I’ve waited a while before writing this to ensure some perspective.  This post is a tribute to someone I only ever met twice but the news of whose death I have found deeply affecting.

Anne Vignial was a well known figure in the French street art scene, most notably for running the first permanent gallery dedicated to the genre in central Paris.  We first met Anne last year when visiting her gallery in the rue Charlot became a convenient way of getting hold of a book I was interested to read, and in which I have a photo published (Stencil History X by Samantha Longhi).

That first visit turned into a hugely enjoyable and memorable time.  Anne, made us so welcome and captivated us with her interest in art and the art scene, the artists - and in us.  She shared her knowledge, showed interest in our street art finds and laughed with us.  The exhibition we saw on that visit was that running alongside the book launch, so proved the source of a fascinating discussion across the wide range of stencil art and beyond.

In the months before our next meeting the web proved useful in keeping abreast of changes chez Anne and for strengthening the desire to re-visit.

A key objective when stopping over in Paris on our way back from holiday in Italy at the end of June was to meet up with Anne again.  Again, Anne’s welcome and interest was incredible.  We talked about street art in Paris, London, Naples and Sheffield; we discussed the merits and otherwise of Paris and London; and we joked and laughed.  We never felt under pressure to spend money - what was more important was that we enjoy the art and the meeting.

As we left that evening, I realise know, I was deciding not to leave it too long before talking again.  It turned out that just five weeks was too long.

Yes, you’re more likely to buy in a gallery where you feel welcome - but Anne’s warmth so obviously sprang from a genuine interest in people, in art and in living life.  Neither Andrew nor I are great conversationalists - we’ll not usually strike up a conversation with a gallery owner and, conversely, it’s usual for them to realise they’re required to do little more than a bare minimum in acknowledging our entry and exit.  To find ourselves chatting easily from the outset to a stranger - and going back for more - is ample proof of the impact of this grande dame du Haut Marais.

From the tributes I’ve read, it’s clear that those who knew Anne better had similar experiences of her friendship, her enthusiasm - and her warm cola.  Anne made her mark both professionally and personally - and that mark remains.  It is, literally, stunning for me to realise how much her absence knocks me backwards.  Of course this is not for me the loss of a great friend or family member - it seems almost silly.  What this is, though, is a confirmation of this remarkable woman’s impact.  Those who really knew Anne and her daughter Marie must feel the loss terribly.

I wish I could introduce you to Anne but the best I can do is provide this link where you can at least see Anne (from 0m50s) at the SHX opening night: seemingly laid back; not at all precious; and a woman to remember.

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Anne Vignial nous a quittés il y a 6 semaines.  Galeriste et véritable grande dame d’art urbain parisien - elle nous a accueillis les bras ouverts.  C’est bien sympa que le MUR du 9 août, œuvre de Mr Lolo,  faisait un hommage à Anne.  Au revoir Anne, nous te trouvons irremplaçable.  Si triste…

This is the text of an article just published in Sharrow Today - our local community newspaper, apparently with 7,500 copies a month out there!

I know it’s a bit parochial for a blog with global following (!) but it lets me easily keep up my reputation for not blogging for ages and then shoving out a couple in quick succession.  I was quite chuffed (ie pleased - another bit of local wotnot for you there) that this survived with minimal editing - thanks Mark.

Scrubbing up well

We’ve all heard Sharrow described in terms such as “lovable but scruffy” or “friendly but tired” – there’s always a “but”. And of course, London Road is that rather plain cousin of the glampuss Ecclesall Road isn’t it? These are shallow characterisations – but easy conclusions to reach if what you know of Sharrow is formed by what you see as you pass through at speed (or not) on your way into or out of town.

Those of us who live in the area know well the beating heart / underbelly (delete as applicable) of life here. We know just how interesting and alive this place is and many of us stay here because we’ve found somewhere we love. We have a deeper understanding of Sharrow and, for us, it’s not first and foremost about looks but about what it’s like to live here and to be part of this diverse community.

So, nothing new there then – looks aren’t everything and don’t judge a book by its cover. Though… looking good does usually help with feeling good… and, no avoiding it, the scruffy and tired bits do detract from the great stuff going on here. We have an area rich in history, we have a wide variety of independent businesses, there’s great food of course, a fantastic new school building, some good open areas and excellent community groups and activities. These things aside, though, “cleaning up” has been highlighted by residents and businesses as one of the priorities for the area and articles in Sharrow Today about the recent Clean Up Day and graffiti cleaning kits show that between us we’re taking action and ready for more.

More art please

So, while we’re scrubbing off graffiti and painting street furniture with anti-scribble paint, I’d like to suggest that one thing that would enhance the area is more street art. Now, I’m choosing my words carefully – I said art and I mean art, not egotistic tagging and destructive scribbling. Art should bring something to its surroundings, which is why I think it could be good for Sharrow – improving what we have and developing the area’s distinctive character.

