of social software. Larger-scale folksonomies tend to address some of the problems of tagging, as astute users of tagging systems will monitor/search the current use of "tag terms" within these systems, and tend to use existing tags in order to easily form connections to related items. In this way, evolving folksonomies define a set of tagging conventions through eventual group consensus, rather than by use of a formalized standard.
Although "tagging" is often promoted as an alternative to organization by a hierarchy of categories, more and more online resources seem to use a hybrid system, where items are organized into broad categories, with finer classification distinctions being made by the use of tags.

Tag is not just the graffiti writer's signature.
It's not just the data you attach to web objects.
It was my favorite game.
It's attached to the inside of my clothing to tell me who the maker was and the outside of my groceries to tell me how much my food will cost.
There are many parts of my life that are tagged.
I can mark my history with the changing meaning of the term.
I photograph tags as a way to illustrate my own personal changes. I can see myself reflected in their chronological evolution. I can hear myself speaking with their words. I can feel myself glow in their colors.
It excites me. The photography is like a game. Sometimes I loose and I get kicked out of the yard.
Sometimes I win and I come home with a cache of images.
I love it when I win.
Tag,
you're it!