DB Burkeman, Monica LoCascio,
Anonymous Gallery & Rizzoli
invite you to a reception celebrating the release of the book
STICKERS: From Punk Rock to Contemporary Art
The authors and several featured artists will be in attendance.
Books will be available for purchase and signing
with DJ Jasmine Solano, DJ Mondee,
DJ Teddy King, DJ DB (Old Skool Set), Ron Morelli (L.I.E.S.),
Marcos Cabral (Runaway & On the Prowl),
& DJ Brennan Green (China Town)
Hosted by Boundless NY
We are very pleased to announce our upcoming exhibitions; El Mac ‘The Humble and Sublime’ and Damon Soule ‘Tessellating Pigments.’ This will be Mac’s first solo exhibition with the gallery as well as his first solo exhibit in NYC. This will be Soule’s second solo exhibition with the gallery. The opening reception is Thursday, October 14th from 6 – 9 pm, both artists will be in attendance.
Joshua Liner Gallery
548 W 28th St. 3rd Floor
New York, New York 10001
212-244-7415
joshualinergallery.com
Amsterdam – Willem Kerseboom Gallery, in collaboration with the L.A. ART MACHINE, is proud to announce the opening of OP STRAAT, an exhibition of original artwork by legendary Los Angeles street artists, MEAR ONE, RETNA, and KOFIE.
This landmark exhibition marks the first time that these celebrated contemporary artists have exhibited together in Holland, bringing the unique and diverse visual language of California street art to Northern Europe.
Since the rise of urban art in the U.S. in the 1970’s, California artists have been at the vanguard of a new visual language that both defines and describes the contemporary urban experience and the environs of the West Coast metropolis.
All self-taught, these three artists elevate the subversive arts from the streets to established fine art venues, further challenging gallery and museum paradigms and establishing a new artistic vocabulary that is fresh, compelling, and unpredictable.
Op Straat, opens at Willem Kerseboom Gallery on October 16, 2010 and runs through November 13, 2010. Please join us for this exciting moment in contemporary art history.
Includes a special viewing of the monumental murals created during the Vox Humana live art installation at VOLTA 6 in Basel 2010, as featured on the Huffington Post, Juxtapoz, and Arrested Motion.
Opening: October 16, 2010 4-6 PM.
Location:
Willem Kerseboom Gallery
Leidsegracht 38-40 1016 CM
Amsterdam, Netherlands
Volando vengo volando voy – Exposición de Rodrigo Villas en a galería Cosmo del 16 de Octubre al 12 de Noviembre
Rodrigo Villas es de Rio de Janeiro y vive desde hace 4 años en Barcelona, un tiempo durante el cual ha profundizado en su trabajo con grafitti e ilustración y, en la búsqueda de territorios comunes se encuentra la obra de esta exposición.
En la presentación de sus personajes hay un trabajo de múltiples materiales, escalas y formatos; desde la madera hasta la tela con preferencia por los botes de spray acrílico.
Un trabajo también con formas limpias, sin aristas, con piezas que unas veces componen puzles donde prima la geometría y el color y otras se reconvierten en nuevos personajes.
La mayoría son personajes que se abstraen de su entorno, no hay casi nunca un escenario y si lo hay, tiene mucho de ensoñación y de juego. Imágenes recurrentes son las nubes recortadas, los barcos y la presencia de los pájaros, esos Love Birds que vienen del trabajo en la calle y que encontramos como piezas individuales y también como bandadas de pájaros multiplicadas hasta el infinito.
Un conjunto de trabajos con un lenguaje propio, con sentido del humor y que reflejan en su conjunto algo parecido a la letra de la canción de la que tomó prestado el título: enamorado de la vida aunque a veces duela.
Bring to Light is New York City’s first-ever Nuit Blanche festival. A Nuit Blanche is an all night arts festival of installations and performances celebrating the magic and luminance of light.
BRING TO LIGHT NYC will be held in Greenpoint, Brooklyn primarily on Oak Street between Franklin St. and the East River waterfront beginning at sundown this Saturday Oct. 2. The event is free and open to the public. This unique block will play host to local and international artists, performers, galleries, and musicians as they Bring to Light the street itself as well as its unique assets including metal, set design and textile workshops, residential facades, an indoor gymnastics park, and much more.
Jacob Abramson will perform his Digital Graffiti at “Bring To Light”
The experience will be thrilling, original, mesmerizing, ceremonial, contemplative and illuminating. This is a one-night event to remember, but also the start of something intended to grow into an annual, world-class event. Artists will create works that inhabit street corners, galleries, shops, rooftops, vacant lots and buildings. These spaces will act as sites for light, sound and unexpected installations, performances, projections, works of art with natural and artificial LIGHT.