London Road in particular is known for some street art already and people from as far away as Crookes have been known to make special trips to enjoy new pieces. Street art can be the sort of thing we’ve seen already – generally large freehand spray-painted pieces – but it’s a rich seam which can include stenciled works, “paste-ups” or posters, sculpture, flags, ceramics and performance. Some may be intended as short-lived, some as more enduring but their very nature is ephemeral.

If street art adds something then, by definition, placement is important – and good artists can spend ages looking for the right place for a piece or dreaming up the right piece for the place. Look at the Kid Acne mural on the side of the Cremorne – it fits perfectly in terms of design and tones and has pulled together what was a shabby side street. The “right place” can also mean striking juxtaposition – usually to underline a message or emphasise an aesthetic element.

I don’t expect everyone to agree with me in this matter – and I know there are contentious and anomalous elements to the argument. Where should artists place their work? Should they ask permission? Should they just be commissioned pieces? How decide what to remove and what to leave? Is it OK to ‘enhance’ a site you’ve not had permission for? Would I want it on my wall? How do we ensure variety and quality? Should it be ‘nice’, edgy, make a statement?

Doesn’t street art mean run-down?

Recently when Tom Hine was painting the shutters at First Step Trust, over more than a week he had a marvelous reception from people of all ages and backgrounds. An older man asked when Tom would be finished so he could come back with his camera; people who couldn’t speak English put up their thumbs and grinned.

Street art can also have the advantage of discouraging tagging and vandalism. Look at how much better the hoardings on The Forge looked once the scribbles were replaced with something altogether on another level. Artist workshops with teenagers can move them on from tagging and defacing to creating meaningful work.

Street art doesn’t last – something the artists have to come to terms with. After all, in placing their work in the street they are immediately and generously giving it away. And then it will fade, be changed, added to, removed, replaced. It’s this ephemeral nature that I think means we can relax about encouraging more – the good stuff will literally come to the surface.

Shall we? Shan’t we?

By all means get your graffiti removal training but also – consider areas where street art would be a good addition. Businesses can your walls bring more to the area – either cleaned or as canvases?

The Graff Jam at Sharrow Festival again showed that there is talent in Sheffield and also that talented people will travel for an opportunity to show their work.

What do you think? We’ve got a good way of coordinating our views and aspirations in Sharrow Partnership and Sharrow Community Forum - I suggest you let them know.

I’ve tried to understand…

Why this Heaven 17 concert was played on the roof of Sheffield Hallam University’s 12-storey Owen Building while the audience were on the pavement watching on TV below, I do not know!  However, we 40-somethings enjoyed the warm evening of free nostalgia.

Unless… was this life imitating the art of Penthouse and Pavement or, perhaps, The Luxury Gap?  Maybe the band wanted to avoid being Crushed By The Wheels of Industry - or is it just How Men Are?

It was obviously a Temptation the Geisha Boys and Temple Girls couldn’t resist, despite it being The Foolish Thing To Do. I suppose, at higher altitude, they could more effectively put their Hands Up To Heaven and remind us (We Don’t Need This) Fascist Groove Thang?

OK, I’ll stop now - I can hear you screaming “Let me Go“…

Please treat me gently, I’ve just had a big shock.

It seems that in a month’s time I will be 41.

I know!  How did that happen?  I’m not OK with the big four-oh thing yet.

I’m sure you’ll agree that, to help me cope with this disaster, I should be whisked off to a very posh place for out-of-this-world gastronomy.

I don’t think I shall ever again be ready for my close up.

Andy did a dastardly deed and tagged me for a meme that needed some thought.  Not one of those you say / I think jobs - or list the last ten things you ate businesses.  No, the challenge is to write a memoir in six words exactly.  As I said, dastardly!

The exact instructions are:

1. Write a six word memoir and post it on your blog.
2. Add a picture if you wish.
3. Link to the person who tagged you.
4. Tag 4 or 5 others, with links, to keep it going.
5. Leave a comment for the ones you tag with an invitation to play.
6. Link to the original post about the six word memoir meme.

