August 2017

Christopher Derek Bruno and his 10K SF Color Intervention in Seattle

Christopher Derek Bruno and his 10K SF Color Intervention in Seattle

‘Darkness cannot drive out darkness; only light can do that. Hate cannot drive out hate; only love can do that.’

~Dr. Martin Luther King, Jr.


That’s the quote Seattle’s Christopher Derek Bruno says he kept revisiting during the painting of this new project that fairly washes the hate right out of your heart. We can’t help but be reminded of huge expanses covered in colorful washes by Risk and Shepard Fairey a few years ago in Miami or the massive swimming pool Hot Tea did in New York in 2015.

Christopher Derek Bruno in Seattle for SoDo Track Project. August 2017. (photo © Christopher Derek Bruno)

A private commission for the SoDo Track program, businesses interests invest in public artworks to attract people to this section of the city along a section of light rail and “to address chronic graffiti and beautify the district,” according to the SoDo Business Improvement Area website.

The former industrial sector of mills and manufacturing later turned to warehouses like this before the shipping container industry came along and now the area boasts big box home improvement businesses and a mélange of cross-industry interests – and artists of course.

Christopher Derek Bruno in Seattle for SoDo Track Project. August 2017. (photo © Christopher Derek Bruno)

You may be interested to sit atop one of these rooftops to watch Monday’s solar eclipse, which Seattle is supposed to catch 92% of and while there you may consider that color theory and science also entered into Bruno’s calculation of this piece of public art.

He calls it ‘Exterior Intervention 1 : angle of incidence’ and says that it “is a site specific composition based on the use of light as a means to detect and decipher motion (Red shift / Blue Shift). This common measure for the direction of a galaxy/star/object/particle as it moves through space and time realized in the form of 21 values from blue to yellow, and finally red across the longest side of the site.”

If the science isn’t what impresses you most, consider the quantities: 10,000 square feet of surface, nearly 100 gallons of paint, and 10 days painting on a roof. It will be interesting to see the colors moving here for some time to come.

Christopher Derek Bruno in Seattle for SoDo Track Project. August 2017. (photo © Christopher Derek Bruno)

Christopher Derek Bruno in Seattle for SoDo Track Project. August 2017. (photo © Christopher Derek Bruno)

Christopher Derek Bruno in Seattle for SoDo Track Project. August 2017. (photo © Christopher Derek Bruno)

Christopher Derek Bruno in Seattle for SoDo Track Project. August 2017. (photo © Christopher Derek Bruno)

Christopher Derek Bruno in Seattle for SoDo Track Project. August 2017. (photo © Christopher Derek Bruno)

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BSA Film Friday: 08.18.17

BSA Film Friday: 08.18.17

bsa-film-friday-JAN-2015

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

Now screening :
1. Charlottesville: Race and Terror
2.
“Don’t Be A Sucker”

 

bsa-film-friday-special-feature

BSA Special Feature: “Charlottesville: Race and Terror”

BSA Film Friday has become a popular section on BSA and usually we show 3 or 4 short films from around the world more specifically related to Street Art and the artists work, their process, techniques, influences and inspirations. Today we stay on the street and look at the events recorded live by Vice News and aired on HBO “Charlottesville: Race and Terror.”

What happened in Charlottesville this week will happen again – unless we all do something, small or big, to prevent these deadly, revolting, malignant and cancerous instincts to take society back to times of darkness and misery.

Tens of thousands of soldiers already died fighting against these evils of racism and fascism and the Nazis were defeated with a promise of “never again” to future generations – and an attitude of zero tolerance must exist for persons who move us in that direction again. If we remain silent, impassive and unmoved we’ll likely realize our mistake only when it is too late.

So this documentary is a small sorry window into one aspect of the current state of our nation. The actions and opinions expressed openly and without remorse on our streets speak volumes about us and our society. We often say that “it all comes from the top”. Indeed it does. Encouraged and given permission by their president these individuals decided that it was about time to come out in the open and shout their hatred and threaten others – emboldened by the thought that they have allies in the White House.

Clearly, many of these folks are mislead or have been misinformed. As one commenter on YouTube writes beneath this video “Do they not realize that the actual Nazis killed thousands of American soldiers in WW2 in the name of fascism?”

