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Brooklyn Street Art

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Basquiat’s Notebooks Open at The Brooklyn Museum

Posted on April 1, 2015

As lines continue to blur in fields of art and technology (and everything else) it is easier to see Street Art as an online/on-street diary, a forum for speech making, a laboratory for testing ideas, a publishing platform for the dispersing of truths and lies and theories and maxims and slogans and aphorisms. A timely new exhibition of personal notebooks by the artist Jean-Michel Basquiat further affirms the direct relationship between the personal and the public voice of one New York expressionist, revealing lesser-known aspects of him as artist and resident.

A teenage poet on New York streets, Jean-Michel Basquiat used his own brand of graffiti to pursue his own brand of fame. His text was used as a visual element often but unlike graffiti writers during that heated moment in New York graffiti history, Basquiat sought an audience hip to the cerebral wordplay of poetry that puzzled and enticed – a foxy style of William Burroughs-inspired automatic writing he adapted for his own uses.

 

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Basquiat: The Unknown Notebooks. Brooklyn Museum. April 2015. (photo © Jaime Rojo)

In Basquiat: The Unknown Notebooks, now running at The Brooklyn Museum until August 23rd, the genius of his fragmenting logic reveals a direct relationship between his private journals and his prolific and personally published aerosol missives on the streets of Manhattan’s Soho and Lower East Side neighborhoods in the late 1970s and 1980s.

These notebooks were for capturing ideas and concepts, preparing them, transmuting them, revising them, pounding them into refrains. In the same way his text (and image) pieces on the street were not necessarily finished products each time; imparted on the run and often in haste, these unpolished missives didn’t require such preciousness.

 

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Untitled. Circa 1987. Basquiat:The Unknown Notebooks. Brooklyn Museum. April 2015. (photo © Jaime Rojo)

The art collector Larry Warsh lends these eight notebooks that span 1981-1987, 160 pages in all, for you to scan and contemplate. While they do not provide a play-by-play account of his daily affairs, they do provide insight into his state of mind, interests, and creative process. Knowing his reputation for being very aware of his public perception, you may wonder how private these were in his mind, or if he was at least partially writing for a greater audience here sometimes as well.

But these are definitely his voice. Even in lengthier poetry pieces, Basquiats’ reductive approach to writing produces the same clipped cadences that appeared on walls, a process of addition and subtraction that he could  eventually pare down to one word that would command a canvas.

“Famous”.

 

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Famous. 1982. Basquiat:The Unknown Notebooks. Brooklyn Museum. April 2015. (photo © Jaime Rojo)

A two sided free standing piece from 1982 midway through the gallery space gives a bittersweet focus to one of his aspirations, as well as his application of photocopies of his own work in multiples on the canvas – a replication/repetition technique popularized on walls and lamp posts by graffiti writer/street artists like Revs and Cost in New York in the 90s.

“I think this show points out that the conceptual and poetic side of JMB’s work is central to and integrated with his more overtly visual and expressionistic paintings,” says Tricia Laughlin Bloom, who curated the exhibit along with Dieter Buchhart. “He enjoyed exploring the play between text as visual sign or symbol and the layers of historical, sociological, personal meaning that words activate.  Some of the very restrained word drawings and notebook entries are intensely expressionistic, for instance, without the use of gesture or color.”

 

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Famous. 1982. Detail. Basquiat:The Unknown Notebooks. Brooklyn Museum. April 2015. (photo © Jaime Rojo)

The notebooks are part of a larger offering of paintings, drawings, and moving image in this well balanced show that keeps the focus on the writer and painter of text while placing it in the greater context of all his work. Included here are drawings of his fictional character Jimmy Best, who appeared in early SAMO© street writings and elsewhere as an ongoing and developing narrative that hinted at his self image.

Most riveting for the new generation of writers may be the film clips shot in 1980-81 during the filming of New York Beat (released in 2000 as Downtown 81). Not true documentary footage it nevertheless captures the artist outside mark-making in a determined, self-aware, sometimes hesitating manner across walls with letters and lines of simple black aerosol.

