March 2011

PANTHEON : A Photo Essay

PANTHEON: A history of art from the streets of New York City is a labor of love.

This Saturday the PANTHEON mounts a show seen from the street, bringing visual story from the last 40 years of graffiti and Street Art alive in a space that once housed a city library across from the Museum of Modern Art on 53rd Street.  Like the real shows we follow on the public thoroughfare, this one is also open 24 hours a day.

brooklyn-street-art-907-crew-sadue-gen2-oze108-droid-goya-ufo-jaime-rojo-pantheon-03-11-web-1907 Crew. Sadue, Gen2, Oze108, Droid, Goya, UFO “907 Was an Inside Joke” Detail (Photo © Jaime Rojo)

An ambitious project spearheaded by Daniel Feral and Joyce Manalo, PANTHEON is truly grassroots, an academic and historic presentation by people who love it and study it and create it. Funded by modest personal contributions to their Kickstarter campaign, the show’s mission is to foster future understanding of how graffiti and Street Art has claimed a place as catalyst in the culture through it’s own wild and wooly evolution on the margins and in the mainstream.  A small selection of some of the players on this now global scene, the resulting exhibit aims to be an un-hyped insight into the experience by people who are more concerned with the art than who collects it.

As their media partner, BSA got a behind the scenes peek at many of the pieces that will be shown and here is a photo essay by our own Jaime Rojo. These rich and storied detail shots will hopefully incite your imagination and peak your interest to check out the street show in person.


907 Crew. Sadue, Gen2, Oze108, Droid, Goya, UFO “907 Was an Inside Joke” Detail (Photo © Jaime Rojo)


907 Crew. Sadue, Gen2, Oze108, Droid, Goya, UFO “907 Was an Inside Joke” Detail (Photo © Jaime Rojo)


907 Crew. Sadue, Gen2, Oze108, Droid, Goya, UFO “907 Was an Inside Joke” Detail (Photo © Jaime Rojo)


907 Crew. Sadue, Gen2, Oze108, Droid, Goya, UFO “907 Was an Inside Joke” Detail (Photo © Jaime Rojo)


907 Crew. Sadue, Gen2, Oze108, Droid, Goya, UFO “907 Was an Inside Joke” Detail (Photo © Jaime Rojo)


Infinity. Detail (Photo © Jaime Rojo)


Abe Lincoln Jr.  Detail (Photo © Jaime Rojo)


Adam VOID. Detail (Photo © Jaime Rojo)


Cake. Detail (Photo © Jaime Rojo)


Cake. Detail (Photo © Jaime Rojo)


Cassius Fouler.  Detail (Photo © Jaime Rojo)


Darkclouds.  Detail (Photo © Jaime Rojo)


Ellis G. Detail (Photo © Jaime Rojo)


Faro. Detail (Photo © Jaime Rojo)


Freedom. Detail (Photo © Jaime Rojo)


Matt Siren. Detail (Photo © Jaime Rojo)


OverUnder. Detail (Photo © Jaime Rojo)


John Ahearn. Detail (Photo © Jaime Rojo)


Rigoberto Torres. Detail (Photo © Jaime Rojo)


Jordan Seiler. Detail (Photo © Jaime Rojo)


NohjColey. Detail (Photo © Jaime Rojo)


Quel Beast Detail (Photo © Jaime Rojo)


Royce Bannon. Detail (Photo © Jaime Rojo)


Stikman.  Detail (Photo © Jaime Rojo)


Toofly. Detail (Photo © Jaime Rojo)

A history of art from the streets of New York City

Windows exhibition runs April 2-17, 2011
On view 24 hours a day

chashama at the Donnell
20 West 53rd Street, b/w 5th & 6th Avenue
New York, NY 10019 (across from MoMA)

Saturday, April 2, 4-5 PM


Saturday, April 2, 6-8 PM

* To attend either event, please email or call 646-269-9494. Location details will be announced at the latest by Saturday morning.

