Art Book Review

“Martha Cooper: Taking Pictures” – Sneak Peek at the Book

“Martha Cooper: Taking Pictures” – Sneak Peek at the Book

As we prepare to open the Martha Cooper: Taking Pictures exhibition this weekend, we wanted to let you know that we are publishing a handsome catalogue with UN to accompany the show.

In addition to lush photo spreads of Martha’s documentation over 6 decades, we have essays written by art critic, curator and author Carlo McCormick, UN Executive Director Jan Sauerwald, author and photographer Nika Kramer, author, curator, and Hip Hop historian Akim Walta, National Geographic chief photo editor Susan Welchman, curator of prints and photographs at the Museum of the City of New York Sean Corcoran, and the curators of this exhibition Jaime Rojo and Steven P. Harrington.

The hefty hardcover, a richly illustrated and modernly designed book, is timed for release simultaneously with the exhibition opening this Friday, October 2. In addition to the essays, we have 40 quotes about Martha from her peers, artists, authorities in photography, folklore, graffiti, and Hip Hop, along with long-time friends and her family. The cover of the book features a photograph rarely seen of graffiti writer Skeme train surfing in NYC taken by Martha in 1982. The introductory texts to each of the 10 sections are written by author and curator Christian Omodeo.

At 230 pages, the new book is published by Urban Nation Museum For Urban And Contemporary Art, Berlin, and Steven P. Harrington / Jaime Rojo (BrooklynStreetArt.com). The book will be available for sale at the museum’s gift shop and on view for you to peruse in the Martha Cooper Special Projects room.

Designed by Krimm Studios in Berlin, the project was greatly shepherded by Dr. Anne Schmedding, who edited with us along with Martha. The entire project was carefully managed by the brilliant Christiane Pietsch. Our sincere thanks to everyone who has worked studiously alongside us this year during many Covid-caused complications to produce a handsome tome we can all be proud of.

More about this project in a future posting.

Martha Cooper: Taking Pictures
Curated by Steven P. Harrington and Jaime Rojo

Opening weekend

Opening:

Friday, October 2nd, 2020: 8 – 11 pm

Extended opening hours:

Saturday, October 3, 2020: 10 am – 10 pm

Sunday, October 4, 2020: 10 am – 8 pm

URBAN NATION Museum, Bülowstrasse 7, Berlin-Schöneberg

Livestream Opening Martha Cooper: Taking Pictures

Click HERE for more details about the exhibition.

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ROA “CODEX” Reveals His Wild World Wanderings

ROA “CODEX” Reveals His Wild World Wanderings

Belgium’s ROA, whom we have featured in perhaps 30+ articles, put out his “CODEX” monograph this spring, and while sitting inside your lockdown we thought you would enjoy freeing your mind to travel the world with him.

A gypsy by nature, a naturalist by practice, he has investigated and heralded the animal world, complete with its heartless savagery. Accurately depicting many of the most marginalized and endangered specimens, this uncanny portraitist spooks you with the scale of his animals, draws you in to their presentation without guile.

Willing to let his work do the talking, ROA is still anonymous after more than a decade on the global street art stage. Following his own path, we recognize his achievements here, and wish him good travels wherever he goes.

ROA CODEX. Published by Lannoo Publishers. Tielt, Belgium, 2019.

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Stohead Sends De-Constructed Letterforms Across a Structure : UN “One Wall” Project

Stohead Sends De-Constructed Letterforms Across a Structure : UN “One Wall” Project

Stohead (Christoph Häßler) started writing graffiti at 14 in southern Germany, where he was born, and last month he completed his largest mural in Berlin for UN, three decades after he began.  

Stohead paints a One Wall for Urban Nation Museum in Berlin. (Photo © Nika Kramer)

Exhibiting on canvas for the last two decades in galleries and art fairs, he is an innovator with custom tools and he has mastered his own techniques of deconstructing the letterform, repeating and rolling them in layers behind translucence, complementary waves of motion cascading across, over, and down the wall of this eight-story residential building.

Part of the “One Wall” program at the Urban Nation Museum, Stohead is a calligraffitist of the newer international order, not afraid to experiment and grow, borrow and synthesize in untypical directions. Perhaps its this 6th sense that is causing this new work to slow motorists along Delpzeile 14 in Berlin-Charlottenburg.

Stohead paints a One Wall for Urban Nation Museum in Berlin. (Photo © Nika Kramer)
Stohead paints a One Wall for Urban Nation Museum in Berlin. (Photo © Nika Kramer)
Stohead paints a One Wall for Urban Nation Museum in Berlin. (Photo © Nika Kramer)
Stohead paints a One Wall for Urban Nation Museum in Berlin. (Photo © Nika Kramer)
Stohead paints a One Wall for Urban Nation Museum in Berlin. (Photo © Nika Kramer)
Stohead paints a One Wall for Urban Nation Museum in Berlin. (Photo © Nika Kramer)
Stohead paints a One Wall for Urban Nation Museum in Berlin. (Photo © Nika Kramer)
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Artist Franco JAZ Fasoli Goes “Publico Privado”

Artist Franco JAZ Fasoli Goes “Publico Privado”

Taking a decade long view of your creative life can be astoundingly instructional if you are brave enough; perusing over the body of work that you have taken with eyes focused and blurred may reveal broad outlines and finer features of a creative life-path – a psychological mapping of the inner world and its outer expression with all its impulses, longings, expressions of received truths and newly discovered wisdom.

