June 2015

Modern Myths Keep Popping Up On Brooklyn Streets

Modern Myths Keep Popping Up On Brooklyn Streets

MYTH is a perfect name for a street artist, right?

The practice can allow one to be the subject of mythology, or to make stories about other mythological creatures or super/anti heroes. You may wish to deconstruct, critique and parody socio-political or religious mythology and mythological figures. You also get to wear a full body spandex costume and a mask and prance around in alleyways waiting for the plum opportunity to wheat-paste your art, further perpetuating your own myth.

In this case if your name is Myth you actually get to lay down some heavy truths – as delivered by well established names like Spiderman, the Care Bears, Wonder Woman, Elmer Fudd, and Captain America. Lord knows you can probably trust Captain America more than Bank of America. Using the Wu-Tang logo as inspiration for his own, Myth also lets the kids know that he’s probably dope.

And humorous. And absurdist.

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Myth (photo © Jaime Rojo)

“The only way to deal with an unfree world is to become so absolutely free that your very existence is an act of rebellion,” comes from the speech bubble over top the head of Elektra, her victorious arms spread wide, her thunder thighs charging across the wall. French philosopher Albert Camus may not have envisioned his inspirational words to the downtrodden proletariat to have appeared from this superheroine’s mouth, and neither did you.

A socialist revolutionary perverting imagery to sell an idea? Oh, relax, everyone is doing it. In the hands of the state you may call it propaganda. In the hands of industry you might call it something that sounds harmless like advertising. In the hands of the corporate class or the Koch brothers it’s called subverting democracy – or democratic speech.

In a small way his modest interventions are radicalizing this little corner of the street, making synapses fire. The truth is with these unusual pairings of image and text this humorist made you look, and possibly to think about the myths that we have learned, internalized, accepted.

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Myth (photo © Jaime Rojo)

“A nation will not survive morally and economically when so few have so much while so many have so little.”  Myth may have provided us with the first street art piece directly advocating for a presidential candidate in the 2016 election courtesy of this Care Bear quoting Bernie Sanders. Check out the tiny hammer and sickle tattoo on his hip.

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Myth (photo © Jaime Rojo)

Eating animals has ruined my life. I’m 31 years old!” – is a paraphrase from a character on The Simpsons named Hans Moleman, a mole-like man with plenty of bad luck. Veganism is a recurring theme from Myth.

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Myth (photo © Jaime Rojo)

A lyric from “Protect Your Neck” by Staten Island’s Wu-Tang Clan is a perfect blending of Myth’s favorite influencers.

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Myth (photo © Jaime Rojo)

Wonder Woman may have been inspired by the scholar and atheist Meslier, Diderot, or the radical students of the Sorbonne Occupation Committee when she says “HUMANITY WON’T BE HAPPY TILL THE LAST CAPITALIST IS HUNG WITH THE GUTS OF THE LAST BUREAUCRAT.” The helmet at her feet may be a clue.

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Myth (photo © Jaime Rojo)

Who knew Chairman Mao Zedong could be so poetic when giving props to women? From that day forward second class citizenship ended, thanks to Storm from the X-Men.

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Myth (photo © Jaime Rojo)

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Myth being trolled by SheWolf…street fun and games… (photo © Jaime Rojo)

 

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A Community Mural Festival in NYC, Highlights From Welling Court 2015

A Community Mural Festival in NYC, Highlights From Welling Court 2015

An annual mural tradition of non-pretense, New York hosted the 6th Annual Welling Court mural festival this weekend in a working class neighborhood in Queens, thanks to a grassroots couple who hustle to match artists with walls and opportunity. More than a hundred artists, whose styles span the graffiti-urban art-street art spectrum, participate every year in this community event that eschews the creeping fingers of commercial interests and the pontificating tongues of the art critics.

That is not the point here. That’s not why you fell in love with Street Art and the unvarnished expression of the creative spirit.

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LMNOPI. Process shot. (photo © Jaime Rojo)

Thanks to hearty and big-hearted organizers Alison and Garrison Buxton, the selection is as varied as the participants and the neighbors who come out to share home made dishes, music, and personal stories. Invariably the kids are racing around on their bikes and skates, people are meeting artists and posing for selfies, and some of the kids get to try their hand at painting.

So if you want to see what some of the organic art work is on the scene at the moment, walk through this unassuming Queens neighborhood with us and enjoy the real beat of New York. It’s a small selection, but you can get the flavor.