No friends to tag for memes :(

Emoticon’s don’t count as words do they?  No, they’re Perfectly Proper Punctuation… ;)

It’s almost the 2nd anniversary of our getting married - well, civilly partnered.  It’s not that momentous a date - we’d been together over 17 years before we could tie the knot - but it does make me think (again!) how far things have come.  But then, apparently not far enough…

Yesterday I made a phone call to renew our annual travel insurance policy.  Although both our names are registered with the insurer and the policy type is ‘Couple’, I was asked if the additional person is my girlfriend or wife.  I replied “Partner”.  A brief bemused silence was followed by “Is that Miss or Mrs?”.  “Neither, he’s a Mr”, was my curt response.  Whether it was my accent, my delivery (I mumble, apparently - can’t be true) or just not-the-right-answer, I’m not sure but the person-I-would-not-be-inviting-to-dinner didn’t understand that.  To her further enquiry I snapped “He’s a bloke!  His name on your policy documents is ‘Mr Andrew…’!”  I think that went home because it was just followed by “And can I just check that he’s 48?”.  Disarmed by this surrealism I agreed that this is indeed the case (though that’s also clearly on the paperwork - but then he does only look 18).  I then submitted to the health questions we all presumably get (no I’m not about to die as far as I’m aware - if I was I’d be on the holiday, not just thinking about it).

Well, at least that gave me a story to tell - I’m not devastated by it.  In a relatively harmless way it reminds me (and now you) there’s still plenty to achieve in the UK, never mind the rest of the world.  Originally adopted to convey pride, ‘Gay’ is more forcefully than ever an insult; kids are bullied terribly; some executives, politicians and actors still keep quiet because of the perceived impact on their careers; rappers incite hatred against us and bishops see us as unemployable.

I’m hoping to attend a Stonewall Supporters Briefing in May where the theme will be Post parliamentary success - the challenge of changing hearts and minds.  I’m really looking forward to pushing further forward with this part of the process of change.  If we thought changing laws was hard…

The words “Coming soon to this location - charming ruins” are quite pointed.  (And that’s without considering their source, the Paris Uprising of May 1968 - click the photo for more on that.)  Blackall Street (London) is most definitely a ‘back street’ - a fairly grotty one at that, though it could be far worse - and some of its buildings beyond their best.  Even so I’ll happily make a detour to check out its charms: what art’s been added; how are others bearing up?  And I’m not unusual in this respect.

I easily persuade myself this street has some charm.  Similarly, some are bemoaning the loss of 50s style as buildings are demolished in Sheffield to make way for a new market.  No, they had no style, they were cheap and ill-advised replacements for bomb-sites.  The few stylistic touches they had just push, no, jump heavily on, a couple of generations’ nostalgia buttons: concrete, plastic covered iron handrails, mosaic tiling and metal-framed windows have that power.

Run-down places apparently can hold a certain charm for those of us residing in the comfort zones.  This is definitely the case where good street art brings new layers and meanings; where architectural details catch our eye or imaginations; but also where we invest our sentiments.  This kempt / unkempt business really interests me and, it seems, is a false dichotomy.  The difficult issues of gentrification also spring to mind.  Hmm.  Anyone care to offer their thoughts?

All the same, it’s a shame a few run-down bits of Sheffield haven’t been beautified with decent street art…

While I’m on the subject, here’s more about art:

Talking about what is and isn’t art - I present…Street Art.

I consider that, done well, street art has got a lot more going for it than some art of a more traditional aesthetic.  And I don’t mean graffiti.  I’m talking about art.  Something that enhances it’s home in terms of both look and intelligence.

Really good street art considers it’s habitat whether by complementing its surroundings or creating a thoughtful juxtaposition.  Yes, other art can do that (Antony Gormley’s work, as an example) but, often, the consideration doesn’t really extend far beyond the frame - after all it’s got to sell and fit in any collector’s hallway.  Street art, once sprayed, pasted, or glued up is there for the duration - however long that is.

Although street artists do produce work to sell, they’re not street artists unless they’re giving a large proportion of their work away too.  There’s a refreshing generosity in street art: much of the great street art takes a lot of creating; it’s installed in locations chosen with care and, once out there; it’s totally out of the hands of the artist.  At best it will deteriorate through weather and age, at worst it will be ripped down or daubed over within hours.  But while it is up there we can enjoy it and use it as brain fodder.

Not all street art is great, not all is well placed and not all is generously given.  Some is ugly, unoriginal, insensitively placed and entirely self-promotional.  Tagging and scribbling, pseudo-sagacity (and pretension…moi?!) in stickering and spraying, commercial fly posting are entirely self-centred - for me a key test of whether something is art I want to see or not.

Just take a look at the detail in work by Swoon, C215, Elbow-Toe, Jef Aérosol, FKDL, Jérôme Mesnager, Judith Supine, Faile and many others.  Whether it’s sprayed, drawn, sculpted or pasted; whether it’s a one-off or repeated, the breadth and quality of the work is stunning.  Just look at an FKDL collage up close!

As well as free-hand spraying and intricate stencil cutting, we’re given original drawings and collages, woodcuts and hand screen prints - FOR FREE.  The only drawback - we can’t keep them for ourselves.

