world is ready to take on. adam raney, al jazerra, mexico. just a reminder about al jazerra got come latest breaking news is there as you can see as well as the live stream and social media campaign to free our staff. it's free aj hi, i am lisa fletcher and you are in "the stream." today reframing the elitist reputation of fine art. how creative minds are disrupting the tip klee exclusive scene through have you ever tal galleries and art on the go. she's been call the artist of our time we speak with molly crabapple about how her art intersect with some of the most dangerous people in the world. later from underground performances to viral sensations spoken word artists breakdown how post recipients is make ago major comeback. ♪

♪ ♪ ♪ my cohost and digital producer wajahat is here and bringing all your feedback throughout the show. i love this idea because it's what art is supposed to be about. bringing it to everyone, bringing it to the masse massesd letting people experience something that they may not otherwise have. >> i am totally biased for today's show. speaking about social media and art we have my friends mark gonzales a fantastic spoken word artist who tweets in: >> amen to that. >> i agree. >> so do i. >> the starving artist stereo type may need to shift to the savvy artist as painters, and mural assists forego traditional

routes. some able it art disruption, changing the way we interact with and perceive works of art. in the most elite museum galleries are july on the ground board the metropolitan museum of art released 400 high rez works of art to the public for download so should art be free action a cesc i believe to anyone anywhere. could the wider spread of art strip it of its cultural value. we have a great lineup to discuss this. joining us on set say street artist using his creatively to beautify urban areas across baltimore. out of louisiana, ashley long shore a painter whose art focuses on pop culture. she ices the social media site instagram to showcase her work. and on skype from new york, the first ever chief digital officer for the metropolitan museum of art. thank you all for joining us. so, we are talking about art

becoming more accessible to the masses. and it doesn't get more accessible than being on the side of a building. talk a little bit about what street art is and what its purpose is. >> i guess like there is -- i guess there is a lot of different reasons for artists entering the realm of the streets to display their artwork, but it's pretty much under the idea that you were just mentioning that it's really all about the art won't really do much if it's not able to get to the masses. and treat art is individuals essentially directly putting it in the public realm to be -- to start conversation, to get a little motorcycle right notorir name. it's this direct desire to reinvents a location, i guess, through art. street art is kind of like -- it's something that has really changed a lot in the modern era. due to the internet, it used to be kind of this hidden culture

more so in graffiti where artists would be essentially like creating pieces that would be letter pieces that only other artists would be able to read. now it's something that is way more accessible and aimed toward the masses and not just artists. >> ashley, speaking of making things more accessible, the internet plays an enormous role in your work. talk about how you actually take people through the process, vie at internet. >> well, it's a really, really exciting process because through the social media i can really let my fans and collectors see what is inspiring me on a day-to-day basis. for example, if i get a beautiful bouquet of flowers and it's is an incredible color pallet i can post it on my instagram and say look how inspiring this goes, as the days unfold i create a paintsing from that color pallet that was inspiring me. or i could on a creative sabbatical and you know, looking for inspiration in the smallest or large he have of things i

post the images and my collector can see wow, this is with is what she's in to, this is what is inspiring to her, it's real time inside of the artist experience. >> you know what's so neat, waj, it's not just seeing what inspires ashley it's inspiring for us to view it that way. i start getting creative ideas when i look at that. >> i am on ashley's instagram, checking out her art and i am on nethers, checking out his work talking about the street art here. i get to actually see it as an observer and as a fan and bev a tweet: >> so, look, offense time there is what you all eliteism people saying you need galleries, critics, how has instagram allowed to you bypass that and

make a mark not only on the masses but also on the art scene? >> it is mainly just like a loud plea to be able to do exactly what i want and still be able to get my stuff out there and serve the other half which is trying to set up i guess like my career and just like create success for myself. so like know it's like the situation like i painted a my a angelou mural on a small street in west baltimore, finished two days ago. -- >> i got it right here. >> pretty rough neighborhood. >> pretty rough neighborhood. but this is a block i have visited many times. it's not necessarily the area that the -- the type of area that too many people travel through and it's not actually -- the mural itself isn't going to be seen by the masses, yet i was able to create this mural that was directed at this one block like if it's their little secret yet put it instagram, flicker, on facebook, and now it's able to potentially get to hundreds,

