20 Years of Street Art : ABOVE | ADNATE | DABS | D*FACE | TOM GERRARD | HAHA | HUSH | LOCU LOCU | LUSH | SWOON | TWOONE

Lennox St. Gallery is pleased to present 20 Years of Street Art, an online group presentation featuring recent and historical artworks by Above, Adnate, DabsMyla,  D*Face, Tom Gerrard, HAHA, Hush, Locu Locu, Lush, Swoon and Twoone. 

Bringing together works created from 2005 onwards, the exhibition revisits the multiplicity of directions in which street artist's have explored over the past twenty years. 

Street Art in the 2000s underwent a transformative period, evolving from its roots in graffiti culture into a multifaceted global movement that gained recognition and legitimacy. Initially, street art was often viewed as an illicit form of expression tied to urban rebellion, but by the early 2000s, artists began to push the boundaries of what was possible, bringing fresh, diverse perspectives into the public sphere.

A key aspect of the 2000s street art movement was its emphasis on accessibility. Artists like Banksy, Shepard Fairey, D*Face, and Swoon used the city as a site for the democratisation of art broke down the traditional barriers of the gallery system, offering people from all walks of life the opportunity to interact with art in their everyday environment. This was a stark contrast to traditional, institutionalised art, which often required individuals to enter galleries or museums.

The movement also became more politically charged in the 2000s. With themes like anti-capitalism, social justice, environmentalism, and anti-authoritarianism, street art became a tool for protest and social commentary. Artists, especially those with a political bent, used their work to challenge the status quo and to question political, corporate, and societal norms. 

The influence of graffiti culture remained central to street art, but by the 2000s, the movement became much more diverse in terms of style and media. Traditional spray-painting techniques continued, but artists began experimenting with stencils, posters, wheat-pasting, and even installations, pushing street art into the realm of contemporary art. Swoon, for example, became known for her intricate paper cutouts pasted in urban environments, while Fairey created iconic, stylised portraits like his Obey Giant series, which played with consumer culture and propaganda imagery.

The explosion of street art in the 2000s was not just a result of artistic experimentation but also the rise of the internet and social media. Platforms like Instagram, Flickr, and street art blogs allowed artists to share their work with a global audience, giving them a wider reach and elevating street art from local subcultures to international phenomena.

By the end of the decade, street art had gained recognition in prestigious art institutions, and exhibitions like the ones featuring Banksy or Jean-Michel Basquiat-inspired graffiti artists brought street art to the mainstream. It was no longer confined to alleyways or train cars; instead, it was showcased in galleries and even sold for millions of dollars at auctions;  It blended political activism, artistic innovation, and urban culture, growing from its rebellious underground origins to a movement that could no longer be ignored by the art world.

Through it all, street artists maintained their focus on subverting the traditional art market and engaging with communities outside of the confines of galleries, making it a truly revolutionary force in the art world.