Directed by Ian Perlman and Zachary Cole Smith
Edited by Joe Pacheco
Colored by Mark Olivan
"DankTank" operator - Paul McRobert
Filmed at 285 Kent, Captured Tracks Lane, and Camp Cole.
Special Thanks to Ric Leichtung / Matt Sullivan (285 Kent) and everyone at the sold out 285 Kent show.
[16mm/Digital video – 16 minutes – 2002] Emerging from the human psyche and showing characteristics of abstract expressionism, minimalism and Russian constructivism, graffiti removal has secured its place in the history of modern art while being created by artists who are unconscious of their artistic achievements. It is no coincidence that funding for “anti-graffiti” campaigns often outweighs funding for the arts. Graffiti removal has subverted the common obstacles blocking creative expression and become one of the more intriguing and important art movements of our time. Emerging from the human psyche and showing characteristics of abstract expressionism, minimalism and Russian constructivism, graffiti removal has secured its place in the history of modern art while being created by artists who are unconscious of their artistic achievements.
Narrator: Miranda July
Director, writer, cinematographer, editor, sound design: Matt McCormick
Original ideas: Avalon Kalin
more info at rodeofilmco.com
“hats off to Matt McCormick’s “Subconscious Art of Graffiti Removal,” an award-winning 16-minute film that wryly documents the antigraffiti campaigns in several northwest cities. Painting over graffiti yields public abstract painting that looks peculiarly modernist and brings to mind Rothko, Motherwell and even Malevich.”
Roberta Smith, The New York Times
“A hit at this year’s Sundance Film Festival, filmmaker Matt McCormick’s faux documentary / public information film charts the efforts of civic officials to eradicate the graffiti that blights his hometown of Portland, Oregon. Through the daily overpainting of the graffitists’ tags with successive layers of blocks of slightly off-key colors, Portland’s graffiti-removal teams unwittingly create abstract compositions that bear an uncanny resemblance to Rothkos. McCormick’s sly, subversive, and seductive film deserves a wider audience.”
Matthew Higgs, Art Forum