Elfo, the ever-witty Italian street artist, strikes again with his latest work scrawled across an abandoned building in Italy. Known for his sharp irony and pointed cultural commentary, Elfo’s simple yet profound statements challenge the norm and provoke thought.
This new one, “I’m a Figurative Painter,” reflects his signature style of engaging viewers by intertwining absurd humor with subtle critique. In an era where public relations spin often overshadows truth and even establishes it, Elfo’s art presumes to override one’s sense of sense. As ever, few will celebrate Elfo’s genius in transforming an abandoned mundane rural space into a forum for challenging the establishment and puzzling the public.
Welcome to BSA’s Images of the Week. We decided to dedicate this weekly survey to the artists of “Return 2 Burn”, its organizers, and the streets that brought us here.
The new “Return 2 Burn” exhibition at the old train station in Hunts Point, Bronx, serves as a modern continuum of pivotal artistic moments from New York’s vibrant past, echoing the groundbreaking energies of the Fun Gallery, The Times Square Show, and initiatives by Collaborative Projects Inc. (Colab) and Fashion Moda. These seminal venues and events of the early 1980s, such as the Fun Gallery (1981-1985) and The Times Square Show of 1980, were instrumental in merging the diverse cultural and artistic energies of “uptown” and “downtown” scenes. They featured artists whose names would become prominent, like Jean-Michel Basquiat, Keith Haring, Futura, Rammelzee, Crash, Jenny Holzer, and many others whose work intertwined and intersected with the emergent graffiti and street art movements against a backdrop of punk, hip-hop, and an unprecedented cultural fusion that was happening across the city.
This week, the art world mourned the loss of Patti Astor, the trailblazing founder of the Fun Gallery and a pivotal character in Charlie Ahearn’s iconic film “Wild Style.” Her legacy, which has deeply influenced the intersection of hip-hop, graffiti, and urban culture, remains a testament to her visionary impact on New York City’s vibrant art scene.
“Return 2 Burn” builds upon this legacy by featuring contemporary and enduring artists from those earlier movements like Skeme, Tkid 170, Martha Cooper, John Fekner, and Al Diaz—who notably co-created SAMO tags and cryptic texts on the street with Basquiat—linking the historical narrative of New York’s street art from its inception to the present. These artists’ work stood alongside others such as Chris from Robots Will Kill, Indie, Buff Monster, UFO907, and Wane for the vibrant opening night, celebrating an ongoing narrative of experimentation and discovery in the street art/graffiti scene today across this city’s boroughs. The atmosphere was electric, charged with the energy of fans, collectors, storytellers, and historical figures of the graffiti and street art scene.
This collection of photos was shot while the exhibition was still being assembled—”work in process” shots. Their sometimes raw quality signals that the exhibition is a living entity produced by many hands; curator Robert Aloia says it is expected to evolve throughout the spring and summer.
The opening night crowd underscored the exhibition’s role as more than just a collection of artworks but also a gathering place for the community and a hopeful signpost for our collective creative future as we enter such uncertain times. It is a testament to the evolution of graffiti, street art, conceptual art, sculpture, public art, and muralism and their enduring significance in urban culture and public dialogue. The installed pieces—captured before the doors officially opened—are a diverse and dynamic reflection of the art movement, a snapshot of this moment at this location that recognizes the hundreds of artists whose work is on New York streets at any moment.
Through the visionary efforts of curators like Robert Aloia and Jennifer Giraldo of Outlaw Arts, and their collaboration with Majora Carter and James Carter of Bronxlandia, “Return 2 Burn” reminds us how exhibitions can serve as cultural synthesizers. The dedication of independent curators and organizers ensures that the legacy of New York’s unique art scene not only persists but also adapts and thrives, engaging new generations of artists and audiences alike. Moreover, the vital role of those who document, write about, and archive these events is crucial; without their work, such exhibitions’ rich history and transformative impact would not be preserved.