Publico. Privado. Jaz Franco Fasoli. 09-2019

Franco Fasoli aka JAZ has looked over his last decade (2009-2019) of work as a street artist and fine artist and offers you the opportunity to examine his public and private side as well in this new two-volume compendium. Painting on the streets since the mid-nineties and his mid-teens in his hometown of Buenos Aires, the visual artist knew his path would be a creative one. His family and role models, comprised of well-schooled artists and educators, had provided a foundation of critique and appreciation for him to build upon from the earliest years.

JAZ. Publico. Publico Privado. Jaz Franco Fasoli. 09-2019

Now with many miles of travel on his personal odometer and introduction to greater opportunities and institutions his visual output is here codified, examined, and assessed in printed and bound form, to be respected and valued. As observed in an essay by his street painting compatriot Elian, “Today it is no longer about what physical space we select for each of these terms and their respective experiences, it is about extremely sensitive decisions on what we decide to transport from mental territories to others.”

JAZ. Publico. Publico Privado. Jaz Franco Fasoli. 09-2019

Extremely sensitive is an appropriate descriptor. These massive and fragile and indestructible works all respond to weighty matters of history, struggle, nationalism, mythology, archetypical roles; now mingled uncomfortably with the ethereal nature of modern living that collapses, compresses, cheapens aesthetic values and relationships. Here is adolescence clamoring for maturity, idealism melting with monsters of the imagination, truth abutting uncomfortable irony.

In “Publico: Privado” JAZ has invited you to go on the trip with him. Artist, teacher, and curator Diana Aisenberg writes in her essay, “I imagine the work as a ship, a means of transport, as close to teleportation. It is the one that moves and finds its place, there where it is necessary.”

JAZ. Publico. Publico Privado. Jaz Franco Fasoli. 09-2019
JAZ. Publico. Publico Privado. Jaz Franco Fasoli. 09-2019
JAZ. Publico. Publico Privado. Jaz Franco Fasoli. 09-2019
Franco Fasoli. Privado. Publico Privado. Jaz Franco Fasoli. 09-2019
Franco Fasoli. Privado. Publico Privado. Jaz Franco Fasoli. 09-2019
Franco Fasoli. Privado. Publico Privado. Jaz Franco Fasoli. 09-2019
Franco Fasoli. Privado. Publico Privado. Jaz Franco Fasoli. 09-2019
Franco Fasoli. Privado. Publico Privado. Jaz Franco Fasoli. 09-2019
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“The Street Art Manual”; Rebel Artivism and Good Manners with Bill Posters / Dispatch From Isolation # 34

“The Street Art Manual”; Rebel Artivism and Good Manners with Bill Posters / Dispatch From Isolation # 34

Bill Posters knows his street art and activism history.

From Beuys’ practice of ‘social sculpture’ and John Fekner’s blunt upbraiding of urban planning hypocrisies to AIDS activists using street art to shame government homophobia and the paint-bombing of a Mao portrait that led to the arrest and torture of the artists/activists for counter-revolutionary propaganda, he’ll give you a solid foundation on precedence for this rebellious art life in “The Street Art Manual.”

He also knows how to yarn-bomb.

And myriad other techniques for freelance intervening in city spaces that you own, that all of us own, but which are often commandeered for commercial messages, political propaganda messages, or commercial-political propaganda messages – otherwise known as fascism.

His new book on hacking public space is one of the most instructive, constructive, serious and light-hearted romps through your world with new eyes. He has mastered a balance of educational and fun, sane and irreverent as he takes you methodically with text, photos, and cleanly modern diagrams through practices such as graffiti, stencils, paste-ups, subvertising, large-scale murals, yarn bombing, guerrilla theater, dropping banners, light projections, launching paint projectiles, and mastering aerial art via drone.

One may say that it is a handbook for taking back your voice in a sea of disinformation to advocate for a point of view. But don’t take yourself so seriously, dawg. Also, mind your manners. For being a rule breaker, Bill Posters wants you to be gentlemen and gentleladies and gentlepersons – Don’t just hit the streets as a hormone-fueled dunderhead who rides roughshod over others in a toxic, abusive way.

Check out his list for how to do the most fundamental of forms, graffiti. The “DO” list includes admonitions to “say something more than your name. Stick up for those less privileged”, which may sound like a tear-jerking sermon. But then he also tells you not to bring your cellphone to the train yard, which just seems logical.

In the “DON’T” list he suggests you don’t go into train yards without experienced writers, and he implores aspiring aerosol mark makers to be original, “Focus on developing your own voice and your own style.” In many ways, Bill Posters is the supportive dad you never had, which probably would have helped you avoid this whole vandalism lifestyle to begin with.

But since you are a vandal or are unwittingly breaking some municipality’s law by wrapping a sculpture with crochet to look like a clown, he does offer direct advice on dealing with authorities, knowing your rights, knowing what your options are, and knowing that some times police actually like your art and might let you off if you don’t act like a jerk.  All that said, this book is not about breaking laws, it’s philosophically about reclaiming public space and having a voice in your society.

