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Know Your Spray Paint - MTN 94 MSDS Excerpts

MSDS [Material Safety Data Sheet] for #01440 - MTN 94 SPRAY PAINT
Montana Paints
Link to complete 2017 MSDS Sheet

MTN 94
Code: AC0140003
Version: 7 Revision: 30/06/2017 Previous revision: 23/06/2017 Date of printing: 23/10/2018

RELEVANT IDENTIFIED USES AND USES ADVISED AGAINST: Intended uses (main technical functions): Paint.
Sectors of use: Consumer uses (SU21).
Uses advised against: [_] Industrial [X] Professional [X] Consumers

This product is not recommended for any use or sector of use (industrial, professional or consume) other than those previously listed as 'Intended or identified uses'.

DANGER: Flam. Aerosol 1:H222+H229 | Skin Irrit. 2:H315 | Eye Irrit. 2:H319 | STOT SE (narcosis) 3:H336 | STOT RE 2:H373i | EUH066
Danger class
Classification of the mixture
Flam. Aerosol 1:H222+H229 Skin Irrit. 2:H315
Eye Irrit. 2:H319
STOT SE (narcosis) 3:H336 STOT RE 2:H373i

Routes of exposure
Skin Eyes Inhalation Inhalation Skin
Target organs
Skin Eyes CNS Systemic Skin
Dryness, Cracking

Full text of hazard statements mentioned is indicated in section 16.
Note: When in section 3 a range of percentages is used, the health and environmental hazards describe the effects of the highest concentration of each component, but below the maximum value.
Hazard statements:
This product is labelled with the signal word DANGER in accordance with Regulation (EU) No. 1272/2008~1221/2015 (CLP)

  • H222 Extremely flammable aerosol.
  • H229 Pressurised container: may burst if heated.
  • H373i May cause damage to organs through prolonged or repeated exposure if inhaled. H319 Causes serious eye irritation.
  • H315 Causes skin irritation.
  • H336 May cause drowsiness or dizziness.

Precautionary statements:

  • P101 If medical advice is needed, have product container or label at hand.
  • P102 Keep out of reach of children.
  • P103 Read label before use.
  • P210 Keep away from heat, hot surfaces, sparks, open flames and other ignition sources. No smoking.
  • P211 Do not spray on an open flame or other ignition source.
  • P251 Do not pierce or burn, even after use.
  • P271-P260d Use only outdoors or in a well-ventilated area. Do not breathe spray.
  • P410+P412 Protect from sunlight. Do not expose to temperatures exceeding 50oC/122oF.
  • P501a Dispose of contents/container in accordance with local regulations.

Supplementary statements:
EUH208 Contains polyhydroxyalkylamides, 2-butanone-oxime. May produce an allergic reaction. Substances that contribute to classification:
Xylene (mixture of isomers)
Ethyl acetate

Hazards which do not result in classification but which may contribute to the overall hazards of the mixture: Otherphysicochemicalhazards: Vapoursmayformwithairamixturepotentiallyflammableorexplosive. Otheradversehumanhealtheffects: Nootherrelevantadverseeffectsareknown.
Other negative environmental effects: Does not contain substances that fulfil the PBT/vPvB criteria.

3.1 SUBSTANCES: Not applicable (mixture).

3.2 MIXTURES: This product is a mixture. Chemical description: Aerosol.

HAZARDOUS INGREDIENTS: Substances taking part in a percentage higher than the exemption limit:

  • 15 < 20 % Butane
  • 15 < 20 % Xylene (mixture of isomers)
  • 15 < 20 % Ethyl acetate
  • 5 < 10 % Propane
  • 5 < 10 % Isobutane
  • 1 < 2 % Ethylbenzene
  • 1 < 2 % n-butyl acetate
  • < 0,15 % Polyhydroxyalkylamides
  • < 0,15 % 2-butanone-oxime

Symptoms may occur after exposure, so that in case of direct exposure to the product, when in doubt, or when symptoms persist, seek medical attention. Never give anything by mouth to an unconscious person. Lifeguards should pay attention to self-protection and use the recommended protective equipment if there is a possibility of exposure. Wear protective gloves when administering first aid.

Inhalation of solvent vapours may produce headache, dizziness, fatigue, muscular weakness, drowsiness and, in extreme cases, unconsciousness.
Remove the patient out of the contaminated area into the fresh air. If breathing is irregular or stops, administer artificial respiration. If the person is unconscious, place in appropriate recovery position. Keep the patient warm and at rest until medical attention arrives.

Skin contact causes redness. Prolonged contact may cause skin dryness.
Remove immediately contaminated clothing. Wash thoroughly the affected area with plenty of cold or lukewarm water and neutral soap, or use a suitable skin cleanser. Do not use solvents or thinners.

Contact with the eyes produces redness and pain.
Remove contact lenses. Rinse eyes copiously by irrigation with plenty of clean, fresh water for at least 15 minutes, holding the eyelids apart, until the irritation is reduced. Call a physician immediately.

If swallowed, may cause irritation of the throat, abdominal pain, drowsiness, nausea, vomiting and diarrhoea.
If swallowed, seek immediate medical attention. Do not induce vomiting. Keep the patient at rest.