Today we have in the highest national office a person who looks at the self-described white supremacists who marched with Tiki-torches last Friday night in Charlottesville and sees “very fine people.” Some of us believe that we all have the potential to be good people but we are not used to having presidents who side with those who espouse genocide, fascism, racism – and we know from history what our response must be. No true leader makes a false equivalency by saying there are “very fine people on both sides” when one side is espousing the extermination of others based on religion, race, orientation… what have you.

We return to the motto of the United States: E pluribus unum – out of many, one.

Let’s recognize the humanity in everyone, defend the rights of each of us, and elevate those who honor our motto into our highest offices. Our history demands it, and all people deserve it. We all won’t be rich and famous but we all should aspire to live in peace and harmony with a shared sense of responsibility and to do our jobs with dignity, to drive, to walk the streets, to go out and have fun, to pray and gather and to surf the Internet without fear that we will be attacked or jailed because of the color of our skin, our gender, our sexual orientation or our ethnicity. When it comes to fascism and Nazis and racism, let’s continue to educate ourselves and each other about the clear and present dangers so we can say with complete confidence, “Never Again”.

“Don’t Be A Sucker”

A propaganda film made by the US military has gone viral this week, and even though it was made in 1943 and re-released in 1947, you can see obvious parallels to today.

An anti-fascist film produced  in the wake of WWII, the producers are aiming to deconstruct the politically motivated social engineering of Germany by the Nazi regime.

The older wise man schools the confused younger guy about how Nazi’s split up a country so they could take it over. “We must guard everyone’s liberty, or we can lose our own,” he says. “If we allow any minority to lose its freedom by persecution or by prejudice, we are threatening our own freedom.”

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BD White Flies Into Space With Astronauts for “Love, Loss and Longing”

BD White Flies Into Space With Astronauts for “Love, Loss and Longing”

Street Artist BD White has always been intrigued by the life of astronauts – so much so that he has them tattooed on his arms. Their desire for adventure, the solitude in space, and their storied longings for loved ones far away provide metaphorical  inspiration for this new gallery show that he has been developing for weeks.

BD White. Detail. Spray paint stenciled on wood panel. (photo © Jaime Rojo)

It’s a trip that BD takes through a darkly mysterious, sometimes disorienting, often sparkling world alone – and with you. To prepare for the new space exploration he has resolved to push himself far above where he has gone before to create a new body of work that is the most technically complex he has ever made, using up to 80 layers of cut stencils to create new paintings.

Eager to distinguish his work from others and to challenge himself beyond his comfort level, BD tells us in his Brooklyn studio that he’s learned a lot in this process and he is enamored with a technique of foreshortening the image and mixing the spray paint on the artwork itself, creates depth in the layers, making the image ‘pop’ off of the surface.

In the Street Art game around New York for a relatively short time, his new studio  collection includes 24 original works, 4 original collaboration works, a handful of limited edition screen prints and a statue of an astronaut.

BD White at work on a painting. (photo © Jaime Rojo)

This central new image is one that he’s focused on before: this suited astronaut afloat, tilted at angles in the weightless environment and happily or unhappily disconnected from the earth. With this image in mind, the viewer may gain a better appreciation for the artist, who tells us that his own experience with a broken heart in recent times inspired this theme of “Love, Loss and Longing” – and his prep for the show has proved cathartic, even therapeutic, enabling him to move on.

On a recent evening when we visit his studio BD’s mom and his sister are helping with some stencil production work, clearing the fresh cuttings on the machine cut stencils and silently working while a mid-sized and equally quiet but very friendly orange tabby saunters through the warmly hued space. The feline family member has to be banished from the spraying area and she’s too inquisitive to be easily closed away from the action.

BD White at work on a painting. (photo © Jaime Rojo)

With this many layers of stencils, the labor can be extensive, BD tells us, and he spends a lot of time just cleaning the new cut layers before he can utilize them. Text passages obscured by the new characters are drawn from lyrics of songs that remind BD of love, loss, and longing – but you can tell he’s not singing the blues as he readies for this new solo show at Castle Fitzjohns Gallery on Orchard Street in Manhattan.

Brooklyn Street Art: How would you describe your style and subject matter to a person who hasn’t seen it?
BD White: Recently I’ve had to describe my new work to a lot of people and I’ve been saying “I do paintings of astronauts and women, which sounds strange but I swear they are cool!” But if I were to try to be more eloquent I would say I make extremely detailed stencil paintings of haunting images of astronauts and women about love, loss, heartbreak and longing. Each painting is anywhere from 50 to 80 stencil layers on a bronze patina background.