New York City has consistently nurtured subcultures by providing ample space, resources, and an environment conducive to growth—a spirit deeply embedded in the Punk D.I.Y. tradition. This creation of spaces for artists truly captures the essence of the city. And while we appear to be losing gallery spaces, we always have the streets. In New York City, D.I.Y. isn’t just a concept—it’s synonymous with NYC itself.
Skeme creating his latest for “Return 2 Burn”. Skeme, known as “Skeme the 3 Yard King,” is a prominent graffiti artist, celebrated within the graffiti community for his work in New York City during the movement’s early days. He was featured in the documentary “Style Wars,” a seminal film directed by Tony Silver and produced in collaboration with Henry Chalfant. The film is significant because it was one of the first documentaries to capture the graffiti subculture of New York City in the early 1980s.
The lineup includes: Aiko, Al Diaz, Austin Pinon, Basie Allen, BlusterOne, Buff Monster, Camella Ehlke, Cassandra Mayela, Chris RWK, Dr. Revolt, Faust, Ghost, Giz, Indie 184, JJ Veronis, John Fekner, Jon Burgerman, Judith Supine, Kade198, Lamour Supreme, Martha Cooper, Matt Siren, Modus, Peter Paid, Pork, Queen Andrea, Roycer, Saman & Sasan Oskouei, Sheryo & Yok, Skeme, Tkid, Totem, UF0907, VFR, and Wane One
Nestled within the bustling city of Nairobi, Kenya, Kibera is a testament to its inhabitants’ challenges and its collective indomitable spirit. Known as one of the largest urban slums in Africa, Kibera is a vibrant community where resilience and creativity sometimes flourish against a backdrop of economic hardship. This neighborhood, originally established as a settlement for Nubian soldiers in the early 20th century, has grown significantly due to continuous migration and the pursuit of economic opportunities near Nairobi’s urban core.
The Kibera Creative Arts (KiCA) organization emerges as a beacon of hope and transformation in a compelling blend of art and altruism. KiCA empowers the community through various artistic expressions, including dance, music, visual arts, and comedy. Their mission is bold and clear: to rewrite Kibera’s narrative from one of mere survival to one of thriving talent and greater opportunities.
Recently, Kibera had the privilege of hosting two renowned figures in the world of street art—French painter Julien “Seth” Malland, known as Seth, and American photographer Martha Cooper. Their week-long visit was not only a journey through the creative landscapes of Kibera but also an effort to collaborate with and uplift the local artistic talents.
Martha Cooper captured the essence of this vibrant community with her lens, focusing on the joyful expressions of children engaged in art, music, and dance, thanks to KiCA’s programs. Her photographs depict the daily life and creative spirit of Kibera’s youth, who find joy in the simplicity of homemade toys and the rhythm of street games.
Seth created a series of murals that meld naturally with the fabric of Kibera. His works include a striking depiction on a small wall resembling a sardine can’s rolled top, and a large mural adjacent to a soccer field featuring silhouetted heads with a Swahili slogan translating to “We Are One.” Seth’s art decorates and encourages dialogue with the community, bringing messages of unity and reflection.
The collaborative efforts culminated in vibrant new murals that incorporate local cultural elements and in some cases, the active participation of Kibera’s youth. “After 7 days of painting, we are proud to present to you the end result, a new look of Kibera street arts filled with beauty and diversity,” remarked KiCA organizers on Facebook. These projects are a testament to the power of art in bridging communities and fostering a sense of shared identity and hope.
Both artists reflected on their experiences. Seth shared on his Instagram, “I painted this can opener on the facade of the community center of @kicakibera, which welcomed me to the largest slum in East Africa, Kibera in Nairobi.” Meanwhile, Martha noted, “Here were some of the poorest conditions I have ever seen. We were working with KICA – a cultural organization inside Kibera that teaches art, dance, music, photography, and filmmaking, among other things.”
