There were plenty of onlookers during the second day of work on the OBEY GIANT mural in South Park (San Diego) by Shepard Fairey and his crew (day one here). The crowd was a good mix of photogs, hipsters, fixie riders, random curious ladies taking neighborhood walks…and along came a man who seemed to be plucked straight out of a Quentin Tarantino film.

He moaned some nonsense about how he “owned most of all this…” property next door to the mural, and whined, “I gotta look at this every day!?” The hipsters had some fun chatting with him as Grandpa Grumpypants kept staring up with fire in his eyes at the scissor-lift while Fairey & co. cut huge stencils of a cloaked figure.

It was interesting to see the artists cutting their stencils directly on the cinderblock building. Seems like a mundane detail, simply a time-intensive task required to get a huge mural up on the side of a building – and indeed it is.

But it’s also a reminder that the patronage of a museum like MCASD (or for that matter, lending our own wall to Mike Maxwell) can make a world of difference for what an artist is able to do with a public work. Having several days to underpaint, create background patterns, wheat-paste in several layers, and overlay figurative images with enormous grid-based stencils is a lot different than showing up at 3am with a pre-cut stencil and a couple cans of aerosol.

Both modes of operation have their owns merits, but they are vastly different when it comes to decorative complexity or the context created by risking arrest.

We’re pretty happy about the freedoms granted to the artists of Viva La Revolucion, and hope the extra time they’re spending on these pieces will open more dialogue with Grandpa Grumpypants or anyone else who’s a stranger to street art.

The upcoming exhibition at the Museum of Contemporary Art San Diego (MCASD), entitled “Viva La Revolucion,” has generated a tremendous amount of dialogue around the idea of street art, and with that dialogue – controversy. This came to a head with Barry McGee‘s (TWIST) mural across the street from the city hall. Mike Maxwell has been documenting as well as contributing to the explosion of murals showing up on walls across the city, and caught some great footage of McGee’s team attacking an enormous wall while under scrutiny.

Although it’s a common practice to commission walls for artist murals, and we totally understand the value of MCASD grabbing some walls for these artists, we find it a little ironic that an exhibition specifically about the street art movement includes officially sanctioned walls for artists (especially if the MCASD backs down under local criticism).

The beautiful thing about the museum’s exhibition is that while some walls are “official”, some are very much unofficial works done by the artists under their own accord. You may be able to take the street artist off the street, but you can’t take the street out of the street artist.

We’re looking forward to watch this play out over the coming weeks (the exhibition opens to the public on July 18th), and see how MCASD handles ongoing criticism and subsequent education/outreach. One thing is for certain so far: this museum is doing their job by starting dialogue and pushing this city to consider what contemporary art is or should be.

Our friend Linsey snapped this shot in NYC this week… enjoy.