Brooklyn Street Art: You have done work in studio and on the street, legal, commercial, and illegal. What is satisfying about working on the street? What are you most proud of in this new show?
BD White: What’s satisfying to me about doing work on the street is the immediate connection you get to have with the public. Not everyone goes to art shows, and you might only be doing a couple shows a year even.  So there is a huge amount of people that won’t see your work.  It’s nice to have it on the street to be able to engage those people as well.

BD White at work on a painting. (photo © Jaime Rojo)

It’s always exciting to me when someone new discovers your work during their daily commute and is able to stop and take a photo before moving on with their day. In this new show however, I’m mostly excited to unveil this new body of work.  These paintings are far and above anything I have ever produced before. I really tried to push myself and create the best possible works that I could. I wanted to take stenciling to a level I hadn’t seen before.

I’m one of those artists who gets bored unless I’m growing and making things that are constantly challenging for me. I could never just make one image and repeating it over and over again. What is the point of that? Now I’m not trying to insult anyone when I say this – I’m not referring to any specific artist or anything like that.  Everyone has their own style with creative expression and they create things that work for them and I have no qualms about that. This is just personally how I feel about my own work. I always want to be making newer and better things.

BD White at work on a painting. (photo © Jaime Rojo)

I constantly look back on older works of mine with disgust. I kind of hate everything I’ve made in the past, but that seems to happen every time I make something new. I remember loving the child soldier paintings I had done a couple years ago and thinking these are the best works I’ve made. Now I think they are awful. So I’m really excited to be showing these new paintings and I think I’ve been able to reach new grounds in stenciling, but I bet I’ll think all these painting are trash in a year when I’m making my next series.

BD White at work on a painting. (photo © Jaime Rojo)

Brooklyn Street Art: How has your work changed since you first began stenciling on the street?
BD White: I think my work has grown quite a bit since I first began stenciling on the street. I’m always trying to make bigger and better things. When I first started I was making political images and pretty much just copying Shepard Fairey. I soon learned that not everyone wants political images on their walls or on canvas and although I felt strongly about the politics I was putting forward, it limited my audience.

BD White at work on a painting. (photo © Jaime Rojo)

My goal has always been to make work that can resonate with everyone. I want my work to evoke an emotional reaction from the viewer in one way or another. So I’ve tried to grow and form into my own unique style. I think I’ve finally left behind my copying of Shepard Fairey and have produced works that are completely original to me. A lot of artists paint astronauts, there is nothing original about that, I know.  But I’ve never seen anyone who has done astronauts with women. And none in these haunting poses about love, loss, and longing.

The works and images I’ve made are 100% mine alone.  I draw everything from scratch. I don’t Google source any of my astronauts. There is no reference photo on the Internet for them. I photograph all the women myself but only use that reference in a loose sense. I change a lot from photo to painting. I never want my work to be just a painting of a photograph. I don’t understand the point of that. True art to me is when you can create something that no one else can reproduce. I’m not sure if I’ve reached that stage yet or ever will, but that’s what I’m striving for.

BD White. Detail. Spray paint stenciled on wood panel. (photo © Jaime Rojo)

Brooklyn Street Art: Do you feel connected to Ai Weiwei?
BD White: I made that Ai Weiwei painting about 3 or 4 years ago. I had seen that documentary Never Sorry, which was all about him. I felt strongly on his side since he was fighting for freedom of information and free speech in China. I made that piece to basically show my support and help spread his word. It was when I was doing the super political works. It doesn’t really have anything to do with what I’m making now though.

BD White. Detail. Spray paint stenciled on wood panel. (photo © Jaime Rojo)

Brooklyn Street Art: Spacemen figure into your pieces periodically. How does the image of a astronaut relate to you?
BD White: I use the image of the astronaut for a couple reasons, first to represent men and myself, but more importantly to represent distance and loneliness. The idea that the astronaut is literally not on the planet and is as isolated as one could possibly be – that is what draws me to them. I’ve always been interested in space and science when it comes to astrophysics, I think everyone at one point in their life wanted to be an astronaut. I think it speaks to our instinctual need to explore and expand our horizons. I also just think they look cool- I’m covered in astronaut tattoos.

BD White. Detail. Spray paint stenciled on wood panel. (photo © Jaime Rojo)

BD White. Detail. Spray paint stenciled on wood panel. (photo © Jaime Rojo)

BD White at work on a painting in his Brooklyn studio. (photo © Jaime Rojo)

BD White. Detail. Spray paint stenciled on wood panel. (photo © Jaime Rojo)


BD White “Love, Loss and Longing” exhibition will open this September 7th at the Castle Fitzjohns Gallery in Manhattan. Click HERE for full details.