Throughout the year and with the contributions of visitors, lecturers, performers, and people like Seth and Martha, Kibera may be seen not as a place of despair but as one of immense potential and artistic wealth. The community’s often enthusiastic engagement in these projects highlights a collective aspiration to not only dream but to manifest dreams into reality, painting a new story of Kibera—one stroke at a time.
“Idle Time has become that free moment we have between one task and another in the production process. Productive inertia has turned idle time into a simulacrum of leisure, a residual time in which, strangely enough, we don’t seem to know what to do.” – Isaac Cordal
In the vibrant heart of Madrid’s Barrio de las Letras, Isaac Cordal’s exhibition “Tiempos Muertos,” more aptly understood as “Idle Times,” debuted at the ON Art Space on Calle Santa Maria 37. Hailing from Pontevedra, Galicia, and currently residing in Bilbao, Cordal is celebrated for his distinctively satirical and somewhat melancholic view of our societal landscape.
Trained in the art of sculpture at the School of Fine Arts in Pontevedra and further refining his craft at the School of Canteiros, his work masterfully intertwines traditional techniques with contemporary themes. Renowned for his “Cement Eclipses” project, Cordal’s miniature sculptures have become a critical lens through which the absurdity of our daily routines and the deeper malaises of urban life are magnified.
“Idle Times” offers a small yet comprehensive survey of Cordal’s stylistic evolution, weaving together his enduring fascination with the mundane, the mystifying, the miniature, and the monumental. This exhibition invites viewers on a reflective journey through the paradoxical trappings of modern life, where productivity and idleness, connection and isolation, digital engagement and disengagement perpetually intersect.
Cordal’s dark humor shines through as he nods to the stupefying muddle that is our existence, capturing the essence of idle moments as both a puzzling symptom and a withering critique of our times. “The infinite scroll is the closest thing to the modern rosary,” he observes, highlighting a soulless collective drift into digital oblivion and ever-greater productivity.
Through various installations that span his recent career, “Idle Times” showcases Cordal’s ability to encapsulate the peculiarities of contemporary human conditions with irony and depth. His sculptures, set against the backdrop of urban decay or the cold glow of a smartphone screen, serve as poignant reminders of life’s absurd theatre. It’s in these finely crafted scenes of everyday disconnectedness that Cordal’s voice is most resonant, urging us to question the true cost of our ceaseless hustle. At the same time, the digital leash increasingly binds us.
We once summarized Cordal’s oeuvre as a “catastrophic reality and a sense of entrapment within an electronic prison of everyday existence,” underscoring the artist’s commitment to exploring the boundaries between reality and satire. “Idle Times” not only celebrates Isaac Cordal’s artistic journey but continues to challenge viewers to confront the absurdity of our daily lives, with a bit of laughter if you can summon it.
To BSA’s Muslim brothers and sisters, we hope your Ramadan has been fulfilling as it draws to a close this Tuesday. Amid the spiritual calm, Friday’s earthquake and its aftershocks have certainly rattled us in New York and across the Northeast—a rare tremor that would barely raise an eyebrow in LA, given their familiarity with the earth’s whims. But for us, a 4.8 is no small shake! Adding to our week of natural spectacles, Monday brings an eclipse, inviting us all to don those dope glasses and gaze skyward as a celestial dance sweeps across the continent. It’s been quite a lineup: an earthquake to kick off the weekend, a celestial blackout to start the week. What’s next on the cosmic agenda? A swarm of locusts? Let’s hope the universe has checked off its list of surprises for now.
We start this week’s collection with a new text piece of unknown origin but one that strikes at the heart of life here in 2024 for many. Could this be an advertisement for the new album by Future and Metro Boomin? A spectrum of emotions and styles, the new collection is from two guys whose collaborative efforts have been making significant waves in the music industry for a half decade. Debuting at number 1, as an album “We Don’t Trust You” has been described as a monumental success, showcasing the synergy between Future’s distinctive rap style and Metro Boomin’s innovative production. The out of context graffiti message, “We Don’t Trust You,” captures a poignant irony: while distrust might seem like a safeguard, history shows that a society where trust is deeply eroded becomes fertile ground for manipulation by autocrats and tyrants.