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LMNOPI. Process shot. (photo © Jaime Rojo)

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LMNOPI (photo © Jaime Rojo)

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John Fekner (photo © Jaime Rojo)

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Amanda Marie (photo © Jaime Rojo)

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Icy & Sot. Process shot. (photo © Jaime Rojo)

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Icy & Sot. Process shot. (photo © Jaime Rojo)

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Icy & Sot. Process shot. (photo © Jaime Rojo)

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Icy & Sot (photo © Jaime Rojo)

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XO. Detail. (photo © Jaime Rojo)

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Rubin415 . Joe Iurato (photo © Jaime Rojo)

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Too Fly. Process shot. (photo © Jaime Rojo)

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Too Fly (photo © Jaime Rojo)

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Peace (photo © Jaime Rojo)

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WANE (photo © Jaime Rojo)

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C. Cardinale. Process shot. (photo © Jaime Rojo)

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C. Cardinale (photo © Jaime Rojo)

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Damien Mitchell (photo © Jaime Rojo)

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Queen Andrea . Mick La Rock. Process shot. (photo © Jaime Rojo)

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Queen Andrea . Mick La Rock (photo © Jaime Rojo)

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SHIRO (photo © Jaime Rojo)

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Andy Golub . Leif G. Process shot. (photo © Jaime Rojo)

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Andy Golub . Leif G. (photo © Jaime Rojo)

 

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Olek Patiently Awaits to Erect Rainbow Obelisk in Santiago, Chile

Olek Patiently Awaits to Erect Rainbow Obelisk in Santiago, Chile

“I surprised myself with the patience I had,” Olek tells us about the arduous bureaucratic game of waiting and preparing that she and her team played to get this big phallus up in Santiago de Chile for Hecho En Casa . The Street Artist has taken on ever-larger structures, sculptures, and monuments to transform with crocheted camouflage over the last decade and she specifically chose this one she says because of its shape.

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Olek. “Primavera” Santiago, Chile. May, 2015. (photo © Curro Guerrero)

“I decided to support and draw attention to gay rights by crocheting the obelisk in Santiago de Chile, a gigantic phallic object, covered in my signature rainbow crochet, meant to encourage dialog about human rights and convey the sense of urgency that I feel is needed to help gay people to not feel persecuted.” It’s unclear how much of this storyline the Chilean hosts knew in advance but the skyward pointing obelisk and rainbow sheath was approved before Olek boarded the plane in New York. She learned that permission had been rescinded when she arrived.

Days of drama followed.

Olek delivers a Polish folk axiom: “nie mow ‘hop’ zanim nie przeskoczysz,” which loosely translates as “Don’t count your chickens before they hatch” and that is how she describes the continuous uncertainty she felt concealing the bad news from her small group of assistants who were feverishly preparing for a project. “I was truly sad and devastated but I didn’t want to share the news and my emotions with my crochet team,” about this project.

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Olek. “Primavera” Santiago, Chile. May, 2015. (photo © Curro Guerrero)

Hecho En Casa is an event created by a group of independent artists,” says organizer Felipe Zegers, and because the artists have gained support of government and business to promote cultural tourism, they usually can be persuasive with their track record of more than 50 successful artist installations throughout the city.

It is unclear what exactly stalled the permission for this project that Olek had first conceived of in 2012, but it didn’t help that their trip had begun with a strike by customs workers that held her mountain of crocheted material and yarn hostage.

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Olek. “Primavera” Santiago, Chile. May, 2015. (photo © Curro Guerrero)

“When the materials for Olek were arriving the Chilean Aduna (border) patrol had entered into an indefinite strike and it delayed our project,” says Zegers. “This lead to last minute problems where we had to once again get many people to agree on logistics and dates and to re-coordinate everything days before installation was to begin.”

Four days of cold weather and working on a cold cement floor, and some of Olek’s folks started to feel ill but production continued – as did behind the scenes negotiations. “I kept visualizing how to install this monster piece,” she says with customary gusto – and freely admits she was nervous about whether she could pull it off.

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Olek. “Primavera” Santiago, Chile. May, 2015. (photo © Curro Guerrero)

But she says she kept herself thinking positively, “I knew that when I was ready, the permission would come.” Yet, days passed with foggy answers about whether her piece would be re-approved for installation. Some talk about doing it guerrilla-style even began.

Suitably diplomatic, Mr. Zegers describes the even-handed appeal he uses in smoothing communications. “The best course of action is to try not to step over anyone.  As always we take everyone’s position involved into consideration when trying to resolve any issues.”

“Olek also helped by handing over a bottle of Polish Vodka.”

Of course she did!

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Olek. “Primavera” Santiago, Chile. May, 2015. (photo © Curro Guerrero)

And by ‘hand over’ he means ‘hand over to the mayor in public while cameras were rolling.’

We weren’t surprised to learn that the enterprising dynamo positioned herself along the route of a publicized tour that the Mayor Claudio Orrego was taking. Mr. Orrego was reviewing some of the first installed artworks of the festival and then suddenly there appeared the colorful artist with a bottle of Polish vodka to present to him. It was no plain gift, says Zegers, “It was crocheted of course, and she gave it over to the mayor in a gesture that was well received by everyone – including the press.”

“We traded stories and we laughed,” Olek says, adding, “The press also took pictures.”

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Olek. “Primavera” Santiago, Chile. May, 2015. (photo © Curro Guerrero)

Within a relatively short time the installation was re-approved. “We moved quickly, as the whole project had begun to crumble, and we regained the full cooperation of the National Monuments Council, who unlocked the permits and gave us a letter of support for the project.”