“Throughout history, people have used creativity to push against conformity in search of experiences that create more meaning,” he says in his introduction. “Street art, and its predecessor, graffiti, are two art forms that do just that.” 

And when doing your subversive or society-saving art installation under cover of night, elsewhere he recommends, “Don’t forget to scope things out and check for onsite security. Dogs are a real issue when you’re stuck on a fence, hanging there like a tasty human sausage.”

The Street Art Manual by Bill Posters. The Street Art Manual new US on-sale date is now Sept. 8th. 2020. Published by Laurence King Publishing Ltd. London, UK. 2020.

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Alice Pasquini – “Crossroads”, The Intersections Between Internal and External

Alice Pasquini – “Crossroads”, The Intersections Between Internal and External

Crossroads, the new monograph from Alice Pasquini is full of the young daring and confident girls and women whom have been traveling with her since she began painting walls around the world two decades ago.

Alice Pasquini “Crossroads” Drago Publisher. Rome, Italy, 2019

Rendered in aqua and goldenrod and midnight, withstanding winds and rains, these figures are willing to be there as a testament to the daily walk through your life. A survey and diary of her works and experiences, her style is more human than international in its everyday appeal, advocacy gently advanced through the depiction of intimate personal dynamics and internal reflection.

Perhaps this quality alludes to the invitation of interaction, the ease of integration with the public space in a way that the cultural norms of her Italian roots influenced her.

“In Rome, where I grew up, everything is urban art. Any little fountain or corner was made by an artist. And there were always a lot of expressions of freedom in this city,” she says in an interview here with writer Stephen Heyman.

Alice Pasquini “Crossroads” Drago Publisher. Rome, Italy, 2019

Alternating between aerosol rendering, ink sketches on paper, and the sharpened portraiture of street stencils in hidden places, Pasquini can distill a moment that is perhaps remarkable, perhaps everyday noblesse.

“I have discovered that art is a universal language,” she says. Working in the streets I have found myself in countless situations, whether exhilarating, educational, or expected. I receive immediate feedback, whether it be surprise, joy or curiosity of the passerby, irrespective of age or culture.”

Alice Pasquini “Crossroads” Drago Publisher. Rome, Italy, 2019

Elsewhere in an essay addressing the still-current imbalance of representation of males and females in the Street Art scene internationally, she speaks of a social aspect to her practice, a fulfillment of her desire to engage and encourage women to be themselves and be present, fully immersed in public life.

“Maybe women are presented with a behavioral model that limits our liberty to be ourselves. They tell us how we should be. By painting the women I see, I try to show to them – like a mirror – what they could be but what they repress. It is an incitement for women to do what they wish to do.”

Alice Pasquini “Crossroads” Drago Publisher. Rome, Italy, 2019

With page after page of images in these Crossroads, the artist presents many people, not unlike herself, and undoubtedly extensions of her.  Tender, confessional, timidly hiding in plain view, these figures are public expressions for introverts, observers and dreamers who must confront the harsh chaos of the metropolis, but who are happier without the tumult and able to conjure beauty without the drama.

Alice Pasquini “Crossroads” Drago Publisher. Rome, Italy, 2019

Longtime stalwart friend, advisor, and manager Jessica Stewart gives readers a warm and close view of the artist and her practice, adding a timbre needed to fully appreciate the work.

“I’ve often remarked to Alice that she’s lucky that she knew what she wanted to do since she was a child. I sometimes think that she doesn’t realize just how rare it is to not only have that calling but to be fearless enough to follow your heart. Through her example, who knows how many others will be brave enough to also take the leap.”

Alice Pasquini “Crossroads” Drago Publisher. Rome, Italy, 2019
Alice Pasquini “Crossroads” Drago Publisher. Rome, Italy, 2019
Alice Pasquini “Crossroads” Drago Publisher. Rome, Italy, 2019
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Various & Gould and a Collaged Human Future:  “Permanently Improvised”

Various & Gould and a Collaged Human Future: “Permanently Improvised”

“Our early conceptions about a future robot world were made from what we knew about automation and mechanics. Thankfully the surrealists and Dadaists were there to help us with flying ships made of tea pots and mystic, amiable metal helpers soldered and screwed together with spare train pistons and kitchen implements. Our helpers were all carefully oiled and pumping, marching in a mathematical concert through dry-ice fog, propelling herky-jerky humanoids up the path to the thoroughly modern world.

Do Rabotniki exist? They are already here. It just took Various & Gould to remind us.”


~ Steven P. Harrington in his essay “A Mixed and Matched Future-Past: Robotiniki” for “Permanently Improvised: 15 years of Urban Print Collage” by Various & Gould


Various & Gould. Permanently Improvised. Editors Various & Gould. Published by seltmann+sohne. Berlin 2019.

