Takeshi Miyakawa’s street art is (understandably) pushing a sensitive terrorism button.
But this story isn’t about the public getting menaced, it’s more about posturing by the criminal justice system.
According to the person who made the complaint on Friday, the issue wasn’t that Miyakawa’s art appeared to be a bomb, but how they were going to get it off the tree. “I called 311 asking how to get that thing off my tree, if it was my responsibility or the city’s…the 311 woman put me through to 911 then the cops came. I left for work,” they wrote via email.
Miyakawa is charged with “two counts of placing a false bomb or a hazardous substance, reckless endangerment, placing a false bomb or a false substance in the 2nd degree, and criminal nuisance in the 2nd degree,” and is being held at a mental health facility for 30 days.
I like Ben Valentine’s project PERFECTION PERFECTION PERFECTION PERFECTION PERFECTION PERFECTION PERFECTION PERFECTION:
Draw the largest, most accurate circle possible inside of this square.
Hits two different nostalgia buttons at the same time.
It’s pretty thrilling to discover someone you know doing amazing work. I went to elementary school with Bryan Denton, a photojournalist working for the New York Times. He has some great photos accompanying this front page article about attacks on U.S. soldiers by their Afghani trainees.
He was also featured last year on the NYTimes Lens blog:
Q: You returned to Misurata after Chris Hondros and Tim Hetherington were killed there. Why?
A: It was hard. I had this knot of dread in my stomach the entire time we were on the boat on our way back to Misurata. I had a lot of confidence in the way Chris [Chivers] and I were working and moving around the city, but more than any other moment on this assignment, I seriously considered the prospect of getting hurt or killed.
Narrated by Tom Waits.
The only manifesto for such a thing could be a Tumblr, and the confusion and consternation that such a lack of directness would cause is its own militancy. It may be irritatingly meta, but that an aesthetic that is largely about glitchy digital networks should be discussed only via glitchy digital networks is hardly surprising … There is a consistency in the drive to move past the manifesto itself, to let the aesthetic actually take over. The aesthetic may be a gooey sort of object-oriented ontology, or it might be a fetishization of pixels, but at some point we move past the urge to talk about what it is that we’re doing, and just start doing it. The forced rhetorical conviction becomes superfluous as the proposition becomes reality.