 

 

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Spidertag’s Electrified Geometry on Beach in Cadiz, Spain

Spidertag’s Electrified Geometry on Beach in Cadiz, Spain

Electrified geometry and abstraction isn’t just for the street anymore, thanks to Spidertag’s vacation at the beach this month. Europeans and their famous vacations during August are always surprising us – by their solidarity as workers to demand those month-long vacations, to the fact that the continent stays drunk for such a long continuous stretch. Just kidding!

Spidertag. Cadiz, Spain. (photo © Spidertag)

Anyway here’s the Spanish Street Artist bringing his work to the beach here in Cadiz in Andalucia in the south of Spain. Always the experimenter, we find him sketching new ideas as night falls on this part of the Mediterranean. Something new perhaps for the oldest city in Europe.

Spidertag. Cadiz, Spain. (photo © Spidertag)

Spidertag. Cadiz, Spain. (photo © Spidertag)

Spidertag. Cadiz, Spain. (photo © Spidertag)

Spidertag. Cadiz, Spain. (photo © Spidertag)

Spidertag. Cadiz, Spain. (photo © Spidertag)

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Jerkface: “Saturday Mornings” Deconstructed, Reconstructed, Repeated

Jerkface: “Saturday Mornings” Deconstructed, Reconstructed, Repeated

“We all draw from memory,” says Futura 2000 in the introduction, “and default to past experiences, finding associations to the various cast of characters. In some cases the faces have been changed to protect the innocent.”

Jerface “Saturday Morning”. Published by Over The Influence. December 2016

A direct link to his childhood and the televised cartoons of Saturday morning, where the majority of cartoons were relegated to appear in the 1970s and 1980s, Street Artist Jerkface recreates and multiplies his associations of happy times full of adventure, mysteries easily solved, crimes categorically punished.

His new book “Saturday Morning” collects the recognizable works of other artists and removes the emotional expressions found in facial features, recombining their other characteristics and playing with their associated resonance.

Jerface “Saturday Morning”. Published by Over The Influence. December 2016

Here are their features, elements from their environment, replicated, recombined, repeated as a pattern – sometimes creating new scenes and storylines. These elements have already been sold, have become familiarized as part of a visual vocabulary in the young minds of millions – a shorthand for action and adventure, comedy and the sunniest denial, simplified and bluntly persuasive interpretations of fundamental good, evil, power, and identity.

Jerface “Saturday Morning”. Published by Over The Influence. December 2016

Somewhere in here is the identity of Jerkface as he remixes the historical, psychological, emotional reverberations of characters made familiar by others, now materials for him to painstakingly paint under layers in studio en route to technical perfection, in aerosol on walls outside for big poppy impact on the passerby.

By dissecting the whole, one wonders what is the source of an images power. By focusing on composition, the initial intentions are edited, certain elements magnified and drawn attention to, others unseen. Here is a chorus of Aladdins, a moshpit of Mickeys, a crowd of Charlie Browns. Once you get used to these rhythmic deconstructions/reconstructions, your Saturday mornings will be forever changed.

Jerface “Saturday Morning”. Published by Over The Influence. December 2016

Jerface “Saturday Morning”. Published by Over The Influence. December 2016

Jerface “Saturday Morning”. Published by Over The Influence. December 2016

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Times of Tumult Personified in Sculpture by Tomasz Górnicki and Chazme

Times of Tumult Personified in Sculpture by Tomasz Górnicki and Chazme

A dramatically posed, sharply suited figure jostles rather elegantly atop a chaotic groundscape, a deconstructed, geometrical plinth that breaks apart underfoot, lifting his arms and contorting his torso to stay upright as he negotiates the troubled terrain.

Chazme and Tomasz Gornicki for UNIQA Art Łódź project in Łódź, Poland. August, 2017. (photo © Michał Bieżyński)

The metal pillar below appears to bend and contort under the figure’s weight, unable to withstand pressure from above, an uneasy weakness beneath. Lofted above the street near the recently refurbished Łódź Fabryczna railway station and able to be seen from a long distance, the new sculpture in Łódź, Poland captures one’s eye and draws you nearer to inspect the near-tumbling man.

