This is certainly true, but it might be more accurate to describe his artwork as occupying all realms at once. In the catalogue for a new retrospective of his work published by the Brooklyn Museum, What Party, curator Anne Pasternak writes about how “KAWS’ practice recognises that artworks can occupy multiple realms – the aesthetic and the transcendent, the commodified and the free”. The difference between shop, street and gallery is now minimal. The world moved on years ago and so did KAWS’ practice. I just feel bad that they’re so tunnel-vision.” “I went from being called a graffiti artist to a ‘street artist’,” he says, “and it was just other people’s words.” So was the street-art label an attempt by commercial galleries to legitimise graffiti? “Honestly, when somebody looks at my work now and talks about ‘street art’, I just wonder what the fuck they are looking at. The same goes for the labels attached to what he does. ‘When somebody looks at my work now and talks about “street art”, I just wonder what they’re looking at’
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