And now, here are images from our ongoing conversation with the street, this week, including: Praxis, Homesick, Lexi Bella, Modomatic, Danielle Mastrion, Mort Art, Claw Money, Jorit, Isabelle Ewing, Paolo Tolentino, JG, Marthalicia Matarrita, Gia, and 1RL.
In the heart of Lwala, Kenya, a place where the warmth of the sun is matched only by the warmth of its community, two artists, Martha Cooper, an esteemed New York ethnologist and photographer, and Seth, a visionary French street artist and muralist, embarked on a remarkable journey a few weeks ago. Their mission, rooted in a shared passion for integrating children’s creativity into their work, led them to the vibrant classrooms and playful corners of Lwala, capturing the imaginations we all had as kids – against a backdrop of education, care, and community.
Cooper, with a distinguished career spanning over seven decades, has traversed the globe, documenting children’s inventive play practices and turning her lens toward the ingenuity that flourishes in the spaces between childhood and the urban landscape. Seth, on his canvases of buildings, brings to life the dreams and stories of Lwala’s children in murals that echo the community’s pulse.
Lwala, situated near the shores of Lake Victoria, is more than just a geographical location; it’s a nexus of culture, learning, and artistic expression. Through the eyes of Cooper and the brush/cans of Seth, the essence of Lwala’s youth shines brightly, depicting scenes of everyday life transformed into extraordinary murals.
As Seth described on his Instagram, the interaction is key. “The walls of the Lwala primary school are covered with small drawings and graffiti,” he says. “Treasures just waiting to be discovered, to which I sometimes enjoy adding my touch.”
This collaboration marks another chapter in the duo’s journey of artistic exploration and social commentary, previously witnessed in places like Tahiti and Haiti. Yet, Lwala stands out for its own spirit and this natural integration of art into the lives of its children. The murals, vividly capturing scenes from daily life to imaginative escapes, become a canvas where the children’s own artworks also find a place, transforming school walls into collaborative galleries of dreams and aspirations. Martha Cooper’s photography captures these moments of interaction, where art and life converge, offering glimpses into the playful ingenuity that has been the focus of her lens many times in her life.
“We asked kids to bring their homemade toys (my ongoing subject). The most creative were wheeled sticks they called ‘motorbikes’ with an engine sound made by a stick hitting a plastic bottle as the wheel turned,” she says. “There were also guns shaped from mud, balls made of trash, paper hats, thin scarves knit from scraps of wool and stick needles and jump ropes.”
Among the observer’s voices echoing the significance of this project, Valentine Otieno’s stands out, “Some of the best memories for the school will be in this art. It will exist for years, and what Seth gave the school is a gift for ages,” he writes on her Instagram page. “Thanks Martha for covering all this through your incredible lense skills and the few snap lessons.” Mode2, a legendary figure in graffiti and urban art, remarks, “The only limits to their resourcefulness is their imagination,” highlighting the boundless creativity captured here in Lwala.
At 81 (she celebrated her birthday while here), Cooper’s journey to Lwala with Seth is a testament to capturing childhood’s essence and art’s transformative power. Without sponsorship, driven solely by passion and friendship, their visit to Lwala becomes a narrative now woven into the fabric of the local school – a vibrant testament to the enduring power of art and the universal language of play.
In the bustling street art/graffiti scene of Porto, Portugal, a fresh wave of new pieces informed by folklore gives rise to “Street Gnomes,” a captivating solo exhibition by the Estonian street artist Gutface, also known as Ingmar Järve.