The fraught business of removing and selling street art murals

The fraught business of removing and selling street art murals
Published on CNN, 20th January 2020 (LINK)

Written by Christy Kuesel

This article was published in partnership with Artsy, the global platform for discovering and collecting art. The original article can be seen here.

Banksy is well known for creating murals in the dead of night, frequently addressing social ills like homelessness or poverty. Tourists and fans gather around each of his new creations, often spurred to the site by a post on the anonymous artist's Instagram account. So the idea of removing one of these works from public view and selling it is bound to stir up strong emotions.

"It's against the street art world for items that are done in public to be sold," said Darren Julien, founder and CEO of Julien's Auctions, which specializes in selling pop culture-related items and street art.

Many businesses tagged by a famous street artist may not want the attention, or would rather take the financial windfall that could result from selling the work. The owner of a Valero gas station in Los Angeles certainly benefited from Banksy's creation of "Flower Girl" (2008) on their wall. The work depicts a girl with a basket of flowers staring up into a security camera, and was created late one night in 2008.

Another street artist, Mr. Brainwash, asked the gas station owner if his friend could stencil something on the side of the wall. The work later appeared on Banksy's website. When the owner of the gas station decided to sell the property, he looked into ways to save the mural.

How Julien's Auctions actually got a nearly 8,000-pound hunk of concrete to auction, however, is a bit more complicated. The auction house advanced the seller the $80,000 removal cost, and a construction crew came in and removed the section of wall on which the mural was painted. The 2013 sale of "Flower Girl," which brought in $209,000, was one of the first times the street artist's work had been auctioned in the US.

Sales of street art murals in general are divisive. Artists often object to the transformation of a work they created for public enjoyment into an art object to be bought and sold. Although Julien acknowledged the controversy around selling Banksy murals, he argued, "The other side of it is that [auctions are] really what made them famous."

A Primer on Aerosols

Aerosols, explained
Tiny particles floating in the atmosphere have a much bigger impact on the planet than you might think, and human activity plays a role.
BY ALEJANDRA BORUNDA for National Geographic

THE MOST VIBRANT sunsets, cloud-choked skies, and cough-inducing days all have something in common: They happen because of aerosols, tiny particles that float in the air. Aerosols can be tiny droplets, dust particles, bits of fine black carbon, and other things, and as they float through the atmosphere they change the whole energy balance of the planet.

Aerosols have an outsized effect on the planet’s climate. Some of them, like black and brown carbon, warm the Earth’s atmosphere, while others, like sulfate droplets, cool it. Scientists think that on balance, the whole budget of aerosols ends up cooling the planet slightly. But exactly how much, and how much that effect can shift over days, years, or centuries is still not totally clear.

What are aerosols?
The term aerosol is a catch-all for many kinds of little bits of stuff that end up suspended in the atmosphere, from the surface of the planet all the way to the edges of space. They can be solid or liquid, infinitesimally small or big enough to see with the naked eye.

“Primary” aerosols, like dust, soot, or sea salt, come directly from the planet’s surface. They get lifted into the atmosphere by gusty winds, shot high into the air by exploding volcanoes, or they waft away from smokestacks or flames. “Secondary” aerosols form when different things floating in the atmosphere—like organic compounds released by plants, liquid acid droplets, or other materials—crash together, culminating in a chemical or physical reaction. Secondary aerosols, for example—make the haze that gives the U.S.’s Great Smoky Mountains their name.

Aerosols come from both natural and human sources—and sometimes both at once. Dust, for example, is scoured from deserts, the dried-out edges of rivers, dry lakebeds, and more. Its concentrations in the atmosphere rise and fall with climate; in cold, dry, periods in the planet’s history like the last ice age, more dust filled the atmosphere than during warmer stretches of Earth’s history. But humans have affected that natural cycle, making some places dustier than they otherwise would be and keeping other areas damp.

Sea salts provide another natural source of aerosols. They’re whipped out of the ocean by wind and sea spray and tend to fill the lower parts of the atmosphere. In contrast, some types of very explosive volcanic eruptions can shoot particles and droplets high into the upper atmosphere, where they can float for months or even years, suspended miles above Earth’s surface.

Human activity produces many different types of aerosols. Fossil-fuel burning produces particles, as well as the well-known greenhouse gases like carbon dioxide—so cars, airplanes, power plants, and industrial processes all produce particles that can collect in the atmosphere. Agriculture produces dust, as well as other things like aerosolized nitrogen products, both of which affect air quality near and far.

Stencil Pic Uploads for Jan.

On the turntable: Beck, Beatles, Rush (RIP Neil Peart)
Photo: Haight Street, SF (artist unknown)

Several dozen from Portland, Oregon

>NEW< Skam



Berlin (thanks, Brooklyn Street Art)

mimi the clown (just one; thanks, BSA)

Colombia (just one)



Jeremy Novy

Haight St., SF

The Mission, SF (just one)

The Tenderloin, SF (just one)

Face-Scanning Tech Expanding in USA, EU

Fight against facial recognition hits wall across the West
The result is an impasse that has left tech companies largely in control of where and how to deploy facial recognition.

