Taking It to the Streets — What We Love Now


Taggers, graffiti-ists, stencilers and other manner of street artists %26mdash; George Hixson has his lens on you. The Houston-based man with the camera, showcased as the cover artist for Toby Kamps%26rsquo; brilliant 2009 %26ldquo;No Zoning%26rdquo; exhibition at Contemporary Arts Museum Houston, is onto his latest urban series. Instead of Art Cars and portraits of our town%26rsquo;s creative class, he%26rsquo;s zooming in on underground crusaders, those armed with stickers, aerosol paint cans or stencils, who go about their business where rough, slowly gentrifying neighborhoods collide with strip centers or even venturing into upscale locales where they%26rsquo;ll spray an alley in the River Oaks Shopping Center. (We%26rsquo;ve fallen for Coolidge, who stencils adroit animals, then signs his unauthorized creations.) Follow Hixson%26rsquo;s blog, hixsonhouston.com/artist-unknown.

Image: George Hixson%26rsquo;s Taylor at Shearn Street (street art by Coolidge), 2011.

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Taking It to the Streets — What We Love Now


Taggers, graffiti-ists, stencilers and other manner of street artists %26mdash; George Hixson has his lens on you. The Houston-based man with the camera, showcased as the cover artist for Toby Kamps%26rsquo; brilliant 2009 %26ldquo;No Zoning%26rdquo; exhibition at Contemporary Arts Museum Houston, is onto his latest urban series. Instead of Art Cars and portraits of our town%26rsquo;s creative class, he%26rsquo;s zooming in on underground crusaders, those armed with stickers, aerosol paint cans or stencils, who go about their business where rough, slowly gentrifying neighborhoods collide with strip centers or even venturing into upscale locales where they%26rsquo;ll spray an alley in the River Oaks Shopping Center. (We%26rsquo;ve fallen for Coolidge, who stencils adroit animals, then signs his unauthorized creations.) Follow Hixson%26rsquo;s blog, hixsonhouston.com/artist-unknown.

Image: George Hixson%26rsquo;s Taylor at Shearn Street (street art by Coolidge), 2011.

Comments are closed.

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