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Famous. Verso. 1982. Basquiat:The Unknown Notebooks. Brooklyn Museum. April 2015. (photo © Jaime Rojo)

Moving into “the City” from his middle class Brooklyn home as a teenager in the late 70s, you have to wonder how or if his street practice had been influenced by the students and workers who wrote slogans, epigrams, maxims, often cryptic, in black aerosol letters 10 years earlier during the Paris uprisings of 1968. Quick passages on the street like “Sous les paves, la plage” (under the paving stones, the beach) played with text and meaning in ways similar to his on city walls and in these notebooks. Neatly penned, his was a deliberate meditation and experiment with words – a process that allowed you to see the deletions and additions, fully part of the finished product.

“We were presented with the rare opportunity to exhibit Basquiat’s notebooks, which offer fascinating access to his thoughts and process,” says Sharon Matt Atkins, Vice Director for Exhibitions and Collections Management, when talking about the decision to mount Notebooks.

 

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Untitled. 1980. Basquiat: The Unknown Notebooks. Brooklyn Museum. April 2015. (photo © Jaime Rojo)

Of course its not the first time Street Artists have been featured meaningfully here . Under the guidance of Director Arnold L. Lehman the Brooklyn Museum has shown a serious and committed interest in highlighting the contributions of artists whose practice comes directly from the streets of New York and its graffiti/Street Art traditions; including the huge Basquiat show a decade ago, the Graffiti show in 2006, the more recent Keith Haring show, Swoon’s Submerged Motherlands last year, Olek at the Artist’s Ball, and the just announced Faile exhibit this July, which will also feature their collaboration with Bäst. For Matt Atkins, this show is in perfect alignment.

“The Brooklyn Museum has had a commitment to showing artists whose work embraces contemporary culture. Basquiat seamlessly synthesized the world around him in his art, including elements culled from the streets, music, literature, history, and more,” she says.

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Untitled. 1986. Basquiat: The Unknown Notebooks. Brooklyn Museum. April 2015. (photo © Jaime Rojo)

It has been 27 years since Basquiat died at the age of 27. Somehow you can imagine that mathematical equation appearing here on one of the larger canvases; dense with symbols, sentence fragments, lists and formulas. Sifting through the tenuously connected word constellation it occurs to you that people like Basquiat and Burroughs and the Beats were forebears of the post-Gutenberg dislocation of text from its moorings – one that we all swim in – with passages and words and texts floating to us and past us from multiple screens of varying sizes throughout each day.

As this stream of messages blurs from the intensely personal to the public spheres, this show confirms the how the art-making process for the street has always been rich with storytelling, even if not evident at first. A show of this moment, seeing these notebooks first hand completes a cycle for many.

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Untitled. 1986. Detail.. Basquiat: The Unknown Notebooks. Brooklyn Museum. April 2015. (photo © Jaime Rojo)

We had an opportunity to speak further with the curator, Tricia Laughlin Bloom, about Basquiat: The Unknown Notebooks.

Brooklyn Street Art: Often we think of the work we see on the street as part of a continuum, a conversation back and forth between the artist and the passerby. How does this exhibition illustrate the continuum that extends from private neatly penned journals to public aerosol missives?
Tricia Laughlin Bloom: Going through the exhibition you find a lot of similarity between the voice he used in his street writing and in his notebooks, that also extends to his word paintings. Fragments of SAMO text recur in larger scale works that we have included, and many of his notebook passages read like they could have been SAMO texts.

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Untitled. 1986. Detail. Basquiat: The Unknown Notebooks. Brooklyn Museum. April 2015. (photo © Jaime Rojo)

Brooklyn Street Art: Can you describe the dynamic between yourself and the guest curator Dieter Buchhart and how it informed some of your joint decisions for presenting the work?
Tricia Laughlin Bloom: Dieter brought the initial checklist together as Guest Curator, and we shaped it together from there. We both felt it was important that the show be about the notebooks—that the paintings and drawings should be carefully selected to compliment the notebooks and not overwhelm, and to highlight Basquiat the poet and thinker AND visual artist. Getting the right number of works and the precise balance was a long process, and many conversations.

Brooklyn Street Art: How has preparing this exhibition changed or affected your perception of his work in the intervening ten years since the “Basquiat” exhibition at the Brooklyn Museum, if at all?
Tricia Laughlin Bloom: I was always a fan, and I loved the 2005 show, but I feel I understand him better and my admiration has deepened after the opportunity to work with the notebooks. It’s more intimate in scale and the whole experience feels more personal.

