In Miami’s Wynwood District for a handful of days, we weaved through the humid, hot, dirty streets. We captured the chaos of new graffiti bombing, street art murals, stickers, commercial commissions of street artists, bland abstracts on massive facades, billboards posing as street art, and even some yarn-bombing. Every retail store is selling products that have been spray-painted with non-descript cheerful, sticky, drippy, stenciled, ironic messaging.
The construction cranes that soar overhead are nearly grazed by the low-flying 737s streaming to and from the airport, reaching ever higher, foretelling of higher rents and luxury condos. Meanwhile, a guy is pissing on the sidewalk behind a dumpster.
Nighttime escapades include chock-a-block clubs with big-gunned men and ropes out front and hostesses in bras and thongs, teetering on high heels. Because competition among these clubs is thick, they are yelling to you over the gut-thumping Shakira-Bad Bunny-Meghan Thee Stallion remixes blasted out to the street, “No cover charge! 2 for 1 drinks!” and other come-ons. The lines queue for the door with IDs in hand while a police cruiser lurks on the corner, throwing blue and red lights flashing across murals and dazed passersby.
Here’s our weekly interview with the street, this week featuring: 1UP, Blade, Sac Six, Maxi Bagnasco, Terra Armstrong, NB Artistry, XIK, Resko-CMA and VHILs.
Rising above the sticky spray-painted chaos on the first story level of nearly everything else here in Wynwood, you’ll walk by and gaze upward at the newly finished panels of scientifically accurate butterflies by the French street artist Mantra. This is part two of a gig he got with a real estate firm that we caught the first part of just before the New Year. (Mantra Flies High in Wynwood, Miami)
We’ll be sharing some of the street’s visual cacophony with you in future postings, but for today let’s calm our minds to recover from the harsh conflicting messages of raw commerce crashing into the enormous income gaps and class ruptures everywhere else. These butterflies are expertly rendered, preserved for posterity, floating up from the fray – a stolen moment of tranquility that silences the jackhammers and beeping cash registers.
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening: 1. Highlights of Layer Cake Opening “Versus III” at Museum of Graffiti, Miami
BSA Special Feature: Highlights of Layer Cake Opening “Versus III” at Museum of Graffiti, Miami
“Versus III” opened last night to a lively crowd of graffiti and street art, and contemporary art enthusiasts who roamed the museum freely, taking in the new 10-piece exhibition as well as the permanent installations throughout. The contrast between the very educational, historical exhibition and the days-old one just installed by the Munich-based artist duo called Layer Cake was not as pronounced as you may think due to the conscious attention in the museum’s wall text descriptions that recognized the fluid nature of urban arts evolution throughout the last 5+ decades.
Today we have a collection of video outtakes featuring Christian Hundertmark and Patrick Hartl giving verbal descriptions of their process on specific canvasses, selected outtakes from the panel discussion with the museum director, writer, historian, and graffiti encyclopedia Alan Ket and Urban Nation Museums’ Steven P. Harrington before invited guests and 360-degree views of the incredible actual layer cake just before it was cut and served by the artists.
Our special thanks to Alan Ket and co-founder Allison Freidin as our excellent hosts at the Museum of Graffiti and the whole MOG team who were so professional and helpful to us, including but not limited to Alexi, Caroline, David, Caleb, and Jamie. Thank you to all.
Versus Project 3 – Miami Museum of Graffiti
Layer Cake – The Versus Project 3. Miami, Florida. Opens today for the general public. Click HERE for more details, schedules, tickets, etc.
That’s what we found out today when we got a sneak preview of LAYER CAKE at the Museum of Graffiti with Co-founder Alan Ket leading the way. The Munich-based duo landed in Miami last night to attend tonight’s opening in the Wynwood District.
“Versus III” is the latest iteration of this back-and-forth project between Layer Cake and some of the most accomplished and avant-garde names on the European (and American) graffiti/street art scenes. Ket and co-founding partner Allison Freidin and the museum team are hosting the two former graffiti writers Patrick Hartl and Christian “C100” Hundertmark tonight for a special reception in the main gallery. We thought you’d like to see some behind-the-scenes shots of the installation.
