ERIK BRUNETTI / MOCA “ART IN THE STREETS” EXHIBITION

 

Artist mission statement:

LOST (Black Female) is an assemblage of lost animal flyers that were gathered by the artist over a period of several years, while out on the streets writing graffiti.

His fascination with the desperate nature of these flyers inspired him to create a piece depicting what he believes to be one of the purest forms of art on the street, rooted in sorrow and devoid of hubris or bluster.

Each flyer chronicles a story of love and loss which has in turn forced a person to produce a candid pictorialization in sincere hopes of being reunited with what they have lost.

The proportion of the piece attempts to establish an overwhelming sense of melancholy through the urgency of art in a crisis.

Erik Brunetti’s body of work spans over the course of more than two decades. From his humble beginnings as the young graffiti writer known as “DEN ONE” to becoming a pivotal figure within the street wear community as the creator of one of the most influential clothing/lifestyle brands, Brunetti has always maintained a sense of self, channeling his raw talent, rebellious nature and astute observations in all things he undertakes.

The installation “Lost” was first exhibited in 1996 at OK Harris Gallery in New York. It was part of a solo exhibition that was curated by Yvan C. Karp, who had worked as co-director of Leo Castelli Gallery (1959-1969) where he had played an instrumental role in launching the careers of pop artists such as Andy Warhol, Roy Lichtenstein and Robert Rauschenberg.

Brunetti was invited to re-create this piece, as part of MOCA’s Art In The Streets exhibition, by curators Jeffrey Deitch and Aaron Rose, who felt that the installation would generate an interesting dialogue about street art and its common perception.

Brunetti’s specific, and often obscure references are a recurring theme in his work, which could be described as caliginous and risqué – yet at the same time very precise and analytical. His heavy interest in politics also lend an element of danger and turbulence to his work, frequently paralleled to the Situationist International movement.

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