Monkey Pod (Difference between revisions)
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| − | {{Print | Monkeypod.jpg | Monkey Pod | 2005 | 300 | ''none'' | 18x24 | ''unknown'' | Screen Print ||}} | + | {{Print | Monkeypod.jpg | Monkey Pod | 2005 | 300 | ''none'' | 18x24 | ''unknown'' | Screen Print |From [[Supply and Demand Book|''Supply and Demand'']], pg. 349:<br>When I was asked by The Contemporary Museum in Honolulu to do a residency, I was presented with a unique conundrum: Hawaii doesn’t have outdoor advertising, which my street art was designed to compete with and make people question. After visiting Hawaii, I realized that the primary form of propaganda was not advertising but the clichés of Hawaii itself – Coke machines have palm trees instead of Coke logos on them, phone booths have floral patterns running down the side, and everyone wears Aloha shirts. All the clichés of Hawaii’s picturesque beauty are perpetuated to encourage tourism. So for once I got to make stuff that was decorative and beautiful, but still, if you examine it closely, skewers the Hawaiian clichés.|}} |
Revision as of 20:43, 3 September 2006
Year: 2005
Run Size: 300
Part of Set: none
Size: 18x24
Paper: unknown
Print Type: Screen Print
Release Date:{{{11}}}
From Supply and Demand, pg. 349:
When I was asked by The Contemporary Museum in Honolulu to do a residency, I was presented with a unique conundrum: Hawaii doesn’t have outdoor advertising, which my street art was designed to compete with and make people question. After visiting Hawaii, I realized that the primary form of propaganda was not advertising but the clichés of Hawaii itself – Coke machines have palm trees instead of Coke logos on them, phone booths have floral patterns running down the side, and everyone wears Aloha shirts. All the clichés of Hawaii’s picturesque beauty are perpetuated to encourage tourism. So for once I got to make stuff that was decorative and beautiful, but still, if you examine it closely, skewers the Hawaiian clichés.
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