Come through tonight for a special talk tonight with Urban Nation’s Steven P. Harrington and Jaime Rojo with the artists about the politics, practices, and possibilities that can pop up when you ship your painted canvas off the someone else and say “do whatever you want to this – and send it back”.
The guys will be showing us photos of the stages of the process and telling the audience how their lives have changed from being graffiti writers to being regarded as contemporary urban artists.
In these shots from Chinatown, New York, some citizens are concerned about what we spend our money on – and probably what is getting missed as well. No new jails, a clever stab at our military-obsessed disaster capitalism, and a meditation on another world we can create.
As the celebrations of the Lunar New Year come to an end on Sunday and the Year of the Rabbit begins its cycle, we’re reminded of the hardships that the Asian Community is experiencing right now.
Hate crimes against our brothers and sisters are being committed at an alarming rate here in NYC and in more cities around the country. Perhaps aided and abetted by the notoriously racist-in-chief Trump, a misled horde of ignorant individuals continue to think that attacking community members is something they must do to vent their anger. More than ever in most people’s memory, the poor and working class are being scammed by political leaders, rapacious corporations, and a media in lambs’ clothing.
While we’re busy fighting each other, they have worked so hard on “both sides” of the aisle for four decades to shred our social net, to decimate even the most basic federal and local benefits that immigrant families and the working poor rightly deserve, abolishing laws that once protected us. Creating distractions is an old and effective trick used for centuries by the people in power to get away with their scams and to cling to power at the expense of those less fortunate. Let’s be clear about this fight.
A great piece by Calicho Art helps drive home the message.
OverUnder and NDA took a trip to CDMX over the weekend and say they “hit the ground running”. The street artists/muralists have been running the streets of various cities over the last 10-15(?) years even though they live in different time zones now (Reno and Philadelphia) and neither are in Brooklyn, as they were when we first met them.
Both surreal in their approaches, their styles complement one another – as you can see by the wheat pastes they put up on the streets in Mexico City. The works take so much effort and planning, a self-authored approach that is unsanctioned and given freely.Their richly alien pieces change everything around them with on-point color stories and carefully rendered mysteries. Without a doubt these new pieces recontextualize their surrounding, causing passersby to perhaps reexamine and reconsider everything nearby; typical business signage, color palettes, textures, and architectural details.
In addition to the smaller street art pieces, Overunder, NDA, and local/international mural talent Eva Bracamontes had time to do a new mural together. Well, 75% of a mural anyway. “One business on the bottom right pulled out on the day of painting, so that is why it’s a weird white box.” Who hasn’t been there? Sudden re-allotment of space aside, the mural is a finely balanced combination of their styles – and completed in record time!
“The icing on the cake was meeting up with the talented and gracious Eva to imagine and paint a 3-story mural in just 10 hours,” says OverUnder, who sends us some pics from the quick trip. OU says he would like to thank the Secretaria de Obras y Servicios de la CDMX for the space, supplies, and support.
End of January, beginning of looking forward to spring. With warmer, wetter weather than we’ve had in years, we also have some plants popping up from the soil that we wouldn’t expect till March or April. This week has been a good show for street art and graffiti, though.
Unfortunately, demonstrations against police brutality have begun here again due to the public release of body cam and surveillance footage in Memphis, Tennesee, on Friday that document police restraining, pepper spraying, tazing, kicking, and punching a young black guy, a citizen, at a suburban intersection. The scene is stomach-turning, devastating to his family, and psychologically damaging to the body politic. Demonstrations in Times Square Friday night were followed by demonstrations in Washington Square Park last night.
Meanwhile, we want to show you some new graffiti and murals and street art from this moment in NYC.
Here’s our weekly interview with the street, this week featuring: You Go Girl, Rero, Huetek, DEK, Leaf, Vojtech Trocha, ZROC, DOLE, Manuel Alejandro/The Creator, Jaye Moon, CNO, Atelier Wand Art, BORU, and BOOG.
In its 10th iteration, the New York City Ballet Art Series continues to deepen and broaden its foundation in the Millenial/Gen Z cultural landscape – this year with a varied program that engages the 20 and 30-somethings with a sincere dedication to reflecting modern culture while respecting the proud heritage of the art form. The Art Series program inaugurated with Brooklyn street art duo Faile a decade ago with great fanfare and some shock for the traditionalists. That relevancy with street culture and a youthful vibe still resonate even as the offerings broaden. Low has always pushed High, as you know, and it was plainly evident Friday night viewing guests and their great variety of fashions and international street flavors – and the drop of pretense in general.
