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Maximilian Wiedemann and Avone aka Destroy & Rebuild, are both fascinated by post-modernist concerns regarding the consumer culture and its affect on the creative process. Both have made significant reputations for themselves in the world of street art. Both see and decipher an aesthetic code that is frequently hidden within the standing or crumbling infrastructures of our cities. Both see the value of publicity and the benefits that arise when publicity is shunned.
That last consideration is the crux of a problem that arises whenever a critic or a commentator strives to draw a measure of well-deserved attention to either of these men. Wiedemann's recent show in London prompted an amusing video-link in The Huffington Post, but that is a rare tip of a submerged iceberg. Avone, once considered NYCs most wanted street artist is even more difficult to limn via either articles or the blogosphere; plus, HIS modus operandi depends on a cautious degree of exposure - especially in light of past events.
Maximilian Wiedemann and Avone aka Destroy & Rebuild, are both fascinated by post-modernist concerns regarding the consumer culture and its affect on the creative process. Both have made significant reputations for themselves in the world of street art. Both see and decipher an aesthetic code that is frequently hidden within the standing or crumbling infrastructures of our cities. Both see the value of publicity and the benefits that arise when publicity is shunned.
That last consideration is the crux of a problem that arises whenever a critic or a commentator strives to draw a measure of well-deserved attention to either of these men. Wiedemann's recent show in London prompted an amusing video-link in The Huffington Post, but that is a rare tip of a submerged iceberg. Avone, once considered NYCs most wanted street artist is even more difficult to limn via either articles or the blogosphere; plus, HIS modus operandi depends on a cautious degree of exposure - especially in light of past events.
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