thousands, you don't really know. but i am able to essentially like work with these social issues and ignored citizens and have the work i am doing for them be able to be seen by potentially the world, you know. >> so the met just released 400,000 iconic pieces of art in high resolution on the internet, some people might think that's kind of counterintuitive because you are going to lose patrons if they can look at it on like. what value does the met see in this digital art experience? >> the met has had pictures of its objects online for many years. what we have done with our latest update to or evolving image use policy is make sure that people can use and download our images for noncommercial uses for scholarly work, for putting on their personal sites and place loose i can that. much more easily than before. so that's the update on our poll

certainly you don't need our permission and you don't need to pay a fee to do that. so that's what's changed. and this is part i've larger strategy what we want to do is make sure that we create a virtual circle between the in-person and the online, the physical and the digital. and we believe that if we can get more people to see our collection, part of our mission to have it seen worlds wire and accessed by people all over. world, then we can get more people interested in coming in person to the met and then once they are here, using social, digital tools we can give them a piece of the met to follow and keep up with after they leave. so making that circle is very important for us. >> so ashley, a lot of the artist that his we are talking about, the showcased at the met are long gone. but for artists such as yourself making a living doing this the exposure online is amazing but you risk it being stolen. do you worry about that? >> you can't worry about that. if somebody is going to steal an image or copy an image they will

do it anyway. it's my job as an artist or any artist's job to make sure that we are already on to the next idea. so that it's not -- you can't really go in to this with fear. you have to go in to it knowing, you know, you are inspiring people, and not only that, from the business sides of this, i mean, selling and going directly to fans and collectors, you are eliminating the gallery. galleries take 50% from artists. so it only takes a little bit of effort on the artist's behalf to go out and use the social media which is a free tool and go directly to your collectors and keep 100 percent of that profit margin, i think that's important. >> does the art lose any of the cash a because it's not in a traditional gallery set something. >> no i think it sparks more curiosity and makes people want to see it in american everybody more. i have collectors that buy pieces of instagram who have never seen my work in person when it's delivered they are even more excited. because you know, it's -- it's

awesome to see it online, it's colorful, you can see details it, you can use flip a graham, all these incredible things, but actually seeing art in front of your face like being able to see the paint strokes nothing will ever replace that. this is such an amazing tool. such an amazing tool for all of us. >> aim seeing art right in front of me. here is the met. releasing 400,000 iconic pieces of art. i got picasso at my fink tips, i do not have to do my annual pilgrimage to new york to check it out perhaps. and we are asking on the age of social media who defines what is good art mark says. now, same question to you, in the age of social media who gets to old the conch and say this is high art and this is good art? can we actually trust the untrained public to make that conclusion? >> we think it's wonderful that people, artists who are working artists now are able to make that connection and reach out to

the world. and get access and attention to their work the way the folks who are on the call with us right now are doing. it's great to see that. at the met, we want people to see the collections so we are using instagram, facebook, twitter and all of it can be found on at met museum that's our handle on all the plat forms what, we want people to do is come. so we want you to enjoy the instagram version that you are saying and the twitter version, but we want you to make that annual pilgrim i believe and come and see these objects because they are still in with all the technology there is nothing better than the magic that happens when you are with a piece of art in person and we do want to make sure that people understand that. and that this is a way to get more people interested in the art. all over the world. >> absolutely. we have about 32nd left. i want our viewers to get a chance to see some of your art as you are flipping lou that for our cameraman dave to showcase,

what does it mean when you remove eliteism from art? flip through that as you answer the question. >> it mean means accessibility. once you breakdown the walls in this elitist art world, you are able to have art that is able to translate to the people that you are trying to effect. and that's almost the most important thing. the whole eliteism in the worse world i see it as just a problem honestly. i didn't go to art school i know a lot of great artists who didn't. and you can develop skills in many different ways outside the gallery context. inside the good are you cop text whatever it be. >> beautiful work you are bringing something very special to baltimore. labeling thanks for being on the program. if you can't get to the art, make the art come to you. up next how one man is moving art and driving a whole new generation of gallery goers. plus renowned illustrator molly

crabapple joins us to talk about disrupting art and some of the unusual online experiment she's dabbled with in the name of creatively. back in april i decided to seal brought my 28th birthday by going crazy and up today up right the internet along. later making poetry excite in this 21st century a viral youtube star joins to us talk about how his art form is addressing one of the biggest disadvantages of our high-tech world. see new two minutes.