Abe Lincoln, Jr., John Ahearn and Rigorberto Torres, Adam VOID, Cassius Fouler, Cake, Darkclouds, Droid, El Celso, Ellis Gallagher, Faro, John Fekner and Don Leicht, Freedom, Gen2, Goya, Groser, Richard Hambleton, infinity, KET, LSD-Om, Matt Siren, NohJColey, OverUnder, Oze 108, Quel Beast, Royce Bannon, Sadue, Jordan Seiler, Stikman, Toofly, UFO, and Vudu.
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Jesus Waves Italy’s Flag in Turin

Street Artist Angel Cruciani Commemorates 150 Years of Italian Unity

This month Italy commemorates 150 years of unification. In March 1861 Turin became the first capital of Italy after the political and social movement known as il Risorgimento brought together most of the city-states from the Italian Peninsula. Rome was not part of this unification as it was still controlled by the Pope as part of the Papal States. In 1871 Rome became the third and last capital city of Italy.

To mark this occasion Italian artist Angel Cruciani has been busy stenciling numerous cities across Italy with a stylized and nationalistic portrait of Jesus, essentially unifying Church and State. Taking it’s cue from narrow facial lines in The Shroud of Turin, the stencil campaign brings the “Jesus Street” project all over Italy’s plazas and main streets.


Angelo Cruciani  (photo © Veronica for BSA)


Angelo Cruciani  (photo © Veronica for BSA)


Angelo Cruciani  (photo © Veronica for BSA)


Angelo Cruciani  (photo © Veronica for BSA)


A negative of the Shoud of Turin from Wikipedia

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Carpet Culture Bombing Presents: Isaac Cordal’s Book “Cement Eclipses, Small Intervention In The Big City” (London, UK)

Isaac Cordal

brooklyn-street-art-isaac-cordal-Cement-eclipses-book-1-webIsaac Cordal …is a sculpture artist from London. His sculptures take the form of little people sculpted from concrete in ‘real’ situations. Cordal manages to capture a lot of emotion in his vignettes, in spite of their lack of detail or colour. He is sympathetic toward his little people and we empathise with their situations, their leisure time, their waiting for buses and their more tragic moments such as accidental death, suicide or family funerals. His sculptures can be found in gutters, on top of buildings, on top of bus shelters – in many unusual and unlikely places in the capital. This book is the first time his images have been shown in together in one book dedicated to his work. Many images never seen before Cordal’s concrete sculptures are like little magical gifts to the public that only a few lucky people will see and love but so many more will have missed. Left to their own devices throughout London Cordal what really makes these pieces magical is their placement. They bring new meaning to little corners of the urban environment. They express something vulnerable but deeply engaging. Left to fend for themselves, you almost want to protect them in some way, or perhaps communicate with them. Of course the 25cm high sculptures of people in everyday poses the artist creates in are not real, are they? Well you’ve opened a whole can of worms with that question. Yes, the little scenes in Concrete Eclipse are somewhat poignant but they do not invite you to weep passively for lost worlds you never knew. They are there to provide a one handed clap to shake you from your reveries and plug you back in to the world. So Cordall’s men in grey are a little message of hope in spite of their forlorn appearance and they are there to remind you that pessimism is not common sense, it’s just pessimism. So make sure you do something inessential today. Go on, the grey men don’t want you to.

brooklyn-street-art-isaac-cordal-Cement-eclipses-book-2To purchase this book click on the Amazon link below:

To purchase the Special Edition (Sculpture and Book) click on the link below:


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Pandemic Gallery Presents: Leon Reid IV: A Decade of Public Art (Brooklyn, NY)

Leon Reid IV

brooklyn-street-art-leon-reidIV-jaime-rojoLeon Reid IV (photo © Jaime Rojo)

Leon Reid IV:  A Decade Of Public Art

Photography, sculpture and drawings exhibiting the span of Leon Reid IV’s public artwork, 2000- present.

On Display:
Sat. April 16 – Sun. May 8, 2011

Opening Reception
Sat. April 16, 2011 7-11pm

‘A Decade Of Public Art’ is Leon Reid IV’s first New York City solo exhibition and features a new public sculpture viewable outside Pandemic Gallery. The show reveals a vast range of unpublished material associated with his well known public artworks. Sketches, maquettes and video footage flesh out works such as “True Yank” the controversial Abraham Lincoln intervention; “Free As A Bird,” a sculpture installed on a prison guard tower; and “The Kiss,” the cherished London installation for which he is most known.  Reid provides a glimpse into his plans for future public works, including his monumental “A Spider Lurks In Brooklyn” project, which recently received Fiscal Sponsorship from New York Foundation For The Arts (NYFA).