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All Beef. 1983. Basquiat: The Unknown Notebooks. Brooklyn Museum. April 2015. (photo © Jaime Rojo)

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All Beef. 1983. Verso. Basquiat: The Unknown Notebooks. Brooklyn Museum. April 2015. (photo © Jaime Rojo)

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Untitled. 1982-83. Basquiat: The Unknown Notebooks. Brooklyn Museum. April 2015. (photo © Jaime Rojo)

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Untitled. 1982-83. Detail. Basquiat: The Unknown Notebooks. Brooklyn Museum. April 2015. (photo © Jaime Rojo)

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From left to right: Untitled (Crown) 1982. Tuxedo. 1982. Basquiat: The Unknown Notebooks. Brooklyn Museum. April 2015. (photo © Jaime Rojo)

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Famous Negro Atheletes. 1981. Basquiat: The Unknown Notebooks. Brooklyn Museum. April 2015. (photo © Jaime Rojo)

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Antidote. 1981. Untitled (Ego) 1983. Basquiat: The Unknown Notebooks. Brooklyn Museum. April 2015. (photo © Jaime Rojo)

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Photo taken from the video Downtown 81 Outtakes. 2001. Basquiat: The Unknown Notebooks. Brooklyn Museum. April 2015. (photo © Jaime Rojo)

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Photo taken from the video Downtown 81 Outtakes. 2001. Basquiat: The Unknown Notebooks. Brooklyn Museum. April 2015. (photo © Jaime Rojo)

Basquiat: The Unknown Notebooks is organized by Dieter Buchhart, Guest Curator, with Tricia Laughlin Bloom, former Associate Curator of Exhibitions, Brooklyn Museum and current Curator of American art at the Newark Museum.

With special thanks to Tricia Laughlin Bloom, Sharon Matt Atkins, and Sally Williams.

Basquiat: The Unknown Notebooks at the Brooklyn Museum opens on April 3, 2015 to the general public. Click HERE for further details.

 

 

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Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!

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Young New Yorkers – A Preview of the Auction Benefitting NYC Youth

Posted on March 31, 2015

Don’t miss this cool auction of work by many of today’s Street Artists on the New York scene, and some other folks you might have heard of!  Young New Yorkers works with 16 and 17 year-old kids who have been caught in the criminal justice system, giving them a second chance. This is your opportunity to support this non-profit organization that is doing good work for your neighbors and our neighborhoods and to add art to your collection.

Here are some brand new shots of pieces that will be available. For a full listing and to bid on the auction progress online, click here on Paddle8.

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Olek (photo © Jaime Rojo)

We had the opportunity to speak with Rachel Barnard, Executive Director and Co-Founder of Young New Yorkers about the event and their programs. We asked her to explain how the programs work.

“Art exercises in our programs are collapsed with restorative justice exercises and they give our participants a way of exploring the impact of their choices while empowering them to make wiser ones in the future. We work with photography, video, collage and illustration. More importantly, in the second half of the program art allows our participant’s to step into their own leadership and self expression,” she explains.

As the participants explore their creativity, they also examine it through a greater lens. “They explore a social issue that is important to them and develop a public art project around that. This is then presented at the final exhibition – one which the criminal court judges, acting district attorneys, social workers and other members of the criminal justice system, attend. It’s a way for everyone to re-meet our extraordinary participants as more than just their rap sheets. So in this way we use art to meet our main goal; which is to empower our young New Yorkers to transform the criminal justice system through their own creative voices.”

Here are some of the pieces that will be up for auction on April 1st.

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Swoon (photo © Jaime Rojo)

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Obey . LMNOPI (photo © Jaime Rojo)

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Mata Ruda (photo © Jaime Rojo)

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Icy & Sot (photo © Jaime Rojo)

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Miss Van (photo © Jaime Rojo)

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Hellbent (photo © Jaime Rojo)

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Gaia, LNY and Mata Ruda collaboration. (photo © Jaime Rojo)

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Faring Purth (photo © Jaime Rojo)

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CB23 . Sonni (photo © Jaime Rojo)

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COST (photo © Jaime Rojo)

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El Sol 25 (photo © Jaime Rojo)

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Cosbe (photo © Jaime Rojo)

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Case Ma’Claim (photo © Jaime Rojo)

