“The aim is to create quality shows outside of the conventional art scene, cutting the middlemen, galleries or institutions,” says Axel Void’s mission statement for “Homeless.”
When his Instagram following gets big enough, will he add art websites and magazines to that list of superfluous middlemen/women?
In the meantime, here’s London based filmmaker/vlogger and Radio Juxtapoz co-host Doug Gillen with his take on the “residency” that Void (Alejandro Dorda) hosted this year in Miami during Art Basel. As his craft evolves, more of his subjects are emerging; his languorous takes are fulsome, his pacing creating space.
It’s
a meditation on what “home” means for 15 or so artists who are in Void’s house “to
eat, sleep and create together”. The construction of that phrase suddenly makes
this residency sound a LOT more interesting.
For Axel Voids’ project, the location is North Miami and the temperature is 75 degrees Fahrenheit and the architectural era in the 1920s. From the looks on the face of this crew of international painters, “home” has a lovely barefoot-in-the-grass quality, a sun-drenched smokey Arkestra of soul and silliness.
When you look at these paintings and these people and think of this environment you may ask yourself, “What is home?”
American muralist James Bullough continuously ups his game on canvasses as well, his realism and figurative work slid through the slicer and rearranged with little emotion, a lot of languid style, exquisitely.
He tell us he’s been developing distinctly different styles of painting for the last eighteen months in his Berlin studio and here we share new shots of the works as he prepares for his new show on Leap Day (Feb 29) at Thinkspace in Los Angeles.
We’re pleased that James is sharing these first images with BSA readers – along with a teaser video of the new works in progress.
New brandalism campaign commands attention across 3 Australian Cities at bus stops. They call it #BushfireBrandalism
“We’re not a real group.
There’s no back story, no history, no narrative – it’s a reaction to what’s
just happened,” an anonymous brandalism activist tells us as they describe the
sudden swelling of artists who joined together to take over those outdoor big
illuminated ad kiosks that pepper your walk through public space.
“Sell the water. Dry the
Land. Watch it Burn. Blame Drought,” says one of the boldface headlines on one
bus-stop ad controlled by the ubiquitous street ad purveyor JCDecaux.
“Despite Australia being the driest inhabited continent on earth, the Australian Government continues to sell water to mining companies, large irrigators and foreign corporations. This must not go on. Act now,” says the remainder of the black and white poster before providing a QR code for you to scan in the lower right-hand corner.
“It’s an awareness project. It’s just trying to raise money for a charity but its so much bigger than that,” says one of the organizers. “It’s about having a conversation, changing our habits, becoming more interested in politics, participating.”
With a very loosely organized 41 artists making brand new works that were installed in the last week with the help of about 20 volunteers across three large Australian cities, Sydney, Melbourne and Brisbane, the new messages in these ad spaces are in direct opposition to the coal industry that the current Prime Minister often promotes. There are a number of solutions proposed, and the tenor of urgency varies –but none seem to use particularly offensive imagery.
“Most of these artists have
never had a political bent to their work,” says one person involved in the
video released here today. “So this campaign can be an exercise in new
territory for the artists as well. These are artists who have huge followings
and people look to them as leaders, cultural leaders.”
Indeed, the group says that they have “a combined 700,000 social media following,” and they hope to raise awareness of the underlying causes of the recent unprecedented fires in Australia.
“We do not accept that this
situation is ‘business as usual’, says a statement by the artists. “We are
making these issues visible in our public spaces and in our media; areas monopolized
by entities maintaining conservative climate denial agendas.”
“I think there is something
cool about taking over the bus stop advertising because we’re the home of
Rupert Murdoch and so much of our media and advertising is controlled by News
Corp,” one activist tells us, “and they are not really interested in having
conversations about climate change so it’s a way to put that conversation out
there in public.”
Artists include: Georgia Hill, Tom Gerrard, Sarah McCloskey, Amok Island, Andrew J Steel, Blends, Callum Preston, Cam Scale, Damien Mitchell, Dani Hair, DVATE, E.L.K, Ed Whitfield, FIKARIS, Fintan Magee, HEESCO, JESWRI, Ghostpatrol, Leans, Lluis fuzzhound, Lotte Smith, Lucy Lucy, Makatron, Michael Langenegger, Peter Breen, The Workers Art Collective, Stanislava Pinchuk, The Lazy Edwin, Thomas Bell, Tom Civil, WordPlay Studio, Peter Breen.
Thanks to the many participating artists and creative professionals who chose to remain anonymous, 20 volunteers, MilkBar Print, Brandalism UK , Bill Posters, Sasha Bogojev, Ian Cox, KGB Crew, Public Access, Nicole Reed, Luke Shirlaw, Jordan Seiler, After Midnight Film Co, Everfresh Crew, The Culprit Club, The Peep Tempel, Wing Sing Records, Waste, Adam Scarf, NCCP, Gabby Dadgostar, James Straker, Partier Bresson and Charlotte Pyatt
The ebullient brilliance of the street is what lifts us up in this time of disarray and misdirection. Our collective cognitive dissonance, fed by hired mercenary disinformationists of the oligarchy and their corporate armies, tells us that truth is foggy, or even a lie. No wonder the preponderance of surrealists who are spraying the streets these days. They are merely a reflection of this war on our minds, a war by the way, that you and we are not winning.
Here’s our weekly interview with the street, this week from Miami, and this time featuring A Lucky Rabbit, Bunny M, Caratoes, City Kitty, CRKSHNK, Insomniak Crew, Koalas of NYC, Lauren YS, The London Police, W3r3on3, and Zio Ziegler.
A Street Art mural triptych in the thick of Wynwood, without flourish, with guile.
From Bosch to Beckmann to Bacon the multi-paneled presentation of the barnacled and beatific has commanded the attention of art fans for centuries. Here on a backlot in the swampy section of Miami that’s now known for public painting, we find a trio of uniquely stylized female sitters, one slightly more robotic than her flanks. In a darkly storied and neglected neighborhood now painfully clamoring for attention, it was this partially obscured wall that adroitly captured ours.
Commanding your eyes, and then your
heart, these three hold court in the scruffy sod with complementary hues,
blinkered by a tree that blocks and reveals according to the breeze and the
sun. Calling to mind altar paintings from the Middle Ages as well as pensively
poetic video panels at the Venice
Biennale, this maximizing of an easily overlooked opportunity skillfully attracts
the discerning art fan, leaving you satiated, slightly stirred.