The 62’s Artistic Anarchy Turns Pop Culture Consumerism On Its Head
The 62 is one of those rare group of artists who truly stretch the public’s view of just what art is or can be. Anarchy, in the strictest sense, is a belief that order need not be a necessity for civilization. This attitude reflects strongly in The 62’s visual and interactive art. The artists involved each bring their own style and experience with them ranging from involvement in community service to new media design, all in the name of artistic anarchy.
Perhaps the first thing about The 62 that stands out compared to other artists is not only a lack of standard medium but also a lack of the standard theme that usually ties an artist’s work together. The result is a clear freedom for The 62 to create as they see fit for the occasion. When considering even the most post-modern of art today, one would be hard pressed to think of something such as The 62’s custom made electric go karts which raced around an art fair or the low-tech alternative, in-studio sledding. The 62’s more conventional visual work and pop art is part of a mission to examine the United States beyond our familiar pop culture and corporate icons while simultaneously invoking them. This is no cacophony of distaste, but a reshaping and appropriation of the exposure consumerism has lent the cultural landscape, much like pop culture’s tendency to appropriate cultures that oppose it.
There is no definitive face of The 62 presented on their website biography or archives of their exhibitions. Their image and reputation is one, as presented, based entirely in their creativity and social and artistic commentary. It appears intentional that The 62 presents no individuals. The 62 is a collective; a community of artists within a community of humanity.
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