Olek and the team happily agreed to begin it at night. Yes, at night. “We learned that we could do it after midnight,” she says, “as we had to wait until a student strike was over that started in Plaza Italia where the obelisk stands.”

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Olek. “Primavera” Santiago, Chile. May, 2015. (photo © Francesco Garcia)

Eventually installation began at 1:30 in the morning and continued past dawn. “I really had an amazing team,” she says. “We all worked really hard and every person added to the success of this installation.”

“At dawn it was amazing to see the city sky so clean and sunny,” says Mr. Zegers, “the colors shone  brightly and, while it was still cold, the monument looked cozy and warm.  Many people got off the bus to admire it and people started to come at all hours to see the project.

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Olek. “Primavera” Santiago, Chile. May, 2015. (photo © Francesco Garcia)

Lost in the drama may have been the original message Olek had about LGBT rights in society, but the artist prefers to say that it took on an additional meaning for her as a story of perseverance. “With every piece I create I try to bring awareness to various issues around the world, issues that are important to me,” she says. “It’s disturbing that we still have to fight for fundamental human rights today, specifically women’s and gay rights.”

In her reading of works by the Chilean poet Pablo Neruda she took additional inspiration and now thinks of these words when she reflects on the arduous nature of that project and the long path for equality that LGBT people continue to walk along worldwide.

“Podrán cortar todas las flores pero nunca detendrán la primavera.” (They can cut all the flowers, but they never stop the spring.) – Pablo Neruda

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Olek. “Primavera” Santiago, Chile. May, 2015. (photo © Curro Guerrero)

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Olek. “Primavera” Santiago, Chile. May, 2015. (photo © Francesco Garcia)

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Olek. “Primavera” Santiago, Chile. May, 2015. (photo © Francesco Garcia)

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Olek. “Primavera” Santiago, Chile. May, 2015. (photo © Nico Rojas)

 

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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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Personal Touch: Kera in Kardiff Renders 125 Piece Abstract Mural

Personal Touch: Kera in Kardiff Renders 125 Piece Abstract Mural

Berlin’s Kera just finished this 125 piece mural in Cardiff, Wales as a commercial gig for a sports and leisure center building called Stadium Plaza. What is interesting about the project aside from its scale and the repetitive grid of bent iron sheets floating like a fragmented epidermal layer just outside the contiguous surface of the building is Kera’s thought process for creating and executing the job.

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Kera. Kardiff, Wales. June 2015. (photo © courtesy of the artist)

An artist whose work in graphic design contributes to an affection for crisp geometry as it translates into biomorphic shapes, Kera has been studying color, various printing techniques and façade design for a decade and a half. With these curved surfaces he could imagine a greater connection with technology inspired by his study of haptics and the interaction of touch with computer applications, a field that has been pioneered at M.I.T. since the early 1990s.

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Kera. Kardiff, Wales. June 2015. (photo © courtesy of the artist)

“The playground can never be big enough,” he says when talking about this series of screens that he touched with 200 cans of color over 6 14-hour days of work, constantly adjusting stroke and can control according to his distance from the surface and its curvature among other tactile/aesthetic considerations. Abstract and spatial, the muralist sees almost no difference between his physical interaction with design in public art/mural projects and his print and digital work. With this integration of virtual with physical, at least in the thinking and planning stage, one can imagine a true merging of art and technology – perhaps enabling applications such as long distance drone painting from your desk – who knows?

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Kera. Kardiff, Wales. June 2015. (photo © courtesy of the artist)

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Kera. Kardiff, Wales. June 2015. (photo © courtesy of the artist)

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Kera. Kardiff, Wales. June 2015. (photo © courtesy of the artist)

 

To see more work by Kera (Christian Hinz) please go HERE

 

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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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BSA Images Of The Week: 06.14.15

BSA Images Of The Week: 06.14.15

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Hillary Clinton was on Roosevelt Island yesterday formally announcing her candidacy under blue skies with an enthusiastic crowd speaking about income inequality and the poor and sounding more populist than ever. Let’s see if she can stretch the 2 Billion Dollars in donations she is reported to have raised all the way to next November. It all adds up quickly bro, and before you know it, you just blew a billion!

Wonder if she saw the Hot Tea pool while she was there on the island.

This weekend is the annual Welling Court community mural party in Queens. Don’t miss it. Run on almost no budget it features over a hundred muralists who always dig the friendly neighborhood vibe thanks to organizers Alison and Garrison Buxton.

And of course we are seeing a lot of new dope stuff on the streets…

Here’s our weekly interview with the street, this week featuring Brolga, Chris RWK, Dasic, Esteban Del Valle, James Bullough, Joe Iurato, Logan Hicks, Owen Dippie, Paper Skaters, QRST, Ramiro Davaro-Comas, Rubin415, SheWolf, Sonni, Tats Cru, Wing, and WK Interact.