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one of only four illustrators to draw guantanmo bay prison. rolling stone magazine has called her the occupy movement's greatest artist. and aaron graham founder of the roady gallery a mobile art humor see up. aaron before the break we promise today show our viewers how you are bringing art to the masses. tell us about your gallery on wheels? >> sure, we started it a year ago it was founded m by me and y mother who is also an or sift. so we bought a step van truck and touched the back in to a gallery and have been showing art for a year in different places and locations. >> all right, so we have you on your ipad today. using 3g, so you can give us a tour of the gallery on wheels, whaopblts don't you flip it around so we can see your truck and tell us about the work. what inspires you and what the reaction is when you drive around and allow people to come in and see the artwork.

>> sure. we actually show our own work, me and my mother's but we also show other people's art and have different shows and we have had a really positive reaction from everyone we have shown it to. because i think the big thing is that the people who come across our truck don't -- it's not expected that they will see art. so they are really surprised when they see it and really it -- they -- -- >> is the outside of the truck painted too, aaron? >> no. the outside of the truck is just a white truck and says road gallery on the outside. >> well, what -- you can see what aaron is doing is like a novel form of art but still art. and we asked our community what now count as art? the age of social media: >> talking about molly, check out her latest art.

this is dawned trump. she did this for vice. and we have a question for molly from daniel. how does an oppressive regime spur on art? and molly that's probably the best question for you. >> artists are by nature anti-authoritarians when i was in school i was diagnosed with die 90 disorder which means i didn't know my place and wouldn't be able to. which you see some rich blow hard or dictator or oppressive figure an artist's natural reaction is to detroit them with their pen. >> mail, you have traveled around the globe, traveled in to some really dangerous territory doing what you call illustrative journalism. explain what that is. >> i feel traveled around the world drawn people including militia men in tripoli, guards in guantanmo bay. most recently migrant workers in abu dhabi. i take out my sketch boo being

and draw it and go home and bright about it. for place likes new york times, vanity fair and vice. >> explain what the difference is in the experience of the reader versus sophie am reading an article in a traditional paper and see a photograph versus reading one of your articles and see an illustration how does that change my experience about what you are rightinright write something. >> every single time there is a war or riot there are a thousand twit picks to mark the occasion. what art can do is did still the sensual, singular, sort out the truth. when a am drawing someone i am sort of demonstrating this dancing monkey trick ale showing something that i can do and engaging with them in a way a photographer often can't so my interaction with them is different as well. >> we have alyssa who is a cultural writer she on your branch conversation writes:

and give people power within corporations and >> i want to see if it's possible if we can merge your anti-institutional molly's art with a guy like you who is part of the met. what space is there for people like molly, people who are bypassing the institution and creating art comparing it to the met. >> what we want to do at the met is make sure people can see our collections and interact with our collections. so we've media lab run by my colleague where we are making the met a place of making art in addition to a place that showcasing, preserving and sharing art. so that's an example of a way in which we want to get our art and objects to inspire current artists, students, et cetera, and that's one way this which we can do that. >> molly, you don't just do experiments with your act do you experts with funding your art. talk about the kick starter campaign. >> i recently did a very successful kick starter to fund my first big new york solo

gallery show. i had always been an artist whose fans were middle class people. not necessarily people who could drop 10,000 or $20,000 on a painting just like i can't and probably you can't. i wanted to make art that was so big that it would have to cost that much. so instead of trying to sale singular object to his millionaires i sole the triv al things the sketches, reference photo, doodles on paper and raised $70,000 to do a solo show in new york city where i did this giants picks and hyper detailed paintings and that opening in april 2013. >> what's the future of accessibility in the art world? given the internet. >> the singular object will always be something that will become increasingly accessible. the jim he says are for everyone. >> all right, thanks for our guest aaron graham, mail crap a apple and sree.

still ahead exploding online and he is nateing with nonpoetry lovers. >> read the paper where choking cities been smoking, there is her body, wrinkled, cracking, loose. >> new shipping lanes created by the melting of ice in the arctic could save a lot of money. >> it would be tremendously benificial for russia. >> don't miss our in-depth series "the new cold war". all next week, 7:00 eastern. only on al jazeera america.