On a cold and grey January Friday night, after a tough week personally, we weren’t even sure if we could leave the apartment and the comfort of cocktails and playlists and pizza or maybe dumplings to celebrate the Lunar New Year. With the promise that art always heals and even has the possibility of transforming you, we headed to Lincoln Center to see the old, the new, and probably the future.
They’ve given up on trying to stop the kids from taking pictures in the grand and sparkling theater, although there are scolding ushers ready to pounce at first sight of a glowing phone screen during the performance. It’s only right since there are about 50 people on the stage vying for your attention after years of preparation – and the glare of a phone in the corner of other people’s periphery is thoughtless. But the varied gauntlet of people in their 20s and 30s in all manner of fashions, skin colors, gait, and body types trouncing up and down the aisles during pauses and intermissions reflected our city today. The trends and the eccentricities on parade were somehow greater than many Manhattan/Brooklyn homogenous rooftop clubs that you’ve seen in recent years, so the NYCB is doing something well to engage with such an audience.
Sure there are the old guard with their annual season passes, and there are a number of red-faced stuffed shirts and power coifs in the offing, but they are just one more costume to add to the New York menagerie around you. The performers on the stage don’t quite reflect the diversity of this audience, but there has been some improvement – a sprinkling of non-white skin tones under the lights. In this respect, the pace of catching up with the new generation is a bit adagio, if you will.
Onstage the traditional elegant played its tale with the futuristic and spare, with curtain calls in between. If you couldn’t find something to love with these ballet dancers and their gorgeous gifts, you are just bitter. The piece de you-know-what of this program that literally startled many was the curtain rising on an actual Marc Chagall the size of the proscenium, or a football field, or your imagination. The darkness lifted the heavy velvet doors to slowly lighten upon the Russian painters’ Firebird without announcement (unless you are one of those people who read the program). There was an audible gasp in the multilayered boxes and across the orchestra seats. Was this an actual Chagall?
The curtain for Igor Stravinky’s The Firebird, by Marc Chagall.
Igor Stravinsky’s The Firebird is more than 110 years old, and this curtain, set, and costume experience debuted in New York’s Metropolitan Opera House in 1945, but clearly, Chagall is timeless in his surreal inventiveness. We’ve legalized pot, and people are now talking about magic mushrooms, and Chagall offers his own fantastical imagery that requires neither to enjoy how untethered one can be to this reality, our constructed one.
He created over 80 costumes, including trippy animals and monsters in thickly rich hues, fabrics, appliqué, and embroidery. The scenes were unveiled with such sweet and creaming dollops that before you knew it, everyone was submerged and swimming in dripping colors, swept along by the diaphanous pageant, the ever-elegant movements and unpredictable treasures buoying this dream. The final scene could easily be from an anime adventure, a metaverse convention, or a CGI-filled cinematic melding of real and conjured. Was this old, or was this leading us into a cosplayed future?
Teresa Reichlen and dancers of NYCB in a previous production of “Firebird.” Photo by Paul Kolnik, Courtesy NYCB.
The afterparty played further with perceptions; the ballet audience poured into the Phillip Johnson-designed lobby with open walkways surrounding it multiple stories into the air, anchored by the amorphous lovers, Elie Nadelman’s two nudes. With bourbons and beers in hand, the bobbing light fixtures dabbed down and up from their cages above us like so many sea creatures at organic intervals. At the same time, DJ Gaspar Muniz playfully danced while lording the turntables and flooding the cavernous space with Brazilian, African, Hip-hoppian, and funktastic clouds of color.
Interrupting the DJ’s sonic reverie briefly, NYC Ballet solo pianists Elaine Chelton and Alan Moverman performed Philip Glass’ Les Enfants Terrible: Elizabeth Chooses a Career on facing pianos. They played in a circle of rapt, appreciative attendees who were buffeted by outer layers of the excited cocktail chatter. The rhythmic, almost hypnotic tones helped us ground ourselves while opening an understanding of the Shylights that were plunging and gently bouncing through space just above our heads. The large-scale installation by Artists Lonneke Gordijn and Ralph Nauta of Amsterdam-based art duo called DRIFT permanently altered the sense of reality that had already been dislodged within the theater, and the booze made sure we never did quite connect with the quotidian worries of the week again.