Please click on the animation here to visit the event’s site for a full list of artists as well as all pertinent information regarding time, location and transportation to the event.
WE ALSO ENCOURAGE YOU TO PLEASE CLICK ON THE “HELP FUND THISEVENT” BANNER ON THEIR SITE. DONATE WHAT YOU CAN TO THE KICK STARTER CAMPAIGN. WE DON’T WANT THESE KIDS TO GO BROKE TO ILLUMINATE US ALL!
BLF in New York
Long before Street Artists like Fauxreel or PosterBoy started messing with them, the BLF (billboardliberation.com) began altering outdoor advertising in 1977. They like to say they are helping improve the billboards. As they say in their press release, “prior campaigns have included work for Exxon, R.J. Reynolds, and Apple Computers.” Thoughtful, no?
A new short film featuring Specter, Signtologist, the Public Art Campaign and Jayshells
The Living Walls Conference in Atlanta ended weeks ago and the organizers still think of all the artists who helped in their first ever event; the art, the conversations, the animated debates, the camaraderie.
The pieces and murals left behind mostly are still untouched and naturally some have been tagged, destroyed, gone over. The life cycle for art on the streets, it would appear, is getting shorter – like 3-week TV pilots, 18-hour news cycles, and the average texting teen attention span, the pace of change is a quickening. Few artists can say that their pieces stay untouched, or “ride”, for very long periods of time.
One artist at Living Walls, Hugh Leeman, saw his portrait of an American civil rights icon actually precipitate the removal of an alcohol ad, due to local community sentiments – although no-one has said who brought it down. Street Artist Faber, takes a less literal, more intuitive approach to creating pieces specific to their location and his inner dialogue.
Following are observations from Jayne McGinn along with photos from Jenna Duffy, who both covered the conference extensively:
Hugh Leeman
Hugh Leeman is easily one of the most inspiring people I met during Living Walls, if not my lifetime. His drive, passion and sincerity shone throughout his short stay in Atlanta.
After losing his wall on the side of Sound Table in the Old Fourth Ward due to a conflict with an Old English ad, Hugh ventured to the establishment at 1 a.m to convinced the owners to let him use the wall. He was allowed to create his piece with the stipulation that he would cut his mural in half and not cover the malt liquor add. Using only the Martin Luther King Jr side of the mural, Hugh pasted up his mural quickly, and before Leeman had left Atlanta the next day- the malt liquor add was down.
Leeman’s mural of MLK is adjacent to the MLK historic district, including his birth house and church. The brief time that the OE advertisement and the MLK wheat paste shared the wall together, it caused controversy within the community, igniting anger and confusion. Leeman and Living Walls posted a sign saying they did not support the advertisement.
Leeman’s mural changed the way OFW looks and represents the people and the neighborhood in an honest and uplifting way.
Faber takes only a basic idea of a mural and his paint to his wall with him. He lets his murals evolve in a stream of consciousness as they adapt and respect the walls they coexist with.
Faber’s interest in graffiti inspired him to study fine arts in school and further influences his work today. His artwork is personal, and appears on the street for the people who don’t have access to an art gallery, thus he creates a “public gallery” with his work. He sees his artwork as alive because of it interacts with the public.
Raised by squirrels in a musty old barn located deep in the woods of upstate NY, Dan Taylor’s work is heavily influenced by the anatomical forms of the animal kingdom. In his drawings, sculptures, and mixed media works, Taylor treats organs and musculoskeletal structures as unique environments, which may be fused with other natural forms, as well as occasional unexpected consumerist elements (for example, mylar balloons, luxury handbags, gold leafing or toy soldiers). Some day, the artist’s own remains will be stuffed and put on display to scare children. The artist maintains a website, Mammal Soap.
On Saturday, October 16th, from 7pm to 11pm, Pandemic will host the “Notes from the Inside” opening reception, sponsored by Pabst Blue Ribbon. “Notes from the Inside” will then run through November 6th.
Established in Williamsburg, Brooklyn in 2009, Pandemic is an artist-run space dedicated to showing work from up-and-coming, unknown, and well-established talent alike. Embracing (but not confined to) urban street art, Pandemic is attracted to artists who think outside the confines of conventional normalcy — artists whose fresh concepts and unique visions inspire a broad audience. Pandemic is open Tuesday-Friday from 11am to 6pm and Saturday-Sunday from 12pm to 7pm; the gallery is accessible via the L and J subways and the Q59 bus.
