Saber – #DefendTheArts Over the New York City Skyline | FRANK 151

September 25 2012 . 06:15pm

It seemed almost overly ambitious, but last Sunday artist Saber made good on his promise to dispatch a fleet of skywriting jets over a major American City. That major American city was New York.

For approximately one hour on Sunday, September 23rd, a fleet of five synchronized jets created words and phrases visible over greater NYC. Saber’s campaign was meant to raise awareness about art-program cuts that would most likely take place in a Mitt Romney administration.

This is footage from Sunday’s campaign shot at various locations, complete with Saber speaking about what it took, and how it felt, to “get up” that big. / / / / / /

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September 22 2011 . 06:54am

Statement from the Artist:


End Mural Moratorium. Art Is Not A Crime…

The reason I hired five jet planes to sky write over City Hall and downtown Los Angeles is to bring awareness to how ridiculous a moratorium on public art is.

The city states that all public murals are signage, effectively banning art from the walls of Los Angeles. And it is removed at the taxpayers’ expense. Money is given to private graffiti removal companies, who have broken onto private property to paint murals beige. The owners of small businesses where murals have been painted have been harassed and threatened with fines if they do not remove the artwork. Police officers raid homes and places of work, intimidating artists and building owners. During this time of economic crisis, “mural signs” are an easy target for the city to extract money. This moratorium is a clear violation of the first amendment right to free speech and enforcement for these unreasonable laws is a complete waste of taxpayer funds.

To put things in perspective I recently visited the beautiful set of murals inside the Terminal Annex Building on Alameda. This mural was painted in 1941-44 and was funded by the “Works Progress Administration” (WPA). Murals are just a part of the legacy of a national program that put the country to work during the Great Depression.

Fast-forward to the Great Recession, taxpayer money is now used to obliterate all traces of the artwork my generation have created. I believe this is city-funded censorship pushed by lawmakers with personal vendettas. Potential jail time is more probable for us than the opportunity of creating an artistic legacy for the next generation. In a city that used to proudly call itself the “Mural Capitol Of The World,” the officials who enforce this ban should be ashamed to call themselves “Angelinos.”

Art Is Not A Crime… End Mural Moratorium.


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Juxtapoz Interview With Augor On His Upcoming Show “UPRISING”

March 23 2010 . 11:26pm

interview on show :

“I was getting sick of feeling like I didn’t have a story to tell besides ‘this is what happens when you take too many drugs.’” LA based graffiti artist and illustrator Augor (Juxtapoz #99) explores the inspiration and new direction behind his upcoming series, Uprising in a candid exclusive interview with Juxtapoz.

Katie Zuppann: For your new show at Fifty24PDX Gallery in Portland, you have decided to explore the gollywog (a children’s literary character from the late 19th century, inspired by a blackface minstrel doll). How do find the gollywog interesting and/or inspiring?

Augor: When staring into those big black eyes as a child, at first they resembled a shark’s eyes; lifeless and cold. Then progressed a fascination with how old each doll was, and the hands that it must have been past through to get into mine. What adventures, sorrows, horrors, and history those eyes have seen is impossible to even imagine.

As a young black child, were you intrigued or ever offended by the portrayal of black face in these gollywogs?

I’m a visual person by nature. At a young age the mere shapes and simplicity of the image was what first got my liking. As I now grow older I still keep the aesthetic as my main drawing point, trying not to delve into its racial backgrounds. I simply liked the look- enough to ignore its controversial past.

Why did you choose Uprising as the title for this series? Do you incorporate any elements of rebellion/revolt in the message of this series?

The focus of Uprising is for me to start the fire again in another gallery setting after my last solo show (So Called Artist at the Los Angeles Fifty24 gallery space in conjunction with Upper Playground).

Of course, coming from a graffiti background, the main concept with any child running in the streets is to revolt. What I am trying to convey is the way a young child sees revolting. It would appear as if you had giant tyrant-like monsters with boar hair and talon like teeth trying to play jump rope with your intestines. With that picture painted in my head, I tried to illustrate a show and this is what came out.

You’ve stated, “A lot of the pieces are using the gollywog to represent myself going through fantasy-like situations.” To what fantasy-like situations are you referring? Recent or older situations from childhood?

My art has always been my main form of therapy. From situations where you’re up for days, the skies look as if they are burning and in those fires you see all of your demons laughing at you. Lust, greed, envy… all those ‘mah fuckas’ just taunting you to situations of entering a rabbit hole from waaaay too many mushrooms and you’re stuck with those same demons and you can’t escape because you put yourself there. Where I saw people and situations in such a state of mind are exactly how they look in my work.

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“The BigPayback” Juxtapoz Magazine Anniversary Party

November 19 2009 . 10:41pm

Photos by Kohshin Finley

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A Preview of Patrick Martinez’s Upcoming Show

August 19 2009 . 02:08pm

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