Hosted by Circus Network, this show, funded by the EU, the Goethe-Institut, and the Estonian Embassy in Lisbon, runs until April 11, 2024, offering an intimate glimpse into the lives of mythical beings reimagined for the urban jungle – imbued with a certain warmth that may make you nostalgic for a time you never lived through. Gutface, a Tartu-based freelance artist, illustrator, and graphic designer, brings his personal tour de force to Portugal after entertaining audiences across Europe with the Stencibility Street Art Festival and his vibrant contributions to the collective @ajuokse.
“Street Gnomes” looks to redefine the gnome, a figure steeped in European folklore, traditionally seen as a guardian of the earth and its hidden treasures. Gutface often transposes these mythical guardians from their idyllic garden settings to the concrete sprawl, where they embody the spirit and toil of unseen urban caretakers: the road workers, electricians, plumbers, and garbage collectors who keep our cities seamless and functioning. The artist experiments and succeeds with various mediums; through a mix of ceramics, tufted carpets, risography, and bold speckled street art, the exhibition highlights a symbiosis between nature and urbanity.
At the heart of this exhibition is a narrative and a style that merges the raw energy of street art with less obvious storytelling. Järve invites us on a journey through the city’s veins, where every corner and crevice is alive with the silent hustle of its gnomish caretakers. “Street Gnomes” may also strike one as a testament to the transformative power of street art and a celebration of those who labor in the shadows, ensuring our urban ecosystems and imaginations thrive. Gutface’s work, deeply rooted in the vibrant street culture and community-driven ethos of Tartu, Estonia, connects the fantastical with the mundane, inviting viewers to reconsider the sources of that magic pulsing through the city’s concrete heart.
Happy Easter to all the Christians today, and we hope all the kids get a chocolate bunny in their basket and go on an egg hunt in this new green grass Mother Nature has brought to the park for everyone to enjoy. It has been such an entertaining and rewarding hunt this week looking for new works popping up like daffodils on the street in NYC. We hope you enjoy some of these new works, a boon to the creative spirit that is running the streets in all five boroughs, no matter the season.
And now, here are images from our ongoing conversation with the street, this week, including: Praxis, Sara Lynne Leo, UFO 907, Aneko, Sluto, Viler, QUAZAR, Bones, Luch, Deluxe, WaliC, Suka, Ring, and TCONE.
As founding members of the Martha Cooper Library at the Urban Nation Museum in Berlin, Brooklyn Street Art (BSA) proudly showcases a monthly feature from the MCL collection, illuminating the extensive and diverse treasures we’re assembling for both researchers and enthusiasts of graffiti, street art, urban art, and its numerous offshoots. Below, we present one of our latest selections.
Text Steven P. Harrington and Jaime Rojo Photos by Sebastian Kläbsch
Herbert Kohl and James Hinton, Golden Boy as Anthony Cool. 1972.
Herbert Kohl and James Hinton’s “Golden Boy as Anthony Cool,” published in 1972, is a seminal work in the study of urban graffiti and street culture. Not only an academic exploration; it’s a journey into the heart of graffiti as a form of personal expression, rebellion, and cultural identity. Kohl’s insightful essays paired with Hinton’s evocative photographs provide a window into the lives of young people in the urban landscapes of New York City and Los Angeles as they simultaneously boil, wane and flourish in the late 60s and early 70s. These vibrant and vibrating communities are chronicled, whether affluent suburbs or struggling neighborhoods, each appears to brim with stories cryptically told through tags and murals on walls and doors.
As a crucial part of street art history, “Golden Boy as Anthony Cool” is an essential resource for anyone interested in the roots of modern graffiti culture. Its compelling blend of vivid imagery and profound analysis not only makes it an invaluable addition to any collector’s library but also a portal to the dynamic world of urban street art. Simple and unassuming, the book is testament to graffiti’s evolution, offering a deeper appreciation for the art form and the voices that shape it.