The Berlin based Street Art/fine art duo have released a colorful patchwork overview of 8 major campaigns they formulated for the street in the last decade and a half and present their practice in a series of analytical essays ranging by urban/art intellectuals, activists, and experts including Jan Kage, Steven P. Harrington, Toby Ashraf, Alison Young, Luis Muller Phillip-Shohn, Ilaria Hoppe, Anne Wizorek, Mohamed Amjahid, and an illuminating interview with the artists and Polina Soloveichik. The two open their kooky-cryptic inner fantasy world to the reader and to fans who have wondered how their idiosyncratic method works, and what a world of hybrid thought will produce in our future.

Various & Gould. RABOTNIKI. Essay by Steven P. Harrington. Permanently Improvised. Editors Various & Gould. Published by seltmann+sohne. Berlin 2019.

The medium sized hardcover book features instructive and illustrative images of their collaged works placed illegally in the streets, created in studio, presented in the gallery, and in one case, Papier-mâchéd upon public sculptures of Marx and Engels. Intelligent, inquisitive, infused with riddles, the work is delivered with sincere scholarship and humor – even during the process of creation, public interaction, and mid degradation due to the natural elements.

Various & Gould. CITY SKINS. Essay by Jan Kage. Permanently Improvised. Editors Various & Gould. Published by seltmann+sohne. Berlin 2019.

Professor Young discusses V&G’s broken glass abstracts in the context of law reforms that have used the “broken glass theory” as excuse to demean and exploit targeted populations, and Phillip-Sohn looks at their recent bus-stop installation campaign called “Broken Screens” and he observes a fragile technology that, when shattered and inert, “makes us all too tragically aware of how dependent we’ve become on these devices.”

Various & Gould. FACE TIME. Essay by Toby Ashraf. Permanently Improvised. Editors Various & Gould. Published by seltmann+sohne. Berlin 2019.

Viewers get a greater appreciation of the tribe-like mentality humans possess just beneath the veneer of civility – the dry timber only waiting to be sparked into flame.  The “Wanted Witches” campaign placed 13 portraits of people who are framed as modern pioneers in respect to social issues. Painting them with phosphorus and encouraging you to light a match on them takes public interaction beyond the realms we’re familiar with. The carefully planned and executed installation on city streets powerfully presents the saint-like sacrifice of people who push ahead of us, sometimes burned at the stake as witches – whether literally or perhaps via a hostile media and politicized rhetoric.

Various & Gould. BROKEN WINDOWS. Essay by Alison Young. Permanently Improvised. Editors Various & Gould. Published by seltmann+sohne. Berlin 2019.

Up to their elbows in paste, ink, paper, and possibility, at the root of much of V&G’s work is an examination of identity; its malleability, its fluidity, even its perceived relevance in societal strata. The through-line in many projects is apparent in its meditation of our flexible selves: Identikit interchanges personalities and keywords to present tensions and examine associations. St. Nimmerlein mocks the arbitrary power of declaring sainthood with fictional personas who surely don’t deserve it. Face Time is a Dadaist study that combines the likenesses and features of many into implausible yet familiar glitch-humans. The aforementioned and early Rabotniki mixes and matches bodies, parts, genders, classes, and identities in a handmade heart-conscious way.

Spread over a decade and a half many of these projects overlap and recombine, creating and reflecting a global evolution we are undergoing- a convulsive re-examination of nearly everything and everyone. The question they may be asking is, “What is the sorting method we will use to recategorize our social and political groupings?”

Using techniques that are reassuringly un-digital, the stunning power of V&G’s mission, even if subliminal, is its intuitive ability to explain our current state. With subtle nods to robotics, androids, AI, identity politics and our innate human creativity, the duo cannily constructs the present and predicts the future, with a sense of humor that we are going to need.

Various & Gould. BROKEN SCREENS. Essay by Luis Muller Philipp-Shon. Permanently Improvised. Editors Various & Gould. Published by seltmann+sohne. Berlin 2019.
Various & Gould. SAINT NIMMERLEIN. Essay by Ilaria Hoppe. Permanently Improvised. Editors Various & Gould. Published by seltmann+sohne. Berlin 2019.
Various & Gould. WANTED WITCHES / WITCHES WANTED. Essay by Anne Wizorek. Permanently Improvised. Editors Various & Gould. Published by seltmann+sohne. Berlin 2019.
Various & Gould. IDENTIKIT. Essay by Mohamed Amjahid. Permanently Improvised. Editors Various & Gould. Published by seltmann+sohne. Berlin 2019.
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“New Orleans: Murals, Street Art and Graffiti” by Kady Yellow

“New Orleans: Murals, Street Art and Graffiti” by Kady Yellow

With extensive biographies, careful detailed analysis and research, and generous page real estate dedicated to art, artist, and process, “New Orleans: Murals, Street Art, and Graffiti Volume 1” by Kady Yellow is a thorough look at a street scene in one of the US’s most storied cities.

Kady Yellow – New Orleans: Murals, Street Art & Graffiti. Volume One. Self-published. 2019

The author tirelessly documents with a sense of the history while drawing out stories that illustrate the present in a scholarly way. A blend of left and right brained appreciation and analysis, this first project by the young author gives a sense of environment and community as it contributes to the practices of graffiti and art in the streets.