Listed as one of the “60 Innovators Shaping Our Creative Future” by Thames & Hudson, Leon Reid IV has been on the edge of public art for over 15 years. He grew up as a traditional graffiti writer (a.k.a VERBS) and quickly developed a knack for unconventional practices such as painting street signs and installing them during daylight disguised as a construction worker. His most famous work of this period is “Verbs St – Oh Yes I Did” a cleverly manipulated subway sign installed in Canal Street station, NYC. His experiments in graffiti lead him to move beyond the genre and pursue site-specific installations under the pen-name Darius Jones. The New York Times featured an article on “It’s All Right”, a subtle contortion of a One-Way sign and a Phone sign creating the illusion that the two are in love. Reid is one of the few artists responsible for introducing sculpture into the language of street-art, his techniques of installation combined with his humorous and romantic themes have made a sizable impact on urban artists of his generation.

Reid’s current work remains sculptural, highly contextualized and is often installed on existing architecture. In Norway, “The Great Recession” features a giant Kilroy-Was-Here styled sculpture hanging over the ledge of a local bank, apparently holding on to his last dollar.  In Brazil, “Bring The House Down” depicts a life-sized human figure made of chain, attempting to uproot the building pillar of a cultural institution. Reid’s latest works add striking visual elements to existing structures, the result of which he considers a true collaboration with the structure’s architect.

At present and through out his career, Leon Reid IV has designed his work to communicate directly with the public at large. He considers every site -be it domestic or international- an opportunity to create work that is meaningful and accessible to the community where it exists.

Leon Reid IV’s work has been exhibited worldwide and featured in publications/media such as: Time Magazine, The New York Times, PBS, BBC, Radio National Australia, Good Magazine, Creative Review, Recharge and The Wooster Collective among others. He co-authored a novel based on his experience in graffiti and street-art “The Adventures Of Darius and Downey” as told to Ed Zipco” Thames & Hudson 2008. Reid holds a B.F.A. from Pratt Institute in Brooklyn, NY, and an M.A. from Central Saint Martins School Of Art and Design in London. He lives and works in Brooklyn, NY.

PANDEMIC gallery
37 Broadway btwn Kent and Wythe
Brooklyn, NY 11211

Gallery hours:
Tues.-Fri. 11-6pm
Sat. & Sun. 12-7pm
closed Monday
or by appointment

L train to Bedford ave, J train to Marcy ave, or Q59 bus to Broadway/Wythe

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New Nomadé for MMXI in Los Angeles

Los Angeles wasn’t built in a day, and either were these pieces by the LA Street Art collective known as Nomadé, who finished work this weekend with “Tertia”, a large scale Roman Warrior looking over his shoulder on a pristine white wall in downtown Los Angeles. brooklyn-street-art-Nomade-tertia-web

“Tertia”  (photo © Nomadé)

Only a couple of years ago Nomadé forged this common character who marches through the detritus of a sometimes crumbling modern Rome, XI torrid years into el siglo XXI. Now in preparation for their upcoming “Sniffin Glue” show at New Puppy they completed wall number IV for the  LA Freewalls project on the corner of 7th and Mateo downtown.

brooklyn-street-art-nomade-la-free-walls-webNomadé for LA Freewalls Project  (photo © Nomadé)


Pepper stops to pose triumphantly with “Tertia”, by Nomadé  (photo © Nomadé)

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Creepy Gets Way Up in NYC

The Australian Street Artist Does a New Wall in Brooklyn (Video)

He calls it narrative-driven character-based folk art, and Street Artist Kyle Hughes-Odgers AKA Creepy has been taking his skinny armed and legged people to walls around the world since he started doing work on the street in 2005. Not uncommon for artists who work on the street, Creepy didn’t initially have any idea how to get his stuff into a gallery so his real audience began when he started hitting walls.  Now New Yorkers are getting a chance to see the tightly droll and clean Creepy aesthetic.

brooklyn-street-art-creepy-jaime-rojo-03-11-web-1Creepy (photo © Jaime Rojo)

Comfortable with tiny canvasses and massive walls installations, the startlingly sane Creepy had a pretty banner year in 2010 with his first solo show at Turner Galleries in his home town of Perth, including over 100 pieces on wood and 8 large works on canvas. He also painted for weeks on a commission for Murdock University’s art collection; a 7 piece project of large panels totalling 150 ft in length (45 meters) when finished. As the year ended he had some fun in Sydney with the Lo-Fi Collective on a show called “Microcosm” with Beastman, Max Berry, and Phibs.