Chazme and Tomasz Gornicki for UNIQA Art Łódź project in Łódź, Poland. August, 2017. (photo © Michał Bieżyński)

“Wrong weight”, by sculptors Tomasz Górnicki and Chazme is the sixth in a series of public works around Łódź organized by UNIQA Art Łódź project with Łódź Events Centre. A surprisingly 3-dimensional outgrowth of a successful multi-wall mural program that has brought much attention to the city, you may say that somehow these sculptures contain within them the seeds of Street Art and its discontents.

The “Wrong Weight” title is derived in opposition to the sentiments of permanency and strength expressed by the Roman lyric poet Horace in “Ode 3.30 – More Lasting than Bronze”

Horace, Ode 3.30

Exegi monumentum aere perennnius
regalique situ pyramidum altius,
quod non imber edax, non Aquilo impotens
possit diruere aut innumerabilis
annorum series et fuga temporum.

translated as:

“I have finished a monument more lasting than bronze
and higher than the royal structure of the pyramids,
which neither the destructive rain, nor wild Aquilo
is able to destroy, nor the countless
series of years and flight of ages.”

Chazme and Tomasz Gornicki for UNIQA Art Łódź project in Łódź, Poland. August, 2017. (photo © Michał Bieżyński)

But that is not where we find ourselves now, say the artists of this new sculpture. Rather it is quite the opposite, according to their statement, which we paraphrase here:

“Man and monolith are falling apart in front of our eyes. We do not know whether the base is breaking up causing the fall of the figure, or the figure collapses within itself. the proper mass of its ego absorbed into its surroundings. Both matters interact, one destroying the stability of the other. Impermanence, invalidity, diminishment.”

Chazme and Tomasz Gornicki for UNIQA Art Łódź project in Łódź, Poland. August, 2017. (photo © Michał Bieżyński)


“Wrong Weight” by @chazme718 and @goornicki.tomasz

Location: Łódź Fabryczna station, at Rodziny Poznańskich Avenue
Curator: Michał Bieżyński @lodzmuralsProject: UNIQA Art Łódź
Organizer: @lodzkiecentrumwydarzen
#uniqaartlodz  

 

 

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BSA Images Of The Week: 08.13.17

BSA Images Of The Week: 08.13.17

 

BSA-Images-Week-Jan2015

“I would recommend you take a good look in the mirror & remember it was White Americans who put you in the presidency, not radical leftists,” tweeted David Duke yesterday as #charlottesville, #nazi, #defendcville, and #confederate all trended at the top across the social media platform.

As if Donald ever thinks about those people who marched. Ever.

People marched and bellowed with torches Friday night and with swastika flags on Saturday in Charlottesville; mostly white men and boys encouraged by the Trump/Pence team and all the people who are steering-advising. After a car was driven into the crowd of anti-racists the governor declared a state of emergency.

Racism and other -isms are not new. Neither is how they are being fueled and fanned today.

During these caustically hot summer days in the US almost every opinion expressed is characterized as political rhetoric, thanks to years of televised cable shouting matches. Reasoned discourse with gray areas is strictly verboten. But if you really want to know what is happening, just follow the money. Historians tell us that is the struggle, simplified and bare for the eye to see. Paid-for disinformation and millionaire newsreaders may cloud the view, but that’s what’s happening.

The majority of us are good, even fantastic, people who know somehow we are being ripped off and gradually shoved toward the door. The people have the actual power when they seize it. It just may take an economic collapse.

See any on the horizon?

Thankfully we still have Street Art, right?  There is no doubt that it has already become more political here in the last year and the odds are that it will probably grow louder – as our graffiti and Street Art is always a direct mirror of us.

So here’s our weekly interview with the streets, this week featuringArt Baby Girl, ASVP, Mad Villian, Brolga, Camo Lords, El Sol 25, Gutti Barrios, Raddington Falls, Monsieur Chat, Myth, Pay to Pray, Raemann, Self Master, Stray Ones, and You Go Girl!.