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Gilf! (photo © Jaime Rojo)

 

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Young New Yorkers provides arts-based programming to court-involved young people. The criminal court gives eligible defendants—all of whom are 16- and 17-year-olds and who in New York are tried as adults—the option to participate in Young New Yorkers rather than do jail time, community service, and have a lifelong criminal record. With the ultimate goal of empowering participants to transform the criminal justice system through their own creative voices, all of YNY’s programs culminate with a public exhibition where members of the Criminal Justice System are invited to re-meet the graduates as creative and empowered individuals. In most cases, upon successful completion of the program, the participants’ cases are sealed; so far, 100% of participants have graduated from YNY’s programs.

We look forward to seeing you at Joseph Gross Gallery on April 1 for the Silent Art Auction. Get your advance tickets for only $35 here.

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FAILE & BÄST Come to Brooklyn Museum This July

Posted on March 30, 2015

FAILE: Savage/Sacred Young Minds

BSA is pleased to announce this great event for fans of Brooklyn Street Artists FAILE as the Brooklyn Museum once again shows vision and unequivocal support for the artists who have made the streets of this city a foundational part of the contemporary Street Art scene. They will be showing both their TEMPLE and their DELUXX FLUXX ARCADE, a collaboration with another important player on New York streets, BÄST.

Both FAILE & BÄST hold important roles in the development of the scene on the streets and it is great to see a major cultural institution such as The Brooklyn Museum give such an important honor to them.

From the Press Release
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Brooklyn Museum Presents FAILE: Savage/Sacred Young Minds, Including Two Major Installations by FAILE; Exhibition to Open July 10, 2015

The Brooklyn Museum will present

FAILE: Savage/Sacred Young Minds, including two major installations by FAILE, collaboration between the Brooklyn-based artists Patrick McNeil and Patrick Miller, from July 10 through October 4, 2015. The exhibition includes Temple and The FAILE & BÄST Deluxx Fluxx Arcade–two immersive environments that invite visitors to engage actively with the work, prompting viewers to ask questions about their relationship to consumer culture, religious traditions, and the urban environment.

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Since 1999, McNeil and Miller have created multimedia installations, large-scale paintings, and sculptures that blur the lines between fine art, street art, and popular culture. The exhibition unites The FAILE & BÄST Deluxx Fluxx Arcade and Temple, both from 2010, alongside new paintings and sculptures that highlight FAILE’s evolving practice. Drawing on a long art-historical tradition of appropriation, both as an homage to their sources and as subversions of stereotypes, these works are inspired by material as varied as American quilts, folk art, Native American art, religious architecture, pulp magazines of the mid-twentieth century, comic books, sci-fi movie posters, adult entertainment advertisements, and storefront typography.

The FAILE & BÄST Deluxx Fluxx Arcade, created in collaboration with the Brooklyn artist Bäst, is an interactive installation that includes retrofitted video games, pinball machines, and foosball tables that are simultaneously sculptures and functioning games. A nostalgic nod to video arcades as well as to punk rock and graffiti culture, this is the fifth iteration of the project and the first time it will be installed in a museum context, following earlier versions in London, New York, Miami, and Edinburgh. Featuring the artists’ signature characters and imagery, these programmed games are twists on classic examples such as wrestling matches, road races, water-based challenges, tile-matching puzzles, and audio-visual manipulations.

FAILE’s Temple, originally installed in Praça dos Restauradores Square in Lisbon for the Portugal Arte 10 Festival, is reminiscent of religious architecture that has fallen into ruin. Temple is fabricated with components such as iron gating, ceramic relief work, and painted ceramics. Measuring 16½ feet high by 28¾ feet long by 16 feet wide, Temple will be installed in the Museum’s Iris and B. Gerald Cantor Gallery, a large rotunda space. The life-size work features FAILE’s customized prayer wheels inspired by Tibetan Buddhist structures, vernacular imagery culled from Brooklyn streets, and popular-culture sources. The interior imagery of Native American figures, borrowed from mid-twentieth-century movie and comic book sources, imagines a reaction against commercial development and consumer greed with a return to traditional values. Blurring the boundary between art and architecture, Temple amplifies the fluid integration of visual culture and the built environment in FAILE’s art.