Top image above >>> Paper Skaters upping the game (photo © Jaime Rojo)

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Paper Skaters (photo © Jaime Rojo)

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New Zealander Owen Dippie has a small show at Low Brow Artique Gallery and though we don’t feature gallery images too often, this painting seems like something you would like. His marriage of Raphael and Haring is a bit of mashup genius; a Renaissance Madonna and Radiant Baby. (photo © Jaime Rojo)

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Owen Dippie at Low Brow Artique Gallery. Show is now open to the general public. (photo © Jaime Rojo)

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James Bullough for Sugarlift Studios. (photo © Jaime Rojo)

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WK Interact is back on the street this week showing you his nunchucks. (photo © Jaime Rojo)

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WK Interact with Vandalog’s Caroline Caldwell as muse. (photo © Jaime Rojo)

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Esteban Del Valle does a piece named “real estate” for Sugarlift Studios, presumably in reference to the value his work is adding to the building and the neighborhood. (photo © Jaime Rojo)

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QRST  has a few new endangered (extinct?) anthropocenes on the street, along with some burnt real estate. (photo © Jaime Rojo)

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QRST (photo © Jaime Rojo)

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Tats Cru for The Bushwick Collective. (photo © Jaime Rojo)

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Wing (photo © Jaime Rojo)

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Soni for Sugarlift Studios. (photo © Jaime Rojo)

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Joe Iurato updates his son’s portrait with Logan Hicks providing patterned background for The Bushwick Collective. (photo © Jaime Rojo)

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SheWolf (photo © Jaime Rojo)

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Dasic for The Bushwick Collective (photo © Jaime Rojo)

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Ramiro Davaro-Comas for Sugarlift Studios. (photo © Jaime Rojo)

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Brolga (photo © Jaime Rojo)

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Rubin415 for Sugarlift Studios. (photo © Jaime Rojo)

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Artist Unknown (photo © Jaime Rojo)

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Chris – Veng . Roborts Will Kill for Sugarlift Studios. (photo © Jaime Rojo)

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Untitled. Coney Island, NYC. June 2015. (photo © Jaime Rojo)

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Coney Art Walls: Gypsies, Stallions, Mermaids, and Pop Optics! Update IV

Coney Art Walls: Gypsies, Stallions, Mermaids, and Pop Optics! Update IV

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Miss Van. Detail. (photo © Jaime Rojo)

Coney Art Walls continues to take shape before your lying eyes, ladies and gentlemen, snake oil salesmen, and painted ladies in fishnet stockings. Watch now as our intrepid camera wielding high wire walker slithers upward into the sky for his shot!

Constantly risking absurdity
and death

whenever he performs
above the heads
of his audience
the poet like an acrobat
climbs on rime
to a high wire of his own making.

~ Lawrence Ferlinghetti

In this amazing expanding collection you can see that the history and legacy of the location is clearly inspiring many of the artists who painted this week. From Miss Van’s “Gypsy With Stallions” to Aiko’s multi-ethnic mermaids to Jason Woodside’s clown-car of pop-optic patterning to Kenny Scharf’s amorphous fun-house characters, Buff Monster’s melty ice cream, and Ron English’s mutated funny/frightening grinning cartoon characters…this weeks additions are giving the place a cheerfully happy and vaguely creepy magic vibe.

One more week of this painting madness and many surprises are just behind this velvet curtain, Ladies and Germs.

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Miss Van (photo © Jaime Rojo)

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Miss Van (photo © Jaime Rojo)

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Miss Van (photo © Jaime Rojo)

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Miss Van (photo © Jaime Rojo)

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Jason Woodside (photo © Jaime Rojo)

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Jason Woodside (photo © Jaime Rojo)

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Jason Woodside (photo © Jaime Rojo)

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Jason Woodside (photo © Jaime Rojo)

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Kenny Scharf (photo © Jaime Rojo)

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Aiko (photo © Jaime Rojo)

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Aiko (photo © Jaime Rojo)

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Aiko (photo © Jaime Rojo)

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Aiko (photo © Jaime Rojo)

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Ron English (photo © Jaime Rojo)

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Ron English (photo © Jaime Rojo)

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Ron English (photo © Jaime Rojo)

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Ron English (photo © Jaime Rojo)

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Buff Monster (photo © Jaime Rojo)

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Buff Monster (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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BSA Film Friday: 06.12.15

BSA Film Friday: 06.12.15

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Our weekly focus on the moving image and art in the streets. And other oddities.

Now screening :

1. Born and Bred: The Rise of Street Art in Bushwick
2. Collettivo FX and Their Enormous Wall in Castellarano
3. Lek and Sowat Make an Art Print
4. TELLAS at Altrove, courtesy @BlindeyeFactory
5. Sh*t Brooklyn People Say

BONUS: FAT JOE Performing Live at Bushwick Collective Block Party 2015 Last Weekend

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BSA Special Feature: Born and Bred: The Rise of Street Art in Bushwick

It’s all about Joe! While you were looking for a brunch spot or a beard wax or simply at your navel, Joe took an opportunity to connect artists with walls and did more for the “scene” in Bushwick than an L Train full of pilgrims ever could. He cleared the way for a slew of local and international artists and writers looking for an opportunity to exercise their creative speech and courted the press with his local native personal story so often that you can imagine a Netflix series will be next.