Creepy (photo © Jaime Rojo)

Now he’s in New York for a visit to really get the rhythm of the street, meet cool peeps and hit up walls (and a van) while doing some sight seeing with his lady. Brooklyn Street Art had the opportunity to watch Creepy work with cans last week on a new piece in the BK that speaks of his signature brand of whimsy, and his affinity for textural patterns, symbols, and shapes. Peculiar and blithe, his illustrated characters go solo or hang out in pairs usually, contemplating ennui or maybe heavier thoughts, but somehow you can’t feel too dark looking at the playful juxtapositions and color palettes.


Creepy (photo © Jaime Rojo)

Brooklyn Street Art: Kind of cold up on the roof, no? Were you expecting it to be so cold?
Creepy: Freezing! I couldn’t bend my fingers at the end of the day.

Brooklyn Street Art: What is the inspiration for this piece?
Creepy: Currently my new works are based on ideas of burden, memory and nostalgia. I was trying to show a sinking feeling of lost time or of being somewhere else in your head apart from the immediate reality. I’m thinking of great moments of the past that you could never replicate – that kind of thing.


Creepy (photo © Jaime Rojo)

Brooklyn Street Art: Your sense of color, proportion, and geometry are excellent. Would you describe your style as being illustrative?
Creepy: I’m not sure – color and balance are really important to me. I came from a drawing background but I would rather paint these days. A lot of illustrators seem like painters to me. I don’t know what the different rules are that make you an illustrator or a painter.


Creepy (photo © Jaime Rojo)


Creepy (photo © Jaime Rojo)

Brooklyn Street Art: You like using patterns, and you sometimes you go back replace the pattern on part of the piece with something new. What are you evoking with the mix of shapes and colors?
Creepy: I like the idea that many smaller details (patterns) in life exist individually but make up a much larger picture or story, and each tiny detail is just as important as the next. They need each other to make up the bigger idea – like a city or a personality. Sometimes I replace the pattern while painting if I feel like the color balance is not quite right.

Brooklyn Street Art: We’ve seen a lot of monsters and women in your figurative pieces. Are they favorite topics?
Creepy: I just try to tell stories in my work from ideas and events I have experienced in life. Sometimes those stories need creatures, women and men.


Creepy (photo © Jaime Rojo)


Creepy (photo © Jaime Rojo)

Brooklyn Street Art: Thematically, where do you draw your inspiration?
Creepy: From dreams, memory and the harsh and humorous everyday.

Brooklyn Street Art: How has your visit to New York been? Have you seen any interesting art?
Creepy: It’s been such a great trip and really interesting. Scope/Volta/Armory week was on when I first arrived and I got tickets to those events (thanks to you guys!) which was a rocket launch into the NYC art world. I have seen a lot of inspiring works in galleries and on the street. My friend Sean Morris was in NYC for his show at Bold Hype in Chelsea, so it was great to be able to go to his exhibition as well.


Creepy (photo © Jaime Rojo)


Creepy (photo © Jaime Rojo)

Brooklyn Street Art: You have done tiny little 2 inch square pieces and massive building size mural installations. What size do you prefer to work in?
Creepy: I like working on all scales. It’s nice to get outside and paint massive works and then switch it up and head into the studio and do a small painting with tiny brushes.

Brooklyn Street Art:What are you going to try to do before you leave?
Creepy: Hopefully a couple more paints. I went to a Knicks game the other night so that pretty much made my year – even though they lost.


Creepy (photo © Jaime Rojo)


Creepy (photo © Jaime Rojo)


Creepy (photo © Jaime Rojo)


Creepy (photo © Jaime Rojo)

With a special thanks to Kara Peacock for her time lapse of the installation.

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Images of the Week 03.27.11

Brooklyn-Street-Art-IMAGES-OF-THE-WEEK_05-2010Birdwatching in Central Park is one of the most popular naturalist activities, and Street Art watching is a favorite naturalist activity of cultural soothsayers here at BSA. You never know what kind of plummage or pattern you are going to see as you round the corner of an abandoned lot or rusted doorway. As the geological, political, and economic seasons shift, different birds can be seen in the urban brush – reappearing familiar ones, and new previously unseen. Like an avid birdwatcher, sometimes you can find the name in your guidebook, other times you just note the markings and hope for future clues.

