That’s why Medicare for All is sounding better every day. It’s so much more obvious as we watch the unfolding disaster in a country that has allowed every aspect of its social net to be sold off to private companies in the last 40 years, turned into for-profit ventures, not service to citizens. Certainly not poor citizens, working poor citizens, non-citizens, middle class citizens.
Graffiti writer Terror 161 favors the digital expression of political critique these days, and he shared this simple image with us yesterday. Since we’re not going outside to capture new Street Art for you, we thought we’d share this visual commentary with you.
Street Artist Jilly Ballistic has long favored face-masks on her black and white photo figures of yesteryear, so it interesting to see this vintage kid incognito in the current context of Coronavirus on the streets of New York. At the very least the mask prevents transmission to some degree, but no one seems to know how much. And what about children?
“If your child is healthy, there is no need for them to wear a facemask,” says the website Center for Disease Control and Prevention. “Only people who have symptoms of illness or who are providing care to those who are ill should wear masks.”
As New York enters its first full day of Pause, or lock-down, the social ramifications of the panicked psyche have all been rivetingly on display.
Todays’ Street Art piece by Pure Genius lampoons the behaviors of people actually fighting one another to greedily horde supplies. The drawback with toilet paper is, it is not food, which may become a much larger topic of interest shortly.
We’re off the street now, the BSA team, as New York City goes into lock-down mode in the face of the global Covid19 virus pandemic.
know that our medical infrastructure will be overwhelmed, because it was broken
apart systematically into a thousand tiny pieces years ago. Unlike centralized
medical care that many other countries have, it has been only available to some
of us and usually at a great cost that outstrips our abilities to provide for
as New York faces the prospect of becoming completely overwhelmed for months,
we see that even basic testing, medical supplies, beds, and personnel cannot be
pulled together fast enough through a decentralized profit-based system. This
isn’t political – this is life. Unfortunately this is also death.
if we do get sick, we’re not even thinking of going to a hospital. If some of
our older friends and relatives get sick, we’re hoping that there will be
enough money and resources to serve their needs. But the signs are not good
here in the country with the highest GDP in the world. Makes you wish there was
Medicare for All right?
So, as long as we’re able, we’re going to publish work from the street. But for the first time since we began publishing 12 years ago, the new shots on the street will also need to come from you – since we are quarantined. Please send us what you see, what you capture – maybe out the window. But don’t put yourself at risk, or others.
Grassroots organizations like Extinction Rebellion have been battling to raise awareness and turn back the tides of disaster in our climate systems, ecological collapse, and loss of biodiversity. But how many listen, and how many bankers and corporations summon the resources that will be necessary to reverse the extinction of species and biodiversity?
As a worldwide virus sweeps through the species, causing a scale of suffering and fear not experienced in a few generations, the topic of our own extinction presents itself boldly and with no opportunity to negotiate.
Enter ROA and his newly opened show which you are able to attend by appointment only, called “Annihilation”.
During his Street Art career of the last decade and a half, his focus has often been on the marginalized and endangered and our culpability – directly as it relates to the animal kingdom but also by extension it is a metaphor for the human condition. Taking extinction one step further, the word annihilation captures the deliberate violent intention behind the killing, decimating, wiping away a record with great finality.
The Ghent based Street Artist and studio artist cannot invite you to the Backwoods Gallery in Melbourne unless it is by appointment, so hostile is the natural world toward our immune systems right now. But he says in his press release that the new show “is ROA challenging us to quietly focus, observe, and investigate nature without the noise of current climate discourse.”
at his collection of images from the animal kingdom rendered in the distinctive
style that he has painted on hundreds of walls across the world, he tells us
that this exhibition is “an invitation to reconnect to nature, to empathize,
and as the dominant species, to recognize that the choice is ours alone to
ensure all of nature’s survival, not just our own.”
Annihilation ROA March 20 – April 05, 2020
Backwoods Gallery 25 Easey St Collingwood Melbourne Australia
“Art is born of the observation and investigation of nature.” − Marcus Tullius Cicero (106 BC ~ 43 BC)
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening : 1. Challenging The Status Quo With Street Art – Blanco
BSA Special Feature: Challenging The Status Quo With Street Art – Blanco
One could argue that the whole modus operandi of Street Art was originally to challenge the status quo, however that is defined. The fact that in recent years banal “Street Art” festivals have cooked that goose and various industry brands have adopted it for a perceived ‘edge’ appeal doesn’t really change our minds about what real Street Art was and is.
Of course the graffiti and Street Art “scene” itself is not free of its own status quo – the need to circle wagons, slamming doors, forming cliques, and keeping gates is perhaps an ironic hypocrisy in a counterculture that prizes itself for bucking these practices, but examples abound.
True to form, Blanco has not pursued slick stardom as a Street Artist per se, and you probably have not heard of him. That’s sort of the way he likes it.
Challenging The Status Quo With Street Art / Blanco / TEDx Coeurdalene
spooky set of images today from València, where an enormous torso of a
woman is set afire in the center of the city, billowing blackened smoke through
its cut severed body upward hundreds of meters into the air.
Only two years ago we gave you stunning photos by Martha Cooper of Okuda’s enormous geometric pop art sculpture aflame for this traditional festival (OKUDA Sculpture Engulfed in Flames for Falles Festival in València). The culmination of a city-wide street celebration that is enjoyed by hundreds of thousands in this city of 2.5 million. Now there is no one outside on Valencia streets.
Spain and most countries in Europe are closing their borders, going into some version of a 24-hour lock-down curfew, encouraging people to self -quarantine to protect against the spread of coronavirus.
Look at the images of the yoga posed woman with a face mask, cut in two, lit on fire, only her shoulders and neck, and head remaining. Is it violent? Is it poetry?
“Suddenly this image became a symbol of peace and calm, unity and solidarity,” says Spanish Street Artist Escif, the political sociologist who often infuses his figurative imagery with greater commentary on society.
Escif tells us that the Valencia government decided to burn just the body of the sculpture and to keep the face with the mask in the square – until this crisis ends. Surrounded by firefighters, this fire goes up. Yet this serene woman will remain after the flame is extinguished, what is left of her.
New walls from Madrid from only a few weeks ago at the Urvanity Festival, before the city became known as a hub for Coronavirus, went on full lockdown – today closing all of its hotels…
We start off the collection with graffiti writer from Montpellier, France named Franck Noto aka Zest. His gestural abstracts are just the kind of bright swipes of energy that capture a commercial market these days, and here he brings those energies to the street as well.
Noto combines the different energies found in Graffiti and brings them
out through the basic shapes and the primary colors he uses. The bright
colors symbolize the aspect of urban art that immediately catches the
eye of passers-by, even before they give a positive or negative opinion
on what they see. As for the transparency of the forms, it reflects an
accumulation of energies and movements.