12/30/2019 05:03 AM EST

Face-scanning technology is inspiring a wave of privacy fears as the software creeps into every corner of life in the United States and Europe — at border crossings, on police vehicles and in stadiums, airports and high schools. But efforts to check its spread are hitting a wall of resistance on both sides of the Atlantic.

One big reason: Western governments are embracing this technology for their own use, valuing security and data collection over privacy and civil liberties. And in Washington, President Donald Trump’s impeachment and the death of a key civil rights and privacy champion have snarled expectations for a congressional drive to enact restrictions.

The result is an impasse that has left tech companies largely in control of where and how to deploy facial recognition, which they have sold to police agencies and embedded in consumers’ apps and smartphones. The stalemate has persisted even in Europe’s most privacy-minded countries, such as Germany, and despite a bipartisan U.S. alliance of civil-libertarian Democrats and Republicans.

Advocates for tighter regulations point to China as an example of the technology’s nightmare potential, amid reports authorities are using it to indiscriminately track citizens in public, identify pro-democracy protesters in Hong Kong and oppress millions of Muslim Uighurs in Xinjiang. Current implementations of the software also perpetuate racial bias by misidentifying people of color far more frequently than white people, according to a U.S. government study released just before Congress left town for Christmas.

“Facial recognition needs to be stopped before a fait accompli is established,” Patrick Breyer, a member of the European Parliament for the Pirate Party Germany, told POLITICO.

"The use of facial recognition technology poses a staggering threat to Americans’ privacy," Sen. Ed Markey (D-Mass.), who is prepping legislation to crack down on the software, said in June.

Banksy Collaborator Steve Lazarides Tells (Almost) All

'We were lawless!' Banksy's photographer reveals their scams and scrapes

Steve Lazarides was the art renegade’s strategist, photographer and minder. As his shots are published [in a self-published book], he recalls the politics, parties and soaring price tags of ‘Matey Boy’

Stuart Jeffries (The Guardian)
Mon 16 Dec 2019 12.54 GMTLast modified on Mon 16 Dec 2019 16.50 GMT

One Christmas, Steve Lazarides and Banksy [his Stencil Archive] decided to kill Santa. “Reject false icons,” read the slogan hastily spray painted across their shopfront, behind a highly festive effigy they had created of Father Christmas dangling from a noose. Dotted around were signs intended to lure passersby into their shop, in the hope that they would join in the party and buy some artworks. The signs, however, may have had the opposite effect. “Santa’s Ghetto,” read one. “Stinking art piss,” read another.

“There were a few complaints about what we did to Santa,” says Lazarides, once Banksy’s right-hand man. “And about the noise. We didn’t care. It was a group show we did every year, so artists could make a little dough and punters could pick up some affordable art for Christmas stockings.”

Lazarides worked with Banksy for 11 rollercoaster years, initially documenting the artist at work back in 1997, then becoming his agent, strategist and even minder. The Christmas art shop had been rented from one of Soho’s last porn barons – but disaster struck. Liquid leaked through from the floor above, soaking an impromptu chandelier made of traffic cones. “I went to investigate,” says Lazarides. “It was a toilet overflowing. The crowd at the party thought it was part of the show. It wasn’t. It was literally stinking art piss.”

The art he and Banksy sold at Santa’s Ghetto was certainly affordable back in the noughties – but it could not be classified as such today. Lazarides recalls carrying armfuls of original Banksy prints to the shop, where they’d shift for £25. “At today’s rates,” he says, “I reckon each armful would be worth about half a million quid.”

One work, called Bomb Middle England, depicted three elderly women playing bowls with balls that had lit fuses coming out of them. In 2007, Sotheby’s sold a version of this image for £102,000, at the time the most ever fetched for a Banksy. It has since been eclipsed, with the title now held by the 2009 painting Devolved Parliament, which went for £8.5m earlier this year.

While Lazarides is happily reminiscing about the Santas of Christmases past, Banksy is on the streets of Birmingham making art about the scandals of Christmas present – in the form of his mural and video of two reindeer pulling, not Santa in his sleigh, but a homeless man called Ryan lying on a bench in the city’s jewellery quarter.

A Lesson in Street Art, Part I

A Lesson in Street Art: how a movement morphed out of graffiti and into the art world (Part I)

By Katherine Keener Published on 9 December 2019 (art-critique.com)

Street art is a relatively new movement that is becoming more and more prolific in the art world. In this lesson, we will explore the history of graffiti, which is what street art is born out of, and then explore how street art has become what it is today. Looking at the history of graffiti is critical to understand the nuances of graffiti vs. street art and to understanding the pros and cons of street art as a movement and how artists categorized as street artists have either embraced or responded to the movement. At the end of the lesson, students should have a better understanding of how graffiti paved the way for street art. They should also be able to think critically about an artwork to determine ways in which it is more kin to graffiti or street art.

This lesson is best geared towards secondary or high school level students. Here, we have presented the topic as an art history lesson but it could easily be adapted into a studio art lesson, too.



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