Of course, this isn’t a world that escapes commercialisation - whether through use in viral marketing or by artists and galleries simply selling work (whether on canvas or T-shirts).  No problem with that; art has been made to sell for a very long time.  And, in common with art and collecting generally, a fair amount of buying and selling isn’t about artistic but monetary appreciation.  Some people soon show their true motivation on web forums and in galleries - it soon becomes apparent that kudos, buying price and potential sale price are more important than actually liking a piece.

Removing street art from the street is also attempted in an effort to make money out of our common art collection.

There it was…

Gone…!

Artist collaboration and paying homage is common, whether at initial creation or years later.  These ‘conversations’ between pieces often bring a new interpretation or at least a smile to the face.  Jef Aérosol’s Jimi Hendrix joined Némo for a boat ride and then someone else brought some music to the party.

Finally, isn’t all street art vandalism?  No, not if it’s sensitively placed.  You’re right, I wouldn’t want it on my house but there are many shared and industrial places that would benefit from aesthetic amelioration.

Paris - a city that depends heavily on its look and feel for the billions that tourism brings - generally embraces its street art (not its graffiti) and many pieces are afforded an element of protection; street art is a part of the caractère du quartier.  OK, no-one is going to welcome stencils on the Arc de Triomphe but throughout the city, street art contributes to the rich landscape.  The 11th arrondissement has given over a huge billboard - le M.U.R. - to showcase artists - which changes about twice a month.  Perhaps not as ’street’ as some would have it but it’s a big improvement on commercial advertising.  The video below (follow the link), the story of a superb paste-up by JR on the rue de Rivoli, shows how well classic architecture and street art can work together - it doesn’t all have to be in grubby back alleys!

Anyway - what do YOU think?

OK, art is a big word.  It’s different things to different people.

I can cope with that.  Usually.

If art wasn’t a huge thing, we’d have seen it all by now and, thankfully, there are still surprises to be had.  So - beware of ever saying that something purporting to be art isn’t .  I might not like it.  It might be bad art.  But who am I to say it’s not art?

Well, the stuff I had the misfortune to experience in Sheffield’s Millennium Galleries in the name of Art Sheffield 08: Yes, No & Other Options is a triumph of non-art.

Here’s a quick run-down of some of the utter shite on offer.

• Man with holes in socks does vacuum cleaner impression on video.
• Two poorly composed photos of a man marking out a tennis court. (Very long title including the word anti-happening…)
• 7 hour long videos of teenagers jigging to music.
• Un-remarkable photos of scruffy bloke (sorry, artist) balancing between bollards.
• Video of Park Hill by night (illuminated for this event) - nothing much moves.
• About five or six random grey blocks.  Surprisingly enough, entitled Untitled.
• Quite a lot of random white blocks.  I couldn’t bear to look if this one had a title.
• Pithy phrases in neon - advertisers managed that one a while back.

Actually, one of the neon phrases is apposite:

LET’S PRETEND NONE OF THIS EVER HAPPENED

Although I knew photography would be frowned on I decided I had to capture this auto-critique to be sure I remembered the phrase later.  I didn’t manage to - I was rugby-tackled to the ground by an art-minder.  (Well, I wasn’t but I almost wish I had been - it could have been art.)  I guess they’re under instruction that it shouldn’t get out what a waste of somebody’s (no doubt) grant funding this very poor show is.

On reflection, though, maybe the clever thing about this exhibition (and perhaps the whole event…?) is that it’s an anti-happening?  It includes so much non-art so as to shock us into never again being had by arse masquerading as art?

Aha!  That’s it!  I can now feel superior and part of the in crowd again.  Phew.

Andy has brow-beaten, harangued and generally shamed me into posting to this blog.  Well, he shed light on the gathering dust.

My problem is I have ideas for posts that are far too ambitious and that I’ll never put the time aside to write.  Also, I’m far too picky and spend forever fiddling with the words.  I need to lighten up and stick some shorter, more quickly written ones out there.

So here goes - inspired by Andy’s latest post and dashed off without (much) faffing about.

We went to Bradford a few years ago and ended up in a small independent clothes shop that knew how to charge.  Andrew was looking at jackets (for a change) and I was trying not to be noticed as it was the sort of shop that couldn’t possibly have anything in my size (yes, I mean petite).

In comes Mr Mouton-Habillé-Comme-l’Agneau with his tiny, tiny, TINY! Thai ‘companion’.

Er… OK.

Whereas we’d been ignored by the staff, new arrival was obviously known to them and they were suddenly all attention.  Apparently, Young Feller can’t speak a word of English though he has got every designer’s name off by heart.  Lest there be any doubt, Lamb Chop announces - “He can have anything he wants.”

We choke on the coat sleeves we’re stuffing into our mouths.

So, yet another thing I should be ashamed about - it’s probably true love.

Anyway, good photo Andy.