♪ ♪ >> calling all big mouths anti-slim action any are trists and motor mouths, all fans of frost and barack, the youngly, come listen, hiding in stanzas. >> welcome back. that was just part of a spoken word piece by slam post poet derrek weston brown he joys us on set to discuss how the art form propelled him to the spotlight in the last few years and out of new york is viral youtube star phil kay who is a spoken word poet and co-director of problem voice an initiative that brings poetry workshops to

colleges and high stool students. derrek, unless you grow up experiencing and appreciating and understanding poetry it can be a tough sale especially as people get older. what is it about spoken word poetry that's changing that in. >> i think because it goes back to the whole thing it's successful because whereas you have a bookstore or, you know, you go to the library toy select a book but what poetry is brought to you by someone looks like you or talk ao*uses the same slang or talks about subject matters you don't find in a poetry book that you have to flip through in a library eye or such, that's what connect people, you are like wow, they are really talking about what i know in my reality or maybe things that i have imagined didn't didn't think i had permission to say on that platform in front of people you don't even know. and so that is -- that's the courage of it. and i think that's what really brings a lot of people to the spoken word. >> phil, we are talking about the various ways art is becoming more accessible to everybody and

your project voice brings poetry in nba to schools. how are you using it to connect with kids and how are they respond something. >> you know, we have been incredibly lucky. and i crow direct project on voice with another poyet named sarah kay and we getting to in to schools and perform and teach workshops and it's a little bit of exactly what derrek is talking about. i think to be able to work with kids and talk about things that they necessarily haven't thought was okay to bring up on a stage with people that may or may not look like them. has been really wonderful and so far students have been just so full of life. which really pumps us up. the reaction has been really positive. and usually you get that uh-huh moment of this is really something that i can learn with. and something i can connect with. >> i can say this because i was one, is it all like the drama nerds, or is it your average kid taking an interest in this? >> you know, it's funny, you get all all different sorts of

schools. i have worked with schools where they really love spoken word post tree everybody from the high school quarterback to the drama nerds and you get schools where nobody is in to it. and it's just a totally different vibe and you get in and it's a totally different show. part of the joy of the live show is that you get to get in there and read the audience and change what palms are going on, what banter is with the audience, depending on how they are reacting and usually it's just your average kid that had never thought of poetry as something cool before and never thought of it as something that had anything to do with them and they are the ones that we are going off. >> there is no shame in being a drawl drama nerd, lisa. we asked our community to do work. with he game they have a frame. a art is blank, art is not drank, fill in the blank: los and then you have art is for the

necessary. >> all right, derrek, fellow only child. art is, art is not. >> give me something. >> art is risk. definitely. and also i would say art is not for art sake. because i feel like there is always a reasoning behind the art that you produce and a message or what you are saying or who you are true toying move or speak to. those are my two. and art is risk because sometimes the or assists are the first to step out whether the crowd gets it or not or their friends or family members going to get it or not and they step out and say i am going it try this. and you know, maybe successful, maybe not. but i am taking that risk, maybe i will be the first to say this in an open forum. yeah. >> phil, i am not letting you off the hook. art is. art is not. go for it. >> i would say art is for me. and i will change it a bit and say art is for you. to go back to the one there is one that said art is honed art is not for the amateur i would

push back on that a little bit. one of the important things i have seen is that you know, yes, there is certainly poems out there with millions of other views and that's wonderful, i have worked with students and they get the courage to put their art online and everybody if it hasn't gone viral they get one message from someone that says, hey, you know, i watched your video and that's a lot of stuff i have been thinking abot and never heard somebody else talking about and i appreciated that and it's huge for both people in their artis tim development and development a aa person and i have seen that to be transformative. >> we have great community response: >> derrek, 10 seconds, final thoughts. >> are. >> i just want to say you know, rest in peace to my a angelou, that's my final thought. >> here, here. >> very flies, thanks to our guests including derrek and

phil. until next time waj and i will see on you line. >> announcer: this is al jazeera. hello from doha, this is the newshour on al jazeera. breaking news in the last hour. i.s.i.l. fighters saying they have beheaded another american and several syrian soldiers. the top u.s. military commander says the fight against i.s.i.l. is starting to turn. however, the battle is far from over. also the g20 summit in australia closes with a plan to boost the global economy, but there's an early exit from the russi