In our mind, Joe is just a true cultural worker who probably saved many peeps from taking themselves too seriously. There was, no doubt, plenty of Street Art and graff in the neighborhood for years before he started getting walls for artists but this guy more-or-less opened the flood gates that answered a need many had for a welcoming public space to see and discuss art.

There is no actual “collective” unless you think of the collective audience of old-timers, new kids, and tourists who have been able to participate and contemplate and consider the creative spirit that is alive in each of us and on display here in many different iterations. That is who is called the collective WE.

 

Collettivo FX and Their Enormous Wall in Castellarano

This is an actual collective called Collettivo FX (Marco AvantGarde Cavazzoni and Emilio Campana) who slaughtered a wall with animals in the municipality of Castellarano, a town of 13,000 in Northern Italy. The drone cam shots and the sound track by Brian Eno are masterful and mature, adding to the scope of the collective’s undertaking.

Lek and Sowat Show How to Make a Print

Lithography enhanced by hand, this is a mixture of 19th century know-how and contemporary art. If you want to know how an art print is made, now you know.

 

TELLAS at Altrove, courtesy @BlindeyeFactory

You did you see our piece on the Altrove Festival yesterday? – Largely Geometric : Altrove ’15 Delivers Abstract Murals to Catanzaro. If you did you saw the work of Tellas, and this is a spritely video recounting the wall in its creation.

 

Sh*t Brooklyn People Say

Okay before you get your attitude all snarly, this is just one slice of Brooklyn. Brooklyn has something like a hundred languages being spoken on the streets and in the stores and hair salons and funeral parlors and restaurants and 54% don’t even speak English at home. That’s a fact. But this is still funny. One slice. You gotta better video? Send it to us!

BONUS: FAT JOE Performing Live at Bushwick Collective Block Party 2015 Last Weekend

Shot on the street by Christopher Smith. Lean Back!

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Largely Geometric : Altrove ’15 Delivers Abstract Murals to Catanzaro

Largely Geometric : Altrove ’15 Delivers Abstract Murals to Catanzaro

Mural festivals are blanketing towns and cities with works that run the gamut from eye-poppingly stunning to banal and forgettable. The success of the mix is in the hands of organizers, and not surprisingly, there are many audiences to plan for. One strategy to set your festival apart from the teeming pack is to thematically curate your artists selection and the Altrove Festival in Catanzaro, Italy has settled upon abstraction as an aesthetic principle to organize around.

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Ciredz. Altrove Street Art Festival. Italy, May 2015. (photo © @blindeyefactory)

Delighting in shape, form, and myriad manners of deconstruction, Altrove’s invited artists steer clear of the figurative and opt instead for patterns, reductive masking, organic forms sheared and overlayed, translucent polygons, optikal graphics, mise-en-scene illusion, paint-chip mosaics, nostalgic early 3D computer rendered graphics, minimalism, and even full-on Matisse like cut-outs and organic forms occupying gridded blocks of color.

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Ciredz. Altrove Street Art Festival. Italy, May 2015. (photo © @blindeyefactory)

All considered, the collection hangs together quite well – even though the sophisticated mix is spread out. Without pandering to the merely pleasant, it actually hits one of Altrove’s expressed goals, to “make nearly invisible the boundaries between art and architecture, space and place.

Artists include 108, Alberonero, Giorgio Bartocci, Clemens Behr, Ciredz, Erosie, Graphic Surgery, Sbagliato, Sten Lex and Tellas.

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Tellas. Altrove Street Art Festival. Italy, May 2015. (photo © @blindeyefactory)

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Tellas. Altrove Street Art Festival. Italy, May 2015. (photo © @blindeyefactory)

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Clemens Behr. Altrove Street Art Festival. Italy, May 2015. (photo © @blindeyefactory)

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Clemens Behr. Altrove Street Art Festival. Italy, May 2015. (photo © @blindeyefactory)

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Graphic Surgery. Altrove Street Art Festival. Italy, May 2015. (photo © @blindeyefactory)

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Graphic Surgery. Altrove Street Art Festival. Italy, May 2015. (photo © @blindeyefactory)

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108. Altrove Street Art Festival. Italy, May 2015. (photo © @blindeyefactory)

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108. Altrove Street Art Festival. Italy, May 2015. (photo © @blindeyefactory)

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108. Altrove Street Art Festival. Italy, May 2015. (photo © @blindeyefactory)

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108 . Graphic Surgery. Altrove Street Art Festival. Italy, May 2015. (photo © @blindeyefactory)

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108 . Graphic Surgery. Altrove Street Art Festival. Italy, May 2015. (photo © @blindeyefactory)

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108. Altrove Street Art Festival. Italy, May 2015. (photo © @blindeyefactory)

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Sbagliato. Altrove Street Art Festival. Italy, May 2015. (photo © @blindeyefactory)

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Sbagliato. Altrove Street Art Festival. Italy, May 2015. (photo © @blindeyefactory)

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Sbagliato. Altrove Street Art Festival. Italy, May 2015. (photo © @blindeyefactory)