“It became clear that New Orleans has a remarkable new story to tell, a story of its street art scene,” says the author. “In telling that story, I sought to respectfully and delicately collect the history of the art in two neighborhoods of New Orleans by way of research and interviews with the artists themselves.”

With anthropologically framed storytelling applied to a very eclectic selection of art practices and styles, Perry includes personal accounts of aspiration, pragmatic descriptions of craft, and a frank examination technique – all presented within the context of a local story informed by the international one.

Interspersed in the book are school primer features like an urban art terminology glossary, a New Orleans timeline tracing benchmarks in its graffiti/Street Art history, a street mural map, and a number of small essays and media article quotations – each providing one more perspective for examining the nature of this organic people’s art movement. If a city’s graffiti/Street Art scene can be fairly captured in a moment, this book has clearly made it a priority and has more than succeeded.

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Dont Fret: “Life Thus Far” to Be Released

Dont Fret: “Life Thus Far” to Be Released

Nothing to lose your head about, but you’ll be thrilled to hear about the long-anticipated release of the new monograph by the ingenious troublemaker and largely incognito Chicago Street Artist DONT FRET.

Emerging on the streets for a decade or so with painted wit and misshapen characters wheatpasted where you least expect them, he’s the sharp observer and human humorist whose work is as brilliant as your cousin Marlene, as funny as Johnny at the funeral home, as handsome as the guys behind the counter at Publican Quality Meats.

Well, maybe not that handsome.

“This is place-based Street Art, a running commentary on life in this neighborhood that captures the off-the-wall imperfect nature of humans in a pock-marked and still proud American city after capital leaves it, slowly imploding, coasting on fumes, hopefully rallying, quickly stratifying into luxury lofts and the rest of us,” writes Steven P. Harrington in the foreword to this hefty chunk of comedic meat. Peering through these pages, the feeling is inescapable; Somehow you sense like you know DONT FRET’S people – probably because many of them came directly from these streets.

An image by BSA’s Jaime Rojo in DONT FRET’s new book, “Life This Far”, published this December by Schiffer

We wanted you to have an opportunity to take a quick look inside the massive quirky tome yourself, because it is as eclectic and disarmingly insightful as this sidewalk bard and documentarian, and to let you know the book release is in December. Also, DONT FRET’s got a special gig going for its release with a limited edition screenprint and original sketch with signature in the book.

“I think you have to live life like you are invincible,” says the artist on the back cover of Life Thus Far, “but I also think you have to live life understanding that that sort of thinking is a result of a serious psychological disorder.”

We’ll talk to you more about this in a few weeks, and with the artist, and we’ll find out about his circuitous route to the streets of working class Chicago, how a fish rots from the head, the significance of the original Billy Goat on lower Wacker, and why Studs Terkel is more relevant today than ever.

DONT FRET “LIFE THUS FAR” Schiffer Publishing, Atglen, PA. 2019

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“JR: Chronicles” Revels in His Explorations at Brooklyn Museum

“JR: Chronicles” Revels in His Explorations at Brooklyn Museum

A retrospective at Brooklyn Museum currently showcases the photographic works and public projects envisioned and created by French Street Artist JR. Covering roughly two decades of work, JR: Chronicles dedicates an in-depth examination into his practices and personal philosophies when creating – as evidenced by this collection of his murals, photographs, videos, films, dioramas, and archival materials.

JR. 28 Millimètres, Portrait d’une génération, Braquage (Holdup), Ladj Ly, 2004
JR: Chronicles. Brooklyn Museum. Brooklyn, NY (photo © Jaime Rojo)
(For more information please see image description A below)

His most recent and one of his most original ideas has been to use the techniques of professional film compositing to impart a permanent, living aura for what may otherwise be static collaged works. With high res digital works working in concert, the life of the subject takes on an additional dimension, juxtaposed as it is with other figures they may or may not have ever interacted with.

JR. JR: Chronicles. Brooklyn Museum. Brooklyn, NY (photo © Jaime Rojo)

Often in these recent projects you have the opportunity to see and/or hear personal recordings of the person through interviews for the piece. The centerpiece and partial namesake of this show is the new large-scale mural of more than one thousand New Yorkers whom he chose to feature, accompanied by audio recordings of each person’s story as told to him and his team.

JR. JR: Chronicles. Brooklyn Museum. Brooklyn, NY (photo © Jaime Rojo)
JR found this camera in the Paris Métro and began taking pictures of graffiti artists in the tunnels and on the roofs of Paris.

Many of these concepts and philosophical observations, including sociopolitical commentary on a number of hot-button issues of the day, may feel familiar to fans and Street Artists around the world – particularly over the last decade and a half. Here you can see that with the number of resources and teams that he can amass, JR is able to create the ideas with a sense of largesse and garner greater audiences, putting many of his works before many more.

Epic is a word often used to describe the projects, and when you see the JR: Chronicles exhibition you can understand why.

JR. JR: Chronicles. Brooklyn Museum. Brooklyn, NY (photo © Jaime Rojo)

We spoke with the curators of the exhibition Sharon Matt Atkins and Drew Sawyer about their experience with this exhibition and how JR is defining new areas of photography with his use of it in public space.

