Like most of my neighbors, I delight in the paintings and designs that appear along the retaining walls, bridges, and underpasses of our community. I live in Cabbagetown, which like adjoining Reynoldstown, relies on the tunnel as a connection to the rest of the city. I’m no unbiased observer of the Krog contretemps. But while some merely experience the art in passing, others live with it year-round, often literally in their backyards. Caught up in the mix: street artists, who complained about public work being co-opted for a private event (never mind that their designs and tags decorate privately owned structures all over town).īut, on closer reflection, the turf battle over the tunnel raises a larger, and more serious question: What is the relationship between “public” art and the communities where it is installed? Street art, by its very definition, is intended for everyone to enjoy-for free. Representing the opposition: residents of gentrifying neighborhoods perplexed that their objections to the party had been overruled by the City of Atlanta’s permitting office. On one side: folks willing to pony up $100 for V.I.P admission to a “ sultry underground” masked ball. On Wednesday night, the underpass had been painted over by the tunnel’s neighbors and some of the artists whose work had covered its walls.Īt first blush, the whole thing seems like the essential first-world problem. On Saturday, a party was held in the Krog Tunnel, the CSX underpass that famously serves as a canvas for street art.
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