Top image: Gutti Barrios. Placement is key. (photo © Jaime Rojo)

Stray Ones (photo © Jaime Rojo)

You Go Girl (photo © Jaime Rojo)

You Go Girl (photo © Jaime Rojo)

Pay To Pray (photo © Jaime Rojo)

Silence = Death. It was true then and it’s true now…Speak Up! Resist! (photo © Jaime Rojo)

Myth (photo © Jaime Rojo)

Unidentified Artist (photo © Jaime Rojo)

Camo Lords (photo © Jaime Rojo)

Phone booth ad takeover by Art Baby Girl for #artinadplaces (photo © Jaime Rojo)

Mad Vaillan. Even good ‘ole unflappable Mickey has turned sour. (photo © Jaime Rojo)

ASVP (photo © Jaime Rojo)

Brolga sits by a summer stream (photo © Jaime Rojo)

El Sol 25 (photo © Jaime Rojo)

El Sol 25 (photo © Jaime Rojo)

Unidentified Artist (photo © Jaime Rojo)

Raemann (photo © Jaime Rojo)

Self Master (photo © Jaime Rojo)

Raddington Falls (photo © Jaime Rojo)

Unidentified Artist…with guests. (photo © Jaime Rojo)

Monsieur Chat as featured on TBT Instagram from 2006. (photo © Jaime Rojo)

Untitled. Summer 2017. Upstate, NY. August 2017. (photo © Jaime Rojo)

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Fernando Leon Creates “Greediness” for “12 + 1 Project” in Barcelona

Fernando Leon Creates “Greediness” for “12 + 1 Project” in Barcelona

Fresh out of the St. Joost Academy since last summer, the Bogota-born, Netherlands-based illustrator Fernando Leon just spent the first week of August creating this new mural called “Greediness”.

Fernando Leon. “Greediness”. Contorno Urbano “12 + 1” 2017. Barcelona. (photo © Clara Antón)

He’s been getting more of these mural-based opportunities lately, even though he began as a teen doing graffiti and confesses that he hates rules. A fan of day long drawing sessions and traveling, Leon found this project with the 12 + 1 Project outside of Barcelona to be rewarding because he is continuing to expand his vocabulary of characters and styles outside of the letter-forms he did as a teenager – and he wants to do a lot more.

Based on the successes of his commercial projects like beer bottle labels and skateboard designs, the non-stop illustrator and muralist definitely has more walls in his future.

Fernando Leon. “Greediness”. Contorno Urbano “12 + 1” 2017. Barcelona. (photo © Clara Antón)

Fernando Leon. “Greediness”. Contorno Urbano “12 + 1” 2017. Barcelona. (photo © Clara Antón)

 

Fernando Leon. “Greediness”. Contorno Urbano “12 + 1” 2017. Barcelona. (photo © Clara Antón)


For more on Contorno Urbano and the 12 x 1 Project please click HERE. 

For more on Fernando Leon please visit

Instagram: @_fernandoleon
Facebook: www.facebook.com/fernandoleonillustration
Website: www.fernandoleon.nl

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BSA Film Friday: 08.11.17

BSA Film Friday: 08.11.17

bsa-film-friday-JAN-2015

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

Now screening :
1.”6th Street Blow Out” Brian Barneclo
2. Gonzalo Borondo “Cenere” (Ash)
3. ARIA: Gonzalo Borondo 73 Figure Animation
4. Rallitox : Ritual Artistico-Científico Para Acabar Con la Adicción a Los Móbiles

bsa-film-friday-special-feature

BSA Special Feature:”6th Street Blow Out” Brian Barneclo

“The guy in the car is like, ‘Get the fuck out of the way,’ and the guy on the street is like, ‘This is my home, this is where I live.’

A great piece of storytelling from artist Brian Barneclo as he makes observations on his city of San Francisco, his life there, his art. Naturally he has to try to make sense of the voracious market forces of gentrification on the people who get trampled underneath. There only a decade, the muralist and painter feels the rapid change and the violence of forces that radically redefine what neighborhoods were and what they become.

“Push came to shove and my rent got doubled,” he says. Directed by Jeremy McNamara, the tectonic (or in this case TECHtonic) shifts are remarkable and remarkably heartless as Barneclo takes us to this most storied intersection in San Francisco.

 

 

Gonzalo Borondo “Cenere” (Ash)

Borondo keeps it open for you, he provides the stage, the staging area, the proscenium, the altar, the emanating light, the associations and memories you have with your belief system, or lack of one. During his artist residency with residency Pubblica curated by Carlo Vignapiano and Elena Nicolini in May, the Street Artist (among other things) creates a journey as much as a destination in this intimate chapel. The video by Gerdi Petanaj captures this and perhaps a little more.

 

ARIA: Gonzalo Borondo 73 Figure Animation

The video animation of ARIA in collaboration with Studio 56Fili for Altrove Festival is composed of 73 figures photographed at different times of the day to catch different light and then digitally edited to create the movement.