For this exhibition, the artists have also created several new works. Among them are two triptychs, both mural-size paintings created in their “ripped canvas” style. Inspired by the gritty, worn layering of street posters, these canvases, with their surface gaps, simultaneously reveal and conceal subject and meaning.

FAILE is the Brooklyn-based artistic collaboration between Patrick McNeil (born in 1975 in Edmonton, Alberta) and Patrick Miller (born in 1976 in Minneapolis, Minnesota). After meeting as teenagers in Arizona, they attended Northern Arizona University. They later both studied graphic design–Miller at Minneapolis College of Art and Design, and McNeil at Fashion Institute of Technology. In the late 1990s, the duo reconnected and joined with Aiko Nakagawa (born in 1975 in Tokyo, Japan) to form FAILE: the name is an anagram of their first project, A Life. In 2006, Nakagawa began making work on her own as “Lady Aiko,” while McNeil and Miller continued pushing the limits of their imagery. They have since worked in a wide range of materials and styles and are best known for their prints, paintings, and mixed-media installations, which have been presented in numerous solo exhibitions. They have also completed major commissions for the New York City Ballet’s Art Series (2013); and for the Mongolian Arts Council, in UlaanBaatar, Mongolia (2012); as well the Houston and Bowery Mural, New York (2011); and the first commissioned mural on the building façade of Tate Modern, London (2008). Inspired by the visual tapestry of their Brooklyn environs, their work is characterized by a vibrant weaving of abstraction, mass culture, and commercial typography.

Bäst has been creating work for the past decade, both on the street and for gallery exhibitions. His work borrows from a range of popular-culture references and incorporates collage elements, often resulting in seemingly whimsical characters that reveal more menacing layers.

FAILE: Savage/Sacred Young Minds is organized by Sharon Matt Atkins, Vice Director of Exhibitions and Collections Management, Brooklyn Museum.

This exhibition is supported by Allouche Gallery, The Dean Collection, and Geoff Hargadon and Patricia LaValley.

Sunday Morning Wheat Pasting with Various & Gould

Posted on March 30, 2015

The best cure for jet lag is to jump on a bicycle and weave through the streets trolling Street Artists while they work. At least, that was the theory two hours after we landed early on a Sunday morning in Berlin, and Various and Gould agreed to lead the tour!

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Various & Gould. Berlin. March 2015. (photo © Jaime Rojo)

With eyes a bit bleary and balance rather suspect, our intrepid photographer happily trailed the friendly duo who took him to see THE WALL as well as many other more scrappy, hidden, dodgy walls to shoot images of. They even watched in bemusement as he got assistance from a random passerby to hoist him atop an electrical box to get his shot. Dude always gets his shot.

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Various & Gould. Berlin. March 2015. (photo © Jaime Rojo)

Naturally they brought wheat paste in their backpacks, and a few newly painted pieces to smack up. For those of you familiar with the mix-n-match limbs, torsos, and heads that V&G have used previously, you can see that the innovative experimenters have evolved their collage style to something new. It’s exactly the same, but completely different.

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Various & Gould. Berlin. March 2015. (photo © Jaime Rojo)

You’ll also notice that all these pieces are going up in broad daylight – Berlin is very chill about street art, no joke. Judging by the zillions of people who you see posing for pictures with the art all over the city, they seem to like it.

Our very special thanks to Various and Gould for their hospitality.

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Various & Gould. Berlin. March 2015. (photo © Jaime Rojo)

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Various & Gould. Berlin. March 2015. (photo © Jaime Rojo)

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Various & Gould. Berlin. March 2015. (photo © Jaime Rojo)

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Various & Gould. Berlin. March 2015. (photo © Jaime Rojo)

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Various & Gould. Berlin. March 2015. (photo © Jaime Rojo)

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Various & Gould. Berlin. March 2015. (photo © Jaime Rojo)

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Various & Gould. Berlin. March 2015. (photo © Jaime Rojo)

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Various & Gould. Berlin. March 2015. (photo © Jaime Rojo)

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Various & Gould. Berlin. March 2015. (photo © Jaime Rojo)

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Various & Gould. Berlin. March 2015. (photo © Jaime Rojo)

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Various & Gould. Berlin. March 2015. (photo © Jaime Rojo)

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Various & Gould. Berlin. March 2015. (photo © Jaime Rojo)

 

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Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!

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