Here is our weekly interview with the street, this week featuring Arms, Jaque Fragua, Marisak, a new kind of Obey, Shin Shin, XAM, and Yatika.

We start with a black and white photo of man wheat pasted next to black graff  on a white wall or was it the other way around?brooklyn-street-art-old-man-jaime-rojo-03-11-webIn either case the resulting dynamic made it look like the installation was intentional and the stark monochromism and subject matter play off one another. (photo © Jaime Rojo)


Marisak (photo © Jaime Rojo)


Arms (photo © Jaime Rojo)


Arms (photo © Jaime Rojo)


Arms (photo © Jaime Rojo)


Shin Shin (photo © Jaime Rojo)


Shin Shin. Detail  (photo © Jaime Rojo)


XAM ‘CSD FEEDING UNIT 1.0’ (photo © Jaime Rojo)


XAM (photo © Jaime Rojo)


Name. Game. Fame. Obey (photo © Jaime Rojo)


Irony. Obey (photo © Jaime Rojo)


Too many conflicting and contradicting messages. (photo © Jaime Rojo)


Yatika Fragua Spring mural. Detail (photo © Jaime Rojo)


Yatika Fragua. Detail (photo © Jaime Rojo)


Jaime Rojo. Untitled (photo © Jaime Rojo)

In memory of Elizabeth Taylor 1932 – 2011

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Overunder & No Touching Ground : Lending a Hand to Japan

Amazing new work has been appearing around New York by Street Artist Overunder for about a year and a half. An illustrator, painter, and text writer – the styles are quite varied and intermixed and the themes are often symbolic, fantastic, and blurred. One recent piece, a large scale realistic collaboration with a street artist named No Touching Ground, is a memo-pad tattooed arm with a short list to accomplish, finished with a cluster of rollup gates. While the wall was permissioned, the rain was not and it complicated matters for the two artists. In fact, weather is always a component in the work of the street.

When describing the new piece, Overunder explains how one must plan for a works degradation when it is created for the street:

“So pre-production consisted of picking out bits and pieces from my sketchbook followed by an impromptu photo shoot of my arm and tattoo. But the real genesis of the piece was admitting it’s faults. Like saying no matter how good the work is it’s still going to chip, still going to tear, and rip, and fade. It’s going to do everything that we’ve become accustomed to when choosing to work outdoors. So the spin was how can we use deterioration to our benefit?

brooklyn-street-art-overunder-no-touching-ground-jaime-rojo-03-11-web-2Overunder and No Touching Ground (photo © Jaime Rojo)

“Helping Hand’ is our hypothesis to what I would call a “slow” painting. Painting, as I’ve always understood, is based on getting to that point when you say, “it’s done, it’s a masterpiece.”  The slow painting anticipates elements of change and works subtractively. So when it starts it’s finished, and then you create layers on top to allow that finale to be postponed.

It was a list of things to do that I wrote on my real hand and then sprayed on this larger-than-life hand. I added a new note on the list: DONATE TO RED CROSS JAPAN. I then left one note undone: PAY RENT. I hoped this subtle prioritizing would get people to question how much they really could help.”


“Lastly I worked on the gates and the names. The longer I’m in NY, the more I’ve become infatuated with roll-up gates and use them in my work, either for imagery or as canvas. The gates are stacked against one another like they are in the city but further abstracted. I then took names of writers; Optimist, Cope, Heart, Give, Host – to be read by writers or non-writers to get two different yet similar perspectives. “


Overunder and No Touching Ground (photo © Jaime Rojo)


Overunder and No Touching Ground (photo © Jaime Rojo)

Following are images of other pieces recently done by Overunder and ND’A.


Overunder and ND’A (photo © Jaime Rojo)


Overunder and ND’A (photo © Jaime Rojo)


Overunder and ND’A (photo © Jaime Rojo)


Overunder next to an old Miss 17 throw up (photo © Jaime Rojo)

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Fun Friday 03.25.11


GAIA in Chicago Tonight

If you blow into Chicago this weekend check out New York Street Artist GAIA’s solo show at Maxwell Colette Gallery, “Resplendent Semblance”


(photo courtesy © of the gallery)

To read more details about the show, time and location click on the link below:


Gaia at work on  “Resplendent Semblance” (photos courtesy © of the gallery)