Brooklyn Street Art: JR created a new digital collage for this exhibition featuring a thousand or so people individually interviewed and photographed. Can you tell us about what criterion he used for selecting his subjects?
Sharon Matt Atkins: JR’s main focus was on capturing the rich diversity of New York City. As such, he photographed people in all five boroughs of the city, including many neighborhoods that were new to him. While he did invite some guests to participate, most of the people were passersby, or business owners and workers of local stores.

JR. JR: Chronicles. Brooklyn Museum. Brooklyn, NY (photo © Jaime Rojo)

Brooklyn Street Art: It may be that there has been a return to black and white photography in the last decade – so much so that one may not register the significance that JR employs it for expression almost exclusively. How do you think the limited palette aids his work in telling his narratives?
Drew Sawyer: In many ways, JR’s use of black and white photographs is in direct opposition to contemporary photojournalism and the digital circulation is images. His close-up portraits may recall the work of earlier documentarians, such as Gordon Parks and Dorothea Lange in the United States, but JR’s decision to print them on inexpensive paper and paste them nearby counters they ways in which images often circulate in the global media far away from the places where his collaborators live. Also, the monochromatic images certainly stand out against the colorful built environments in which JR typically installs them.

JR. JR: Chronicles. Brooklyn Museum. Brooklyn, NY (photo © Jaime Rojo)
(For more information please see image description B below)

Brooklyn Street Art: As you deeply analyzed his career and its various phases, what would you say is one of the through-lines that you see in his practice as it evolved?
Sharon Matt Atkins: Our show is centered on his projects that have been created in collaboration with communities. From his earliest photographs documenting his graffiti writer friends to Inside Out with more than 400,000 participants in 141 countries to his most recent mural The Chronicles of New York City, JR has sought to give visibility to those often underrepresented or misrepresented.

JR. JR: Chronicles. Brooklyn Museum. Brooklyn, NY (photo © Jaime Rojo)

Brooklyn Street Art: How has JR used his work in a new way that may prove to be inspiring to photographers and fans of photography?
Drew Sawyer: For JR, photography is just one part of his collaborative process. His work is really about bringing people together, lifting the voices of others who rarely have control over their own representation, countering narratives in the global media, and shifting the discourse around specific issues and events. He started his practice before there were social media apps like Instagram, which now provide platforms for many people to do the same in a digital form. Since then, JR has explored how new technologies can help him tell and share more stories. I hope his process inspires other artists to use photography in similar and new ways.



JR. JR: Chronicles. Brooklyn Museum. Brooklyn, NY (photo © Jaime Rojo)
(For more information please see image description below)

“Since 2017 JR has been creating participatory murals inspired by the work of the Mexican painter Diego Rivera in the first half of the twentieth century. In the summer of 2018, JR and his team spent a month roaming all five boroughs of New York City, parking their 53- foot-long trailer truck in numerous locations and taking photographs of passersby who wished to participate. Each was photographed in front of a green screen, and then the images were collaged into a New York City setting featuring architectural landmarks. More than a thousand people were photographed for the resulting mural, The Chronicles of New York City. The participants chose how they personally wanted to be represented and were asked to share their stories, which are now available on a free mobile app.”

– text courtesy Brooklyn Museum

JR. JR: Chronicles. Brooklyn Museum. Brooklyn, NY (photo © Jaime Rojo)
JR. JR: Chronicles. Brooklyn Museum. Brooklyn, NY (photo © Jaime Rojo)
JR. JR: Chronicles. Brooklyn Museum. Brooklyn, NY (photo © Jaime Rojo)
JR. JR: Chronicles. Brooklyn Museum. Brooklyn, NY (photo © Jaime Rojo)
JR. JR: Chronicles. Brooklyn Museum. Brooklyn, NY (photo © Jaime Rojo)
JR. JR: Chronicles. Brooklyn Museum. Brooklyn, NY (photo © Jaime Rojo)
JR. JR: Chronicles. Brooklyn Museum. Brooklyn, NY (photo © Jaime Rojo)
JR. JR: Chronicles. Brooklyn Museum. Brooklyn, NY (photo © Jaime Rojo)
JR. JR: Chronicles. Brooklyn Museum. Brooklyn, NY (photo © Jaime Rojo)
JR. JR: Chronicles. Brooklyn Museum. Brooklyn, NY (photo © Jaime Rojo)
(See image description below)

“In January 2009 JR carried out another iteration of Women Are Heroes in Kibera, Kenya, one of the largest slums in Africa. Following close dialogue with the community, JR covered rooftops with water-resistant vinyl printed with photographs of the eyes and faces of local women. The images both transformed the landscape and provided protection from the rain.