 

 

Rallitox : Ritual Artistico-Científico Para Acabar Con la Adicción a Los Móbiles

First, it would be helpful for you to know that Street Artists and absurdist Rallitox likes to spread confusion. And we have proudly published his street interventions for a number of years.

Secondly, he has some bonified strategies for freeing ourselves from the enslavery of our digital devices.

In this video he presents an artistic ritual to end the addiction to the mobile phone and all the social networks and applications that have you absorbed life. With a few simple steps you can become an independent person free of all ties.

 

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Turbulent Waters In The Black Sea From Jake Aikman in Kiev

Turbulent Waters In The Black Sea From Jake Aikman in Kiev

Getting a feel for dramatically upscaling my process,” says London born Jake Aikman as he brings a foreboding and riling image of the Black Sea to Kiev in the Ukraine. Primarily a studio painter back in Cape Town, South Africa, where he obtained a Masters at Michaelis School of Fine Art, this is his first wall ever, and the emotional drama erupts to the surface in a very public way.

Jake Aikman for Art United Us 2017. Kiev, Ukraine. (photo © Iryna Kanishcheva)

Typically his natural canvasses of sweeping seascapes, remote coastlines, and dense forests are rich but calm, perhaps alluding to something beneath the pacifically ambiguous and scenic tableaux. After nine days in July painting this new wall for Art United Us here in Kiev, Aikman appears to be telling us about an aqueous turbulence gathering and materializing before our eyes, capturing with his layering technique the truly storied spirit of this sea, itself known for a turbulent mixing of two layers.

Jake Aikman for Art United Us 2017. Kiev, Ukraine. (photo © Iryna Kanishcheva)

Jake Aikman for Art United Us 2017. Kiev, Ukraine. (photo © Iryna Kanishcheva)

Jake Aikman for Art United Us 2017. Kiev, Ukraine. (photo © Iryna Kanishcheva)


Learn more about Jake Aikman HERE.

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“The Art Of Writing Your Name” Expands Potential for Both Art & Writing

“The Art Of Writing Your Name” Expands Potential for Both Art & Writing

Niels Shoe Meulman on the cover of The Art Of Writing Your Name by Patrick Hartl & Christian Hundertmark. Publikat Verlags. Mainaschaff, Germany, 2017.

“Writing”, as in the graffiti sense of the word, has become quite tastefully adventurous of late, as calligraffiti pushes and pulls it in height, dimension, finesse. Evolved from our first recorded history, the modern stylizing of the letter form is as fascinating and wild as it is domesticated, the mundanity of your particular tag now veritably swimming in many depths and swirling currents, weaving complex melodies, hitting notes previously unheard.

JonOne The Art Of Writing Your Name by Patrick Hartl & Christian Hundertmark. Publikat Verlags. Mainaschaff, Germany, 2017.

This was inevitable, now that you think of it, this organic and ornate practice of making your mark, and the freedom to explore it came from the street. Mark-making indeed. You can call it “The Art of Writing Your Name,” as have the authors/artists Christian Hundertmark and Patrick Hartl.

Born of many late night talks and collaborative painting sessions together, merging Christian’s abstract graphics and collage with Patrick’s calligraphy and tagging, the two slowly discovered a mutual collection of writers and artists whose work they both admired, a book slowly taking form in their minds. “Our late night sessions also implied long conversations about the evolution of Graffiti to Street Art to urban calligraphy,” the authors say in their preface.

Poesia The Art Of Writing Your Name by Patrick Hartl & Christian Hundertmark. Publikat Verlags. Mainaschaff, Germany, 2017.

Graff writers in the mid 90s Munich scene, both had developed their individual styles beyond the classic street vocabulary, now evermore interested in discovering new materials, forms, processes, influences. Just released this summer, this new collection confidently illustrates what until now may have been evident to only a few; the aesthetics of writing have expanded and permutated far beyond their own roots in graffiti, tattoo, traditional calligraphy.

“Every artist brings a different approach with their calligraphy artwork,” says perhaps the most prominent of the genre today, Niels Shoe Meulman, who blazed into the publishing world with his tome “Calligraffiti” in 2010 after bringing his practice to the street and gallery. “We all come from different experiences and have different things to say.”

SheOne The Art Of Writing Your Name by Patrick Hartl & Christian Hundertmark. Publikat Verlags. Mainaschaff, Germany, 2017.