The final act was a burger and french fries at a glaringly bright and bustling New York diner closer to Columbus Circle. Even then, the lemon meringue pie, coconut cream pie, carrot cake, and five-layered chocolate cake beckoned to passersby like the year 1955. From the rotating rack behind the glass, the desserts’ seductive promised sweetness made us drowsy with dreams of monsters and ballerinas.
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening: 1. Puerto Rican Art in the Wake of Hurricane Maria: EPISODE 1: TERRITORY 2. Puerto Rican Art in the Wake of Hurricane Maria: EPISODE 2: MEMORY 3. Puerto Rican Art in the Wake of Hurricane Maria: EPISODE 3: RESISTANCE
BSA Special Feature: Puerto Rican Art in the Wake of Hurricane Maria
Whitney Museum of American Art. “no existe un mundo poshuracán: Puerto Rican Art in the Wake of Hurricane Maria” is organized to coincide with the fifth anniversary of Hurricane Maria—a high-end Category 4 storm that hit Puerto Rico on September 20, 2017.
The exhibition explores how artists have responded to the transformative years since that event by bringing together more than fifty artworks made over the last five years by an intergenerational group of more than fifteen artists from Puerto Rico and the diaspora.
The following films, organized into three episodes, explore the art and the artists in the exhibition “no existe un mundo poshuracán: Puerto Rican Art in the Wake of Hurricane Maria”.
EPISODE 1: TERRITORY
EPISODE 2: MEMORY.
EPISODE 3: RESISTANCE
“no existe un mundo poshuracán: Puerto Rican Art in the Wake of Hurricane Maria” On view now – April 23, 2023. Whitney Museum of American Art. Click HERE for more details, schedules, tickets, etc.
A very long stream of books replaced the cars here in the Netherlands, thanks to Luzinterruptus, the Madrid-based anonymous collective who have been spreading light and activism for 15 years in cities.
“We used more than 11,000 books,” they tell us of this 10-day trip and installation last fall. The books were donated and in turn, were re-donated to anyone who saw them in the street during the installation.
Pushing the cars aside, the books took the main thoroughfare here, with hundreds of people looking down to peruse the prose, taking a moment to be in the moment. Any remaining books were given to thrift stores.
“We used these books to create a very long stream which was open to the public during the entire day,” say organizers. “When night came, we made ways inside of it so that people could enter the piece and have access to the books to leaf through them and choose those they liked the most to take back home.”
Layer Cake: THE VERSUS PROJECT III / Museum of Graffiti / Miami
The German art duo Layer Cake (aka Patrick Hartl and Christian “C100” Hundertmark) are splashing into Miami next week with a new show at the Museum of Graffiti.
After two successful exhibitions with Urban Nation Museum of Urban Contemporary Art in Berlin, the two former graff writers from Munich are bringing a brand new collection of canvases they have completed with graffiti and street artists from all over the world.
The unique show relies on unspoken communication, with no words exchanged, an aesthetic call and response that pushes each participant to dig deep and rely on their own courage to collaborate. “In this creative, non-verbal dialogue, painterly mosaics of different ideas, styles and working methods were thus created in an associative manner,’ says the press release.
The project is called “Versus” and both Hartl and Hundertmark will attend in Miami Thursday night. New canvases will be on view for the first time. Artists include Layer Cake (Patrick Hartl and Christian Hundertmark aka C100), Akue, Raws, Flying Förtress, Various&Gould, Bond Truluv, ThierryFurger/Buffed Paintings, Arnaud Liard, Rocco & his brothers, Hera & MadC.
BSA will also be there to help launch this exhibition! As ambassadors for Urban Nation, we’re proud to see these collaborations in person and to join museum director Alan Ket and the team to welcome Layer Cake.
Street art welcomes all manner of materials and methods, typically deployed without permission and without apology. This hand-formed wire piece …Read More »
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