On the street, Curacao feels like a vibrant heart where Caribbean warmth meets urban art in a spectacular showdown. It’s an island—a canvas painted with rich strokes of history, culture, and innovative thinking. Nestled off the Venezuelan coast, Curacao stands out with its Dutch heritage, swirling in a cocktail of languages, cuisines, and, notably, street art that tells stories deeper than the clear blue waters surrounding it.
Willemstad, the capital, is not just a city but a UNESCO-listed testament to colonial architecture, Caribbean vibes, and mural magic. Here, historical narratives meet modernity, and old Dutch houses stand tall, often awash with color. Beyond the postcard-perfect Handelskade, a current revolution in public art-making brings paint, passion, and a sense of purpose, led by a vibrant local creative community.
Enter Street Art Skalo, a pied piper of this visual revolution, transforming the neighborhood of Scharloo Abou from a forgotten area into an outdoor museum. This isn’t merely a beautification effort spearheaded by the chamber of commerce; it’s an eclectic transformation that breathes life, creating a dialogue that invites locals and tourists alike to wander, wonder, and witness the neighborhood as it is reborn.
Curacao’s mural scene is as diverse as its coral reefs, featuring everything from intricate stencil works to grandiose murals stretching across buildings. Themes delve into identity, heritage, colonial past, global issues, and natural beauty—all greeted with Caribbean flair. From the alleys of Scharloo Abou to the bustling streets of Punda and Otrobanda, Curacao offers a kaleidoscope of styles and techniques, mirroring the island’s multicultural heartbeat.
Thanks to light artist Chris Jordan, who shares with BSA Readers his photos of recent discoveries on Curacao. Through his photos, Chris captures an island that is not just surviving but thriving, propelled by creativity. It’s good to know that here one can look beyond the beaches, dive into its streets, and find some real treasures.
Spring officially arrived this week, along with torrential rains and sometimes flooding. Happy Nowruz to all our Persian friends, and Happy Purim to the youngsters in costumes going to parties this weekend. The city’s walls reflect a new blossoming of talents joining with those more established in the visual arts, a usual mismatch of styles, coded messages, and obvious imagery. If you love New York, it is with the ongoing expectation of eclecticism mixed with the expected, and as it pertains to graffiti and street art, its a crowded party of all sorts of guests all speaking at once, each hoping to be heard in the din.
And now, here are images from our ongoing conversation with the street, this week, including: Turtle Caps, She Posse, Kosuke James, IAC, Ratrockster, Solo, Merg, Erat, SenOne Original, COSA.V, and Sen1.
Fans of manga and anime are mourning the loss of a legendary figure in the industry, Akira Toriyama, who passed away on March 1, 2024, at the age of 68. Born in Aichi Prefecture, Japan, he was not just a prolific manga artist; he was a visionary who brought to life some of the most iconic characters and stories in the world of Japanese pop culture. His most renowned creation, “Dragon Ball,” transcended generations and geographic boundaries, embedding itself in global pop culture and inspiring an era of manga artists.
Toriyama’s influence extended beyond the printed page; his creative genius was instrumental in designing the characters for beloved video games like the Dragon Quest series and Chrono Trigger.
By many accounts, he had humble beginnings drawing animals and vehicles, but he eventually had what some would call a revolutionary impact on manga and anime, a testament to the universal language of art and storytelling. Despite facing challenges and opposition, Toriyama’s dedication to his craft and innovative spirit paved the way for his legendary status. The aesthetics and themes of Toriyama’s work, including a fusion of traditional and futuristic elements, resonate with fans of street culture and graffiti, showcasing his widespread influence.
Today we look at a new mural in Barcelona Spain by Eslicer and Keneone, with shots by photographer Lluis Olive-Bulbena. As we remember Akira Toriyama, we celebrate the stories he told and the boundless imagination and creativity he inspired in artists and fans alike, leaving an indelible mark on the world of art and entertainment.
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