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Erosie. Altrove Street Art Festival. Italy, May 2015. (photo © @blindeyefactory)

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Erosie. Altrove Street Art Festival. Italy, May 2015. (photo © @blindeyefactory)

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Bartocci. Altrove Street Art Festival. Italy, May 2015. (photo © @blindeyefactory)

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Bartocci. Altrove Street Art Festival. Italy, May 2015. (photo © @blindeyefactory)

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Alberonero. Altrove Street Art Festival. Italy, May 2015. (photo © @blindeyefactory)

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Alberonero. Altrove Street Art Festival. Italy, May 2015. (photo © @blindeyefactory)

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Tellas . 108. Altrove Street Art Festival. Italy, May 2015. (photo © @blindeyefactory)

 

Our sincere gratitude to Giorgio and Lorenzo @BindeyeFactory for sharing their photos exclusively with BSA readers.
Click HERE for more on BlindeyeFactory.

Click HERE for more on Altrove Street Art Festival

 

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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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Lee Quinones : The NYC Graffiti Train Storyteller Tells His Own Story

Lee Quinones : The NYC Graffiti Train Storyteller Tells His Own Story

Never Seen Notebook Drawings and Recent Paintings Span 1975-2015

“It was an identity crisis for youth in NYC in the 1970s,” explains Lee Quinones, the whole subway car “bomber” who claims the mantel of aerosol story teller for NYC’s rolling gallery of public art during that nearly dystopian decade. He is sitting on a folding chair before a small crowd of gallery visitors with Glenn O’Brien talking about his youthful creative process during a time when New York was seething with raw emotion, roiling in an identity crisis of its own with social, political, and economic issues all contributing to a perception of pending anarchy.

The occasion is the end of his current show that includes work from two distinct periods: now and 40 years ago. Witnessing one clearly informs your understanding of the other.

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Lee Quinones (photo © Jaime Rojo)

“I’m a recovering graffiti artist,” the dynamo LEE likes to say with a wink, and signs of his addiction are framed around the unpolished Chinatown pop-up space to help you see how deep the scars are. Pulled directly from home sketchbooks done in 1975 at the age of 15, these original drawings, some nearly four feet across, belie the level of manic dedication and wizardry his illegal storytelling required in those rusted screeching halcyon days when graffiti tags began to metamorphose into the representational and a certain wilder style.

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Lee Quinones (photo © Jaime Rojo)

With personal graffiti influencers on the street like the expressionistic Cliff 159 and the pop-painting Blade lighting his way, LEE says he was searching for a way to break out of the “alphabet soup” of the prevailing lettering and tagging that was enveloping trains and subway stations and burning city walls.

“The small umbrella we were under was too small,” he says as he describes the way he tapped into a superheroes’ courage to fly from the housing projects of Lower Manhattan into social and political themes that took him up and down the number 5 subway line; his own publishing platform that reached thousands, probably millions.

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Lee Quinones. Silent Thunder. Whole Car. Detail. 1984 (photo © Jaime Rojo)

“I wanted to create storytelling on the subway. Why not address the civil rights movement?,” he asks and you think immediately of the photos and film you’ve seen of the hand sprayed images and text addressing the Vietnam War, economic inequality, environmental degradation, nuclear annihilation, love, death, longing, community, brotherhood, and Donald Duck. A ninja in the train yards, LEE also was a conscience on the rails.

“I wanted to sarcastically address the doctrine that was being thrown at me,” and he did, often collaboratively with four other writers, forming The Fabulous Five. Over that time he estimates he painted many more than a hundred complete subway cars with characters, scenes and public speeches questioning accepted truths and advocating at least a reexamination of them.

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Lee Quinones (photo © Jaime Rojo)

The show is a rare opportunity to see these works in person, an illuminating collection of detailed sketches, marker drawings, possible titles, poetry, crossed out ideas, musings, and paint lists. Even in his youth LEE was showing his undying commitment to his art and it’s expression, wherever it lead.

“I feel comfortable being uncomfortable,” he says of the winding route over four decades that now includes a very strong studio practice and shows in major institutions and work in significant collections. He says it has brought a desire to simplify. “On canvasses now I want to say more with less.”

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Lee Quinones. Subway Car Montage. Study #2 1980-1983. (photo © Jaime Rojo)

Coupled with a smaller collection of recent works, one large monochrome stylized wall tag, and his newest painting, Golpe de Suerte that includes his mother’s hand-written recipe cards and lists collaged and spelling out “amor”, this is a personal show not likely to be seen again.

Including his mother and her lettering style completes a cycle; that’s the same ‘mom’ to whom he dedicated in aerosol many of his trains in the late 1970s and early 80s. Considered as a whole, this show captures a passionate imagination that is still on fire, tempered by experience. Looking at it all, free from the hype, this is the kid who you hoped you would find.