Celebrate the Rockin Life of Liz Taylor

London Police and David Choe at Eatern District Tomorrow

VIDEO Show at Eastern District in Bushwick Saturday


And if you are in New York this Saturday head over to Eastern District for an Art and Video installation featuring original works by David Choe, The London Police, Franki Chan, Cherly Dunn, Gluekit, Matt Goldman, Cody Hudson & Jared Eberhardt, Mackie Osborne, Souther Salazar, and SSUR

Eastern District

Pop Plus Punk Sunday with Exit Art show at Littlefield in GOWANUS


This Sunday head over to Brooklyn’s Gowanus section for Exit Art’s Pop Art Explosion. A fun group show and punk music  featuring works by Street Artists Tip Toe and Pork among others.

Littlefield NY

Click on the link below to learn more details, time and location of the show;

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Street Artist Tristan Eaton Goes Biblical

Inspired by the Book Of Revelation’s story of the Four Horsemen of the Apocalypse, Brooklyn based Street Artist Tristan Eaton has been laboring with bloody hatchet in one hand and eye-smiting aerosol can in the other for the past three weeks to complete his latest street mural, a heroic tribute to the end of the world. Biblically based work doesn’t hit Brooklyn too much but Tristans’ trysted twist on fantastical End Times titillation might make you think of the interior of a cathedral or of flying buttresses and pointed arches in a revelatory way.

brooklyn-street-art-tristan-eaton-jaime-rojo-03-11-web-2Tristan Eaton (photo © Jaime Rojo)

Comic books and science fiction, particularly the work of Brooklyn native artist and master fantasy creator, Frank Frazetta, are heavy influences on Eaton, who has spent hours pouring over Fazetta’s copious and heroically buffed warriorgoddesses and Keltic conquerors embattled with monsters and space aliens on album covers, book covers, movie posters, and in graphic novels.


Tristan Eaton (photo © Jaime Rojo)

By delving into the mythical worlds of Mr. Frazetta, Tristan found that the already fantastic centerpiece story from the last book in the Bible need not be literally interpreted in his mural. Using the palette established by his neighbors How & Nosm, Eaton uses red, white, black and pale horses to symbolize Conquest, War, Famine and Death, giving the main roles of ushering apocalypse to the ladies instead of the typical males. While there is still work to be done in this grand undertaking, it is evident from Eaton that hot women on horseback will be the harbingers of the Last Judgment. Repent while there still is time.

Mural updates and much gnashing of teeth to follow.


Tristan Eaton (photo © Jaime Rojo)


Tristan Eaton (photo © Jaime Rojo)


Tristan Eaton (photo © Jaime Rojo) Tristan’s piece is next to How and Nosm’s piece created for Contra Projects during Armory Week.


Tristan Eaton. Sketch for the mural (photo © Jaime Rojo)


Tristan Eaton (photo © Jaime Rojo)


Tristan Eaton (photo © Jaime Rojo)


Tristan Eaton (photo © Jaime Rojo)


Tristan Eaton (photo © Jaime Rojo)

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Stolen Space Gallery Presents: Kid Acne “Rhythm Is A Dancer” (London, UK)

Kid Acne
‘Rhythm Is A Dancer’
By Kid Acne
1st – 24th April 2011
Private View Thursday 31st March, 6 – 9pm

StolenSpace Gallery
Old Truman Brewery
E1 6QL
Nearest Tube: Aldgate East
tel: 02072472684
Opening times: Tuesday – Sunday, 11am – 7pm
Admission: FREE

StolenSpace is proud to present a new body of work from renowned UK
street artist Kid Acne. Featuring paintings on board and canvas,
installation work and also the release of a limited edition fanzine
and print.

This exhibition explores the relationship between graffiti and smoking
by way of introducing us to a new set of characters known as ‘Art
Fags’ – a play on words neatly personifying packs of cigarettes. Both
pastimes are seen as rebellious and
cool, which makes them particularly appealing to teenagers. Though
through repetition they become a compulsion, cause serious problems in
our adult life and are “filthy habits” hard to quit.

We can all see the similarities between graffiti and advertising – the
notion of occupying space to promote an idea, brand or individual.
Nowadays however, cigarette advertising is just as outlawed as
graffiti, though at their height of fashion
both were simply seen as the thing to do. Since the smoking ban,
smokers, like graffiti writers have been forced into the streets,
whereas Street Artists are embraced by the galleries and auction houses.

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