Cages & Cubes: Cages & Cubes A visual map of the relationship between fine art and street culture. By Nikkolos Mohammed / Art
In 1976, artist and critic Brian O’Doherty set the art world abuzz with a three-part essay published in Artforum. Titled “Inside the White Cube,” the essay gave a catchy, new name to a mode of display that had long ago achieved dominance in museums and commercial galleries. He confronted the modernist obsession with the white cube, arguing that every object became almost sacred inside it, making the reading of art problematic. The term carries further connotations of exclusivity, as well as an institution of set rules and aesthetics. Cages are intuitively synonymous with animals and limiting their environment and view with restricting bars. Gates and fences are familiar in urban environments around the world. From chain link fences surrounding playgrounds, to bars that cover windows, and also fixtures used by people to sell goods. In recent times, visual makers have been conscious of this visual language in the urban environment and have used it extensively to convey a relationship with exclusivity.
CAGES & CUBES FENCES
SWAP-MEET CULTURE
REGINALD SYLVESTER II (PREMONITION)
BASKETBALL
RETAIL
BLACK CONSCIOUS
LEVER HOUSE
JONAS WOOD (LEVER HOUSE)
The Lever House art collection is
of using chain link fences not only
a prestigious collection amongst a
adds an environmental dialogue to the
prestigious culture. With a collection
paintings, but, also, the viewer pays
In Late 2013, Jonas Wood exhibited at The Lever House. His approach to
and history of contemporary giants
attention to the use of the marble in
the exhibition was creating a wallpaper of various basketballs that covered
such as Keith Haring, Damien Hirst,
dialogue with the paintings. Chain
the space’s walls and hanging large-scale paintings of singular plants. Even
and Urs Fischer, Reginald Sylvester II’s
link fences are used as physical and
though the game of basketball is enjoyed throughout the world as a form of
Premonition indirectly confronts the
vision barriers in urban environments.
entertainment of all social classes, it is inherently a symbol of hope for those
history of this collection. The beautiful
However, in Premonition, it is used not
that grew up in an urban environment. One can compare the use of Jonas Wood’s
marble walls and planters throughout
only as a hanging device, but valued on
wallpaper to Reginald Sylvester’s use of chain link fences.
the space can be expected for a
the same plane as a luxurious material
building such as The Lever House, in
as marble.
its location in Manhattan. The gesture
AWOL ERIZKU (MENACE II SOCIETY)
ROUND TWO
This second-hand/vintage store embodies a clear identity and vision of its merchandise. Focusing primarily on brands and ephemera of the “Hip-Hop Era” (mid 80’s- early 2000’s), as well as the brands that are influenced by that era. The most distinct design decision of its stores is the use of the chain link fence, upon which they mainly premier notable high-demand pieces. They use the fence as an armature, similar to its use in flea markets and street sales as a display. I believe that Round Two’s use of the chain link fence provides clarity to its consumers—consumers of the history and lineage of the brands that they collect, and shows its respect to the history of street culture.
ALEALI MAY JORDAN 1 POP UP (UNDEFEATED, LA BREA)
This recent show at Night Gallery
landscape for its use in fencing, as
uses techniques of assemblage, and
well as its use in picket fences. To
refers to Emory Douglas illustrations
further distance the “preciousness”
(a seemingly appropriate gesture to
connotation of the gallery white cube,
describe the current temperature in
Erizku paints all visible walls blue and
the urban environments throughout
yellow, and uses this graphic approach
America). Erizku uses various
to control the viewer’s navigation
materials of “un-preciousness” to
throughout the space. The literal and
further describe this narrative, but
figurative elements both embody a
one material seemed most prevalent—
sense of protection, and more—pride
corrugated metal. The treatment of
of the urban, black American identity.
this material is familiar in the urban
MARIO AYALA (SEASONED AND EMBARRASSED LIKE A WET DOG: SADE LA)
Aleali May’s approach to the
up needs. The use of slotted wall
environment surrounding the release
paneling and boxed armature frame is
of her highly anticipated Jordan 1
a universal visual language that could
sneaker pays homage to South Central
be understood in urban environments
LA culture through the landmark of
the world over. More interesting is the
the Slauson Swap Meet. For Angelenos
highlighted reference material and
that have a relationship with the urban
archived Jordan clothing from the early
environment, there is a relationship
90’s (a Jordan sweater that compared
with swap meet culture, but more
the language of the basketball net to
specifically, the Slauson Swap Meet.
a chain link fence). This comes as no
Aleali May tapped into the idea that
surprise to the clarity of Nike brand
the Slauson Swap Meet was a place
and its marketing of Michael Jordan’s
to consume all of your visual make-
merchandise to the urban consumer.
This exhibition took place in the spring of 2017, and transformed the exhibition space with elements that we experience everyday from the outdoor environment. Mario Ayala’s paintings have a relationship with the intricate history of
AARON JUPIN / ZACH MARTI (FAMILIARS)
aesthetics of low rider culture- he transformed the interior with a sidewalk, grass, barbecue pits, and a chain link fence. A gate functioned as a barrier to an area that you are not allowed. Once that barrier is cut, and one sees an opportunity to enter, it unconsciously draws attention. Grass, and especially maintained green grass is an unfamiliar rarity in LA urban residents.
SADIE BARNETTE (COMPLAND)
This show at Fisher Parrish is a twoperson abstract narrative show cartoon illustrations in conversation with abstracted sculptures, with reference to home furniture. Upon entering the space, the viewer is greeted by two paintings by Aaron Jupin that use fencing to create spatial depth in the compositions, as well as play with the graphic history of the medium of illustration.
This exhibition is currently showing
front of pink material, whose tones
at Fort Gansevoort and explores
may suggest some sort of greenery is
the textures and identity of the
near. Lastly prominent in her practice
urban landscape, juxtaposed with
is her connection with The Black
the aesthetics an identity of female
Panther Party in various forms, most
childhood scrapbook culture. Barnette
notably the symbol of the wicker
documents the uncommon interaction
chair (made famous by Black Panther
of these two different identities. Works
propaganda posters of Huey Newton).
that standout—the pink princess
The miniature wicker chair she uses
decorated-toy ATV in front of the
in this exhibition uses a chain link
graffiti covered and slatted chain link
pattern, and the chair is accompanied
fence, the chain link fence pattern in
by a bag of Hello Kitty cotton candy.
HENRY TAYLOR (BLUM & POE) Henry Taylor created a unique
studio. Within the exhibition are
environment that activated
two fences. The first is a chain
experience and emotion further
link fence accompanied by a
than the figurative language
partial cinder block wall covered
could do within the paintings.
in graffiti. This shows the chain
Henry Taylor’s socially loaded
link fences natural environment,
portrait paintings constantly
and as a symbol. The second
critique value in the urban
fence one you would expect
culture and its value in
when entering a large estate, or
mainstream society. In his
any place of great exclusivity
2016 exhibit at Blum & Poe Los
and prestige. The artist makes
Angeles, he created various
the distinction even more clear
environments of forgotten slum,
when viewers walk from a room
to a privileged oasis, to what
of dirt into a room of Astroturf.
feels like an intimate artist’s
Barriers are prevalent in all environments, but it is clear that today’s visual makers are especially conscientious of this prevalence. The relationship of high/low is not a new concept, but it seems that this generation’s visual makers are more conscious of the barriers that divide them, and their practice and content proves this.