Anybody Out There 

Editor: This is "Anybody Out There" by Sarah Joncas. It seems to be an acrylic mural and has this cool, urban contemporary feel. I am intrigued by how it combines the brick wall, graffiti, and realistically rendered figures, it all feels a bit disparate but I find it visually compelling. What is your perspective on this work? Curator: Given the mural’s context, think about the labour involved in creating it. How does the artist’s hand engage with the physical surface of the wall? And in a space normally associated with transience, with what can be considered “low-art” mediums such as graffiti. It seems that Joncas may be making a point of legitimising graffiti art. Editor: I hadn’t considered it that way! I focused on the juxtaposition of the figures themselves, overlooking the actual brick and painted text, “Anybody Out There.” The wall gives an otherwise intimate painting a public facing identity. Curator: Exactly! What commentary might Joncas be making about the art world when high-end art like portraiture is literally created on an urban art canvas? She uses portraiture, traditionally considered “high art”, in conjunction with traditionally low-art mediums like spray paint. There may be something to explore when analyzing class politics through material. Editor: This definitely adds a whole new layer for me. I now see the work speaking to art world hierarchies. The act of making a large mural accessible to everyone sort of democratizes art in a unique way. It gives art to everyone regardless of location or funds! Curator: Precisely. So what begins as something of seemingly disparate figures is actually quite poignant considering the socio-political context of the mural's materials, method and means of delivery. Editor: Right! Thanks, I feel I have learned something new about analyzing art with the art world in mind, including both high art and street art.