For additional information about Pandemic Gallery, Dan Taylor, or this event, or to obtain additional exhibition preview images, please do not hesitate to contact me by e-mail at (973) 220-5032.
Thanks in advance,
Megan Canter
Media and Development Director
Pandemic Gallery
—–
PANDEMIC gallery 37 Broadway between Kent and Wythe
Brooklyn, NY 11211 www.pandemicgallery.com
The small but very expensive (if you are not a resident) and oil rich Coastal town of Stavenger in Norway must be feeling a bit blue right now. Nuart 2010 artists cleaned up, packed up their tools and left after two weeks of painting monumental murals for the town’s folk to enjoy during the long, dark winter months ahead. This years’ Street Artists included Dotmasters, Dolk, EVOL, Sten & Lex, Vhils, and ROA, among others. As in the past 5 years under this curator, the ’10 group is a stellar selection of talent that is helping define what direction Street Art is heading.
The offerings this year were super sized and in many cases bold in color. All of the participants this year were painters, masters at their craft and supremely independent. Martyn Reed, curator and visionary engine behind this elaborate but accessible street art festival doesn’t limit himself to one large festival – instead he marries it with a prestigious electronic-based music festival he created as a result of his years as a DJ. This years’ NuMusic festival featured performances by luminaries like Krautrock grandaddies Neu! and American hip-hop cornerstone Grandmaster Flash.
The affable bad boy Reed took a moment this week to look at his route to success so far and tell BSA about what the Nuart festival is and why it is important to him.
Brooklyn Street Art:Putting on a festival of this magnitude must be a big task. How do you do it?
Martyn Reed: Actually, this year, though the largest in scale, was a much easier production than we’ve been used to. We’ve learned so much from previous events that this year things ran incredibly smoothly. The biggest challenge was the weather in the second week. A good 90% of the walls required cherry pickers, these are obviously booked well in advance, set up, artists arrives and yeah.. we’re on. The walls that required scaffold are rigged by professionals and we made sure that all of this years artists were painters. So once set up, people were pretty autonomous. It helped that we spread out the production period to cover two weeks and also that we had Marte, a Nuart regular, on an internship for a month during the planning phase.
Brooklyn Street Art:What has been the town folks’ main reaction when they see all the big creatures on the walls of their city?
Martyn Reed: It’s incredible, there’s nothing but love for Nuart in this city, and it’s spread across a really broad demographic, from toddlers to grandparents, and from bakers to the city mayor.
It’s interesting because in a city this size anything new, any new developments in culture for example, are judged on their intrinsic merits and not due to media hype or “trends”. The city has a population of 120,000 and though a few will be aware of Banksy, Dolk etc..that will it. The art isn’t really tied to a “culture”, to Juxtapoz or hipsters or the gallery set or limited edition sneakers and vinyl toys and all the other commercial detritus that’s blossomed around the scene. It’s simply art on the street, big bold beautiful artworks that noticeably improve the surroundings. It’s astonishing to me that more city councils around the world haven’t yet embraced and recognized the value of Street Art.
Brooklyn Street Art: You have combined music with the plastic arts. Is there a cross-over between the two? Does one influence the other when curating the festival?
Martyn Reed: Interesting question, but the short answer is no, not anymore. Interesting in that Nuart was established to explore the questions you raise.
The Numusic festival, like many other European electronic music festivals, was born from an involvement in early rave and club culture. Arts graduates social life’s began to merge with their studies and aspects of academic pursuits began to influence club culture, especially with Vj’s, the early web, digital arts and new media. This proved an especially fertile and creative arena for subversives and artistic outsiders who naturally gravitate to these still lawless new frontiers. Nuart was initially set up as a sister festival to Numusic back in 2001 to provide a platform for “cutting edge” digital arts and new media, which of course had parallels with Numusic which at the time was billed as “Scandinavia’s leading festival of Electronic music”. New Media quickly became the baby of Arts Councils and funding bodies around the globe with new departments established to support and fund the medium. Art and New Technology grants were everywhere and as a Techno Dj and promoter with a degree in fine art, I was ideally placed to take advantage of the situation. I wrote the applications and we hired in various freelance curators between 2001 and 2005 and opened up the galleries during the club nights mixing up the art and the music.