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Lee Quinones (photo © Jaime Rojo)

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Lee Quinones. Crossing Delancy (Basquiat at the Clarinet). 2014. (photo © Jaime Rojo)

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Lee Quinones. The Fabulous 5. 1976. (photo © Jaime Rojo)

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Lee Quinones. In The Yards. Color palette list. 1982. (photo © Jaime Rojo)

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Lee Quinones. Untitled. 1980 (photo © Jaime Rojo)

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Lee Quinones. Golpe de Suerte. 2013-2014 (photo © Jaime Rojo)

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Lee Quinones. Golpe de Suerte. Detail. 2013-2014 (photo © Jaime Rojo)

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Lee Quinones. Golpe de Suerte. Detail. 2013-2014 (photo © Jaime Rojo)

 

For more information please contact Nicole Klagsbrun Gallery.

 

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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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This article is also published on The Huffington Post

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Various & Gould Tell a #PublicTale as Scavenger Hunt in Berlin

Various & Gould Tell a #PublicTale as Scavenger Hunt in Berlin

A new elaborate and inventive public art / scavenger hunt installation in Berlin brings you back inside the combined imaginations of Various & Gould, where you must trust them as they lead you along a colorfully quirky and storied path to find their next installment to continue the story. If art is truly a projection of your internal dialogue, Various & Gould must never sleep, or rather, they possible live in a dream-like state.

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Various & Gould: Public Tale in collaboration with Polina Soloveichik. Berlin, 2015. (photo © Various & Gould)

To follow this installation you merely need to stumble upon it on the street and follow the map with directions to the next location. Along the way you are given excerpts from a friendly and riddling tale written to accompany the illustrated collage scenes, which in themselves are each an installation. It helps if you have a sense of adventure, an inquisitive mind, and an afternoon to stroll. It probably also helps if you read and comprehend German, although V&G have thoughtfully translated this story by artist Polina Soloveichik into English.

Gould tells us that it was quite an undertaking to conceive of and create this #PublicTale in studio, and then they had to stick it all up. “It took us seven hours and loads of glue. We were totally exhausted, but happy, when we finished.” They have already been contacted by people who have completed the full hunt, and “So far the pieces and text posters are intact,” he says.

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Various & Gould: Public Tale in collaboration with Polina Soloveichik. Berlin, 2015. (photo © Various & Gould)

The outdoor exhibition is part of a project that V&G completed for BackJumps, a Berlin-based graffiti zine-turned-arts movement that is celebrating 21 years. As part of their new show BackJumps is hosting international and local artists and presenting a series of events this spring/summer that include workshops, lectures, and guided walks, among other activities. Various & Gould had conceived of this project as a public art component of the show and even though they had chosen their ideal locations for the collage illustrations……they confess that they had not actually secured permissions.

“We had chosen the specific spots beforehand and when we went wheat-pasting during day it happened; we encountered people at the locations!” says Various, explaining that they suddenly had doubts about being able to finish. Luckily, they were charming enough to persuade the owners to let them put up their corresponding chapter.

“Three times we had to ask spontaneously to see if it was okay to paste on the respective house/wall/gate, and – to our total surprise – all three times we were given the permission!!” It was a happy ending. Also, says Gould, it was an unusual experience for the duo, “Asking for permission is rather new to us.”

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Various & Gould: Public Tale in collaboration with Polina Soloveichik. Berlin, 2015. (photo © Various & Gould)

One more thing as a point of clarification, and hopefully without spoiling the story or confusing you, dear reader: an actual halted construction project is one of the sites of the art installation and its status as an unfinished project runs parallel to the project in the storyline. Also, the joke told within the story is never revealed, but we have learned that it is actually sprayed upon the wall of that same stalled project. It doesn’t really sound like a “joke” in English; it reads more as a pithy proverb. The text is high upon the side of a building is right next to the famous squat “Köpi”. You can see it also here and here.

Various and Gould have translated it for us.

„Die Grenze verläuft nicht zwischen den Völkern sondern zwischen oben und unten“

or “The border doesn’t run between the nations but between the top and the bottom (or the rich and the poor).

Enjoy this extensive documentation of #PublicTale and check out the hashtag on Instagram.

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Various & Gould: Public Tale in collaboration with Polina Soloveichik. Berlin, 2015. (photo © Various & Gould)

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Various & Gould: Public Tale in collaboration with Polina Soloveichik. Berlin, 2015. (photo © Various & Gould)

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Various & Gould: Public Tale in collaboration with Polina Soloveichik. Berlin, 2015. (photo © Various & Gould)

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Various & Gould: Public Tale in collaboration with Polina Soloveichik. Berlin, 2015. (photo © Various & Gould)

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Various & Gould: Public Tale in collaboration with Polina Soloveichik. Berlin, 2015. (photo © Various & Gould)

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Various & Gould: Public Tale in collaboration with Polina Soloveichik. Berlin, 2015. (photo © Various & Gould)

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Various & Gould: Public Tale in collaboration with Polina Soloveichik. Berlin, 2015. (photo © Various & Gould)

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Various & Gould: Public Tale in collaboration with Polina Soloveichik. Berlin, 2015. (photo © Boris Niehaus)