The train that ran along the Kibera line was also covered with photographs of the eyes of women who lived directly below, and images of the lower halves of their faces were pasted on the slope beneath the tracks so that as the train passed, their faces were completed for a few seconds. The idea was to celebrate, or at the very least to acknowledge their presence.
Of his projects, JR has said, ‘I search with my art to install the work in improbable places, to create with the communities projects that promote questioning. . . and to offer alternative images to those of the global media.’ ”

– text courtesy Brooklyn Museum

JR. JR: Chronicles. Brooklyn Museum. Brooklyn, NY (photo © Jaime Rojo)

(See image description below)

“On October 8, 2017, for the last day of the Kikito installation at the U.S.-Mexico border, JR organized a gigantic picnic on both sides of the wall. Kikito, his family, and dozens of guests came from the United States and Mexico to share a meal. People at both sides of the border gathered around the eyes of Mayra, a ‘Dreamer,’ eating the same food, sharing the same water, and enjoying the same live music (with half the band’s musicians playing on either side). “

– text courtesy Brooklyn Museum

JR. JR: Chronicles. Brooklyn Museum. Brooklyn, NY (photo © Jaime Rojo)
JR. JR: Chronicles. Brooklyn Museum. Brooklyn, NY (photo © Jaime Rojo)
JR. JR: Chronicles. Brooklyn Museum. Brooklyn, NY (photo © Jaime Rojo)
JR. Inside Out Project. A woman takes a selfie after she completed the process of having her portrait taken at the mobile Inside Out Photo Truck stationed just outside the Museum during the opening night. (photo © Jaime Rojo)

JR: Chronicles is curated by Sharon Matt Atkins, Director of Exhibitions and Strategic Initiatives, and Drew Sawyer, Phillip Leonian and Edith Rosenbaum Leonian Curator, Photography, Brooklyn Museum. This exhibition is now open to the public. Click HERE for dates, times and directions.



Image Description A (see earlier in article)
“As the first photograph in what would become JR’s Portrait of a Generation, this image launched his career. The series was initiated when Ladj Ly, a filmmaker, and resident of Cité des Bosquets (called “Les Bosquets”), a public housing complex in the Parisian suburb of Montfermeil, invited JR to collaborate on a project in the neighborhood.

JR said of the image: ‘I took this picture when I was eighteen. It was the first time I went to Les Bosquets. If you look carefully in the back, you can see small posters from Expo 2 Rue—and I wrote ‘Expo D Boske.’ The kids asked me if I could take a picture of them. This photo of Ladj Ly filming me was the first one on the roll of film, and I felt something special had happened. This image is very emblematic of my work and of the message of this project with Ladj.’

This photograph was also the first large-scale image that JR and his friends wheat-pasted in the neighborhood prior to the riots there in 2005. It appeared as the backdrop in photographs accompanying newspaper articles and television footage about the uprising, thereby becoming JR’s first published work. “

– text courtesy Brooklyn Museum


Image Description B (see earlier in article)
“In 2013 JR learned that the housing towers in Les Bosquets were going to be demolished, so he revisited the Portrait of a Generation project. Using images from the original series, he and a team pasted portraits in the building before it was destroyed. He recalled, ‘We couldn’t get authorization to paste inside. So we got plans from the former inhabitants, and we entered at night, twenty-five of us, and spread out over all the different floors. We pasted eyes in someone’s kitchen, a nose in someone else’s bathroom, and a mouth in a living room. . . . When we came down, the police arrested us, but they couldn’t understand why we had just spent hours in this building that was about to be destroyed. The pastings were so big that they couldn’t see what they were. The next day, when workers started the demolition, the portraits were revealed, little by little, while the cranes were ‘eating’ the building. Only the people who were in the neighborhood that day witnessed the gigantic spectacle unfold.’ “

– text courtesy Brooklyn Museum

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Stickers Vol. 2: More Stuck-Up Crap from DB Burkeman

Stickers Vol. 2: More Stuck-Up Crap from DB Burkeman

In the Street Art continuum that presents itself to the passerby on city streets, the early practice of hand-drawn tags on stolen postal stickers eventually morphed into mass-produced slick runs of personal branding and large scale one-off hand rendered/cut paper pieces wheat-pasted with a brush. This story, ever-evolving, is more inclusive than some may think of when you talk generically about “slaps” on a door or on the base of a streetlamp in the city’s visual dialogue. For the book Stickers Vol 2, author DB Burkeman takes a wider survey of the practice, however, and in his second compendium, he goes where BSA has always followed the creative spirit; wherever it leads.

DB Burkeman. Stickers Vol. 2: From Punk Rock to Contemporary Art. (aka More Stuck-Up Crap) Rizzoli, NYC, 2019.

In practice, there are few strictly “sticker artists”. More often there are artists and taggers who also use stickers as part of their public practice which may include painting, aerosol tagging, freehand marker tagging, printing, wheat pasting, sculpture. By adapting the techniques and language of advertising, propaganda, and branding, artists have seized the opportunity to have a voice in the public sphere that is more often only reserved for commercial interests.

Street Artists’ practices of self-promotion are indistinguishable from those of commercial or political interests – and why not? The public space has always been used as a battleground for ideas, a marketplace for attention, a proving ground of identity and power, a theater for capturing imagination, a Socraterial classroom for presenting and probing ideas and the examination of our assumptions about them.

DB Burkeman. Stickers Vol. 2: From Punk Rock to Contemporary Art. (aka More Stuck-Up Crap) Rizzoli, NYC, 2019.

In a fiercely democratic way, with a very low admission price, all motivations are presented here, and all of them are flawed, and all of them are perfect.

Burkeman’s sophisticated examinations of sticking practices are equally wide in his survey – his own full immersion into art, music, performance, consumer psychology, pop culture, and advertising giving him a comprehension and appreciation of its seeming seamlessness. 