I’d had an interest in Street Art through Banksy having Dj’d at Cargo in London where he had his first UK show, 2001 I think. It hadn’t occurred to me until 2005 when I took over curating Nuart, that Street Art was occupying the same ground as these early digital pioneers had previously, with a similar message, greater coverage, mass appeal and for the price of a craft knife and Internet connection. Suddenly new media looked like the bloated expensive state sanctioned art-form it was, obsessed with the technology of production when the real technological revolution was in its ability to distribute. I’d already worked with C6/Dotmasters on a new media show which led to Graffiti Research Lab etc so in 2005 I made an application to the arts council with a view to pushing things into a more street art orientated direction. And of course it was rejected outright..We thought ‘fuck it’, took out a private bank loan and did it anyway.. that was the start of Nuart in it’s current form. I guess the only similarities with movements in music is how the form is distributed, though it’s interesting to note a few artists, Faile in particular, messing with “remix” culture.
Brooklyn Street Art: You have to deal with painters and musicians. How do you see their differences as artists and do you approach them differently?
Martyn Reed: We treat people as people, no heirs and graces and pretty plain talking. We’re an easy going bunch and I think most artists and musicians feel comfortable around the crew, obviously we have to adapt to certain peoples quirks of character, but for the most, peoples social antenna’s are tuned to the same channel. Our main goal is to ensure that the production and service we provide ensures that the artists have nothing to worry about other than their own performance or piece.
Brooklyn Street Art: Did you grow up in a family where the arts and music were a big part of growing up? If not when did you realize that music and art were your calling?
Martyn Reed: Ha Ha, no no, quite the opposite, lower working class council estate upbringing, trailer trash in your parlance, didn’t know universities existed until I was maybe 17 or so, left home and school at 16 and just tried to get on..
During all these centuries of the celebration of high art, of its life-affirming philosophies, the glorification, elevation and idolization, it’s monuments to human artistic achievement and even more monumental museums celebrating its history, you’d think, somewhere down the line..an attempt would have been made to bring this to my council estate. To our lives. Because I know for a fact, art is not only capable of “improving” lives, but of saving them also. Literally.
But for all the grandstanding, the “high” arts don’t run that deep, which is why I’m a massive supporter and promoter of street art.
As for realizing, not sure, to be honest, from a very early age I always felt like I was on the outside looking in, and the “in” seemed to be missing a few things. I guess Nuart is my attempt to provide the community and the artists (and my 4 year old kid), with the thing that I missed.
Seront également présentés 3 tirages de la photographe Arièle Schweps
Lors du vernissage, Jef Aérosol signera “Risque de Rêves”, le petit livre consacré à son travail, dans la collection “Opus Délits” ( Critères éditions), dont ce sera la sortie officielle avant mise en librairie : http://www.opusdelits.com/lire/article_details.php?id=130
Street Art Launch… Join us for the UK launchof our new exhibition – Street Art, Contemporary Prints from the V&Afeaturing works by Banksy, Ben Eine and D*Face on Thursday 7 October, 7:00pm – 10:00pm. Be the first to see this exhibition alongside new works from amazing regional artists. DJing, live animation projection, licensed bar and a live art battle will also be taking place. To reserve your place send an E-mail tojamie.perry@theherbert.orgor just turn up on the night at 7pm!
Contemporary Prints from the V&A
The Herbert Art Gallery & Museum is the first venue to host a brand new touring exhibition from the Victoria and Albert Museum, London – Street Art: Contemporary Prints from the V&A. Street art is a diverse, constantly evolving art form, one that moves across the derelict buildings, bus shelters and hoardings of cities around the world. Its roots lie in history, echoing cave paintings and stencilled slogans and images in political campaigning.
The exhibition showcases the work of some of the biggest artists in the street art community such as Banksy, Shepard Fairey, Sickboy, Pure Evil and D*Face.
The Herbert has also commissioned six emerging artists on the UK street scene to decorate its white walls. Fresh Paint will contain brand new work from Pahnl, SPQR, Lucy McLauchlan, Ben Slow, AsOne and Newso.
To explore another aspect of the street art scene, the Herbert will be showcasing new aerosol art from Birmingham based graffiti artist Mohammed Ali. Ali calls his art, AerosolArabic, a unique fusion of urban graffiti art with traditional Arabic Islamic calligraphy.
Touring exhibition from the V&A.
December 2
Whole Train
See the film and question the director. Part of the Street Art season
Whole Train’s edgy editing, pulsating soundtrack and exploration of the secret universe of the graffiti scene make it a film experience not to be missed. The four protagonists observe the hierarchies, values, rules and codes of this rarely documented scene. But as another crew appears on the scene, the four feel challenged and a creative battle ensues. The director will be available after the performance in person or via Skype to answer questions about how he made the film and its content!
Spaces are limited, booking is advised. Please call 024 7683 2386 to book your place.
This one caught our eye for the merging of classic graffiti nerve, blunt style execution, sentimental velvety roses, inspirational verses, …Read More »
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