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Various & Gould: Public Tale in collaboration with Polina Soloveichik. Berlin, 2015. (photo © Various & Gould)

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Various & Gould: Public Tale in collaboration with Polina Soloveichik. Berlin, 2015. (photo © Various & Gould)

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Various & Gould: Public Tale in collaboration with Polina Soloveichik. Berlin, 2015. (photo © Boris Niehaus)

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Various & Gould: Public Tale in collaboration with Polina Soloveichik. Berlin, 2015. (photo © Various & Gould)

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Various & Gould: Public Tale in collaboration with Polina Soloveichik. Berlin, 2015. (photo © Boris Niehaus)

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Various & Gould: Public Tale in collaboration with Polina Soloveichik. Berlin, 2015. (photo © Various & Gould)

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Various & Gould: Public Tale in collaboration with Polina Soloveichik. Berlin, 2015. (photo © Boris Niehaus)

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Various & Gould: Public Tale in collaboration with Polina Soloveichik. Berlin, 2015. (photo © Various & Gould)

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Various & Gould: Public Tale in collaboration with Polina Soloveichik. Berlin, 2015. (photo © Various & Gould)

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Various & Gould: Public Tale in collaboration with Polina Soloveichik. Berlin, 2015. (photo © Boris Niehaus)

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Various & Gould: Public Tale in collaboration with Polina Soloveichik. Berlin, 2015. (photo © Various & Gould)

 

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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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Tuna Hanging By Tail, Heron By a Leg, ROA By a Heart String in Denmark

Tuna Hanging By Tail, Heron By a Leg, ROA By a Heart String in Denmark

Out in the open on an old grain silo in Odense Harbor the urban naturalist ROA has just completed two sides of an enormous former grain silo with suspended fowl and finfish. The hanging animals are a reminder of the wildlife and industry this coastal area of Denmark has been known for historically.

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ROA. Odense, Denmark. June, 2015. (photo © Nicolai Frank)

“The harbor is being converted to a residential area,” says photographer Nicolai Frank, who shares with us these images of the 47 meter high murals. “The building will stay up though as a landmark to remember old industrial times and the main building currently houses temporary exhibitions and music festivals.”

For ROA it is another opportunity, perhaps his largest ever, to draw attention to the often marginalized species we live with, depend on, exploit, and at times celebrate. Here in plain black and white at a scale that can be seen for great distance he reminds viewers of the fish that is now being endangered by commercial over-fishing worldwide as well as a the heralded heron, one of which he saw by a small pond in a park nearby.

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ROA. Odense, Denmark. June, 2015. (photo © Nicolai Frank)

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ROA. Odense, Denmark. June, 2015. (photo © Nicolai Frank)

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ROA. Odense, Denmark. June, 2015. (photo © Nicolai Frank)

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ROA. Odense, Denmark. June, 2015. (photo © Nicolai Frank)

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ROA. Odense, Denmark. June, 2015. (photo © Nicolai Frank)

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ROA. Odense, Denmark. June, 2015. (photo © Nicolai Frank)

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ROA. Odense, Denmark. June, 2015. (photo © Nicolai Frank)

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ROA. Odense, Denmark. June, 2015. (photo © Nicolai Frank)

 

We wish to thank Nicoali for sharing these exclusive photos with us. For more photos on this project please go HERE:

 

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BSA Images Of The Week: 06.07.15

BSA Images Of The Week: 06.07.15

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Brooklyn is in full effect this weekend with Bushwick Open Studios, Coney Art Walls, and the prep for Welling Court and Northside Art Festival beginning already for next. Go out and stroll, get an egg and cheese on a roll, see a piece by Mr. Toll, and smoke a bowl.

Here’s our weekly interview with the street, this week featuring CB23, Forgive, Hellbent, JR, LMNOPI, One Tooth, Pablo Harymbat, Ramiro Davaro-Comas, She Wolf, Specter, Stray Ones, Thievin’ Stephen, Toaster, and Vexta.

Top image above >>> Hellbent (photo © Jaime Rojo)

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Stray Ones (photo © Jaime Rojo)

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Thievin’ Stephen (photo © Jaime Rojo)

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Toaster for The Bushwick Collective. (photo © Jaime Rojo)

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Toaster for The Bushwick Collective. (photo © Jaime Rojo)

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Toaster for The Bushwick Collective. (photo © Jaime Rojo)

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Specter billboard take over in Manhattan. (photo © Jaime Rojo)

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Pablo Harymbat in Buenos Aires, Argentina. June 2015. (photo © Jaime Rojo)

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LMNOPI tribute to the children of Nepal. (photo © Jaime Rojo)

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Ramiro Davaro-Comas (photo © Jaime Rojo)

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Forgive (photo © Jaime Rojo)

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One Tooth (photo © Jaime Rojo)

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Vexta (photo © Jaime Rojo)

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She Wolf (photo © Jaime Rojo)

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CB23 (photo © Jaime Rojo)

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JR (photo © Jaime Rojo)

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Untitled. Coney Island, Brooklyn. June 2015. (photo © Jaime Rojo)

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