Indeed the list here includes the literal interpretations to those so far dissembled as to appear purely abstract, the aerosoled, the inked, the drippy, the purely light, the monstrously brushed acrossed floors and rooftops, the molded and bent and aroused into sculpture. Here the letter form is stretched to its limits, far beyond its relevance as part of codified language, more so the malleable warm putty in the hands of the artist, molded and mounted and even mystifying in the service of energy, kineticism, emotion.

“I start with quite randomly placed fat cap tags on the white surface,” says German author/artist Hartl to describe his particular technique, “then I overpaint it like 80% with slightly transparent paint, tag the wall with markers, overpaint that layer again, then I do stickers and posters, rip parts off again, repeat all these steps again and again until I’m happy with the result.”

Said Dokins The Art Of Writing Your Name by Patrick Hartl & Christian Hundertmark. Publikat Verlags. Mainaschaff, Germany, 2017.

Without doubt many will find inspiration in these nearly 300 pages, these insightful interviews with artists like Stohead, Usugrow, Saber, Kryptic, Faust, Carlos Mare, L’Atlas, Lek & Sowat, Poesia, Tilt; the forward by Chaz Bojorquez, the singular, at times stunning, photos and supportive texts.

Made for “graffiti fanatics, hand lettering fans, street art junkies, calligraphy lovers, and type enthusiasts”, co-author Christian Hundertmark edited the respected “Art of Rebellion” series and he knows his audience and this slice of his culture. The 36 artists are not the only ones representing this evolution in calligraphy, but they are certainly some of the finest.

Lek & Sowat The Art Of Writing Your Name by Patrick Hartl & Christian Hundertmark. Publikat Verlags. Mainaschaff, Germany, 2017.

L’Atlas The Art Of Writing Your Name by Patrick Hartl & Christian Hundertmark. Publikat Verlags. Mainaschaff, Germany, 2017.

Tilt The Art Of Writing Your Name by Patrick Hartl & Christian Hundertmark. Publikat Verlags. Mainaschaff, Germany, 2017.

Carlos Mare The Art Of Writing Your Name by Patrick Hartl & Christian Hundertmark. Publikat Verlags. Mainaschaff, Germany, 2017.

Faust The Art Of Writing Your Name by Patrick Hartl & Christian Hundertmark. Publikat Verlags. Mainaschaff, Germany, 2017.


The Art Of Writing Your Name: Contemporary Urban Calligraphy and Beyond by Patrick Hartl & Christian Hundertmark. Publikat Verlags – und Handels GmbH & Co. KG. Mainaschaff, Germany, 2017.

Artists included are Chaz Bojorquez, JonOne, Niels Shoe Meulman, Poesia, Cryptik, SheOne, Said Dokins, Stohead, Usugrow, Patrick Hartl, Lek & Sowat, L’Atlas, Tanc, Mayonaize, Soklak, Mami, Tilt, Blaqk, Soemone, Jan Koke, Jun Inoue, Vincent Abdie Hafez / Zepha, Carlos Mare, Egs, Simon Silaidis, Faust, Luca Barcellona, Bisco Smith, Creepy Mouse, Defer, eL Seed, Rafael Sliks, Saber, Pokras Lampas.

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Spaik Snakes Back to The Tunnel In Ibiza

Spaik Snakes Back to The Tunnel In Ibiza

For the BLOOP Festival in Ibiza this year Mexican artists Spaik swirls around inside a tunnel with a folkloric styled, two fanged, tongue wagging snake, taking advantage of perspective and a unique throughway to add drama to the reptilian slither. If this piece is related to this years  theme of “Changes”, then it looks like Spaik is not feeling very hopeful about upcoming transitions.

Spaik. Bloop Festival 2017. Ibiza, Spain. (photo © Sr. Mini)

It is not his first time at BLOOP, so the creative advertising agency that organizes the annual Bloop, now in its 7th year, must like what Spaik brings to the island in the Mediterranean Sea off the east coast of Spain for this festival that showcases installations, architecture, photography, video mapping, and of course, plenty of parties.

Spaik. Bloop Festival 2017. Ibiza, Spain. (photo © Sr. Mini)

Spaik. Bloop Festival 2017. Ibiza, Spain. (photo © Sr. Mini)

Spaik. Bloop Festival 2017. Ibiza, Spain. (photo © Sr. Mini)

Spaik. Bloop Festival 2017. Ibiza, Spain. (photo © Sr. Mini)

Spaik. Bloop Festival 2017. Ibiza, Spain. (photo © Sr. Mini)

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