DB Burkeman. Stickers Vol. 2: From Punk Rock to Contemporary Art. (aka More Stuck-Up Crap) Rizzoli, NYC, 2019.

Burkeman’s introductory essay addresses topics ranging from billboard busting, culture jamming, market forces and Warhols’ bananas – admitting that his baseline appreciation has not waned even as his own study lead him ever deeper and deeper into an ocean he still hasn’t fully fathomed since launching his first sticker volume, Stickers: Stuck-Up Piece of Crap: From Punk Rock to Contemporary Art.

“Even after ten years of having this adhesive monkey on my back, I’m surprised that I can still get a kick out of the conversation that happens on the street when someone puts up a sticker,” he says. “It’s like a radiating signal to have others put their own stickers up next to it, as if to say, ‘hey, what’s up?’ The result is a cluster of paper and vinyl personalities.”

DB Burkeman. Stickers Vol. 2: From Punk Rock to Contemporary Art. (aka More Stuck-Up Crap) Rizzoli, NYC, 2019.

Keeping it contemporary, he also calls in experts from this idiosyncratic world of expressions to further your appreciation for the sticking practice as a reflection of society and a catalyst for it – from the Street Artist Invader to the blue-chip curator/innovator Jeffrey Deitch to fans/visionaries like Stretch Armstrong, C.R. Stecyk III, Dante Ross, and The Super Sucklord.

Using his first book as calling card, many doors have opened to Burkeman, enabling access to collections and rarities, deep dives into the crates, selections of unknowns that you would otherwise not have access to – let alone the opportunity to appreciate. You also get a selection of stickers for your own collection by serious names, including Bast, Lister, Shepard Fairey, Skullphone, Futura, Ron English, and Neckface.

“Cheap, immediate, and unapologetically in your face, the sticker remains the go-to, lo-fi expression for many a band, brand, and fan,” says Don Letts, a founding member of Big Audio Dynamite, among other things. Clearly, the images and messages sent and received using this method have been a boon to those looking to have a voice, and the sticker practice will continue apace. Undoubtedly, DB Burkeman has it covered.

DB Burkeman. Stickers Vol. 2: From Punk Rock to Contemporary Art. (aka More Stuck-Up Crap) Rizzoli, NYC, 2019.
DB Burkeman. Stickers Vol. 2: From Punk Rock to Contemporary Art. (aka More Stuck-Up Crap) Rizzoli, NYC, 2019.
DB Burkeman. Stickers Vol. 2: From Punk Rock to Contemporary Art. (aka More Stuck-Up Crap) Rizzoli, NYC, 2019.
DB Burkeman. Stickers Vol. 2: From Punk Rock to Contemporary Art. (aka More Stuck-Up Crap) Rizzoli, NYC, 2019.
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MRKA Gives High Marks to “Utility Writers” in Unique Street Tome

MRKA Gives High Marks to “Utility Writers” in Unique Street Tome

When academics and post-modern esoteric poets plunge into descriptions of graffiti sometimes they proffer colorful didactics and clever terminology like “mark-making” and “gestural” to describe the tagging practice. Conceptualist, graffiti writer, and multimedia artist MRKA takes a step toward the mundane and discovers a new kind of poetry with his “Utility Writers”.

Utility Writers by MRKA. Wallplay. NYC

Paying homage to the physical expression as well as the visual one, MRKA re-frames the fluorescent utility symbols that construction crews communicate with and rely upon. Here he helps you see it as art and communication in his uniquely bright look at mark-making. In interviews with professionals who he features spraying the streets, you also learn that there is a certain pride of creation that overlaps the braggadocio of graffiti writers who hit up walls across cities.

A limited edition book that was released to commemorate the solo exhibition that he procured in Manhattan last fall, “Utility Writers” also presents the MRKA’s own crafted alphabet derived from the directional urban hieroglyphics that we see and are blind to on our daily trip through the city.

Perhaps it is their individual flair and sense of expression to which he is most drawn; It’s “the endless possible interpretations of these symbols, and ultimately the individuals involved, who write,” he says when describing his experience capturing the collection of works on New York City asphalt and its sidewalks between 2016 and 2018.

“No matter where humans are or go, there is a good chance you may find a mark or story being told,” says Brazilian pixação writer and billboard crusher Sabio in an essay in which he tells us this need to leave something in public space is universal.

“The human hand can hold things, but more importantly it can mark a surface. For thousands of years we have left the writing on the wall, or in many cases, the ground. Look around you and find secret messages calculated and hidden everywhere. We live in big cities and a performance of shapes exist right beneath our feet.”

Study the method, study the panache, study the complete alphabets he has distilled, and you can understand the intensity of dedication MRKA employs to help draw the parallels.

“…As the book shows, both construction workers and graffiti writers share a bent toward creative expression through letter forms,” says filmmaker Selina Miles here. “I think this book suggests that if these two seemingly disparate groups have so much in common, maybe the compulsion to write your name on shit is just one of the basics of human nature.”

Utility Writers. Designed and edited by MRKA. Cover Spray by Lebron718. NYC.

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