Museum

Skewville and Ali Ha Present The Bushwick Art Park A Prototype (Manhattan, NY)

Skewville

brooklyn-street-art-skewville-factory-fresh-street-fest-new-museum“Bench” Image courtesy of Factory Fresh Gallery

BUSHWICK ART PARK
IN MANHATTAN!

The Festival of Ideas for the New City:
May 4 – 8

A major new collaborative initiative led by the New Museum to harness the power of the creative community in imagining the future city will feature an innovative StreetFest along the Bowery, where fresh new ideas for the city will be prototyped and on display.

Be sure to follow the Festival of Ideas blog, featuring guest posts by Trust Art.
Manhattan, New York – The Bushwick Art Park, a Trust Art project led by the artist collective and brotherhood known as Skewville, will be just outside the New Museum of Contemporary Art as part of StreetFest on Saturday, May 7. You can come ‘kick it’ at this street-inspired sculpture garden and philosophize on how to transform an under-used street in Bushwick into a community art park.
Don’t forget the ribbon-cutting ceremony at 1pm, featuring representation from the office of Council Member Diana Reyna.
The prototype art park will be curated by Factory Fresh gallery director Ali Ha, and feature pieces by Skewville, Leon Reid IV, Specter, and Olek.

Be Sure to join us at the Bushwick Art Part,
located in front of the
New Museum
Saturday, May 7th, from 1-7pm

MEET THE BUSHWICK ART PARK TEAM
Bushwick, NY – An whole team has emerged intent on making the Bushwick Art Park a reality. From three “Pratt Bratt” graduate students who are helping with policy research, community surveys, and proposal-writing; to Ali Ha, gallery directory at Factory Fresh; amazing infographic experts; and the hundreds of people who have already signed our petition, the Bushwick Art Park has a lot of friends. Live in Bushwick? Take our quick survey.

brooklyn-street-art-skewville-factory-fresh-street-fest-new-museum-1Click on the link below to learn more details of Street Fest

http://www.festivalofideasnyc.com/

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Red Hot and Street: “Art in the Streets” Brings Fire to MOCA

brooklyn-street-art-banksy-jaime-rojo-moca-art-in-the-streets-huffpost-04-11-web-15Banksy’s Reliquary (photo © Jaime Rojo)

Yes, Banksy is here. The giant “Art in the Streets” show opening this weekend at the Museum of Contemporary Art in Los Angeles gives a patch of real estate to the international man of mystery who has contributed greatly to the worldwide profile of this soon to be, maybe already, mainstream phenomenon known as street art. A smattering of his pranksterism is an absolute must for any show staking claim to the mantle of comprehensive survey and an excellent way to garner attention. But “Streets” gets it’s momentum by presenting a multi-torch colorful and explosive people’s history that began way before Banksy was born and likely will continue for a while after.

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Os Gemeos Untitled. Detail  (photo © Jaime Rojo)

To continue reading about this exhibition go to The Huffington Post ARTS by clicking on the link after the image below.

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Direct link to article on HuffPost Arts

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Broken Crow: A Mexican Travelog Part II

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Brooklyn-Street-Art-Broken-Crow-WEB-Mexico-copyright-Broken-Crow-lion-animationHere’s an update for the trip to Mexico City by Street Art duo Broken Crow, who have been hitting up some walls in this gigante city of 30 million.

Guests of El Museo del Juguete Antiguo México (The Antique Toy Museum) in collaboration with MAMUTT Arte, John Grider and Mike Fitzsimmons are taking in the local color and creating some of their own.

Says John about the lion and lion cub piece they worked on all day Tuesday, “Today we’re painting the perfect spot for the perfect stencil.”

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Broken Crow process shot (photo © Broken Crow)

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The brand new finished piece by Broken Crow. (photo © Broken Crow)

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A cell phone shot of the owl that will be watching over cars in the basement parking lot. Broken Crow (photo © Broken Crow)

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Broken Crow. When you are in Mexico City you really can’t pass up an opportunity to see a live Luchadores match. (photo © Broken Crow)

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We’re really looking forward to seeing this finished piece after the scaffolding comes down today. (photo © Broken Crow)

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A couple of friends who are waiting for their place on stage. (photo © Broken Crow)

With special thanks to Roberto Shimizu of MUJAM and Gonzalo Alvarez of Mamutt Arte

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All images copyright of and courtesy of Broken Crow

www.toymuseummexico.com

www.koralie.net
http://www.supakitch.com/
http://www.brokencrow.com/

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MOCA Presents: “Art In The Streets” (Los Angeles, CA)

JR

brooklyn-street-art-jr-moca-arts-in-the-streetsJR “The Wrinkles in the City 2011”  Photo Courtesy © MOCA

Street artist JR has installed a new piece on the Alameda street side of our Geffen Contemporary building in Little Tokyo. The work is part of a 20 artwork project called The Wrinkles of The City that is currently being unveiled at locations around Los Angeles. It’s also part of MOCA’s upcoming exhibition Art in the Streets, the first major U.S. museum survey of graffiti and street art.

MOCA Press Release:

APRIL 17–AUGUST 8, 2011 / THE GEFFEN CONTEMPORARY AT MOCA

The Museum of Contemporary Art presents Art in the Streets, the first major U.S. museum exhibition of the history of graffiti and street art. The exhibition will trace the development of graffiti and street art from the 1970s to the global movement it has become today, concentrating on key cities where a unique visual language or attitude has evolved. Following MOCA’s presentation, the exhibition will travel to the Brooklyn Museum, where it will be on view March 30–July 8, 2012.

Art in the Streets will showcase installations by 50 of the most dynamic artists from the graffiti and street art community, including Fab 5 Freddy (New York), Lee Quiñones (New York), Futura (New York), Margaret Kilgallen (San Francisco), Swoon (New York), Shepard Fairey (Los Angeles), Os Gemeos (São Paulo), and JR (Paris). MOCA’s exhibition will emphasize Los Angeles’s role in the evolution of graffiti and street art, with special sections dedicated to cholo graffiti and Dogtown skateboard culture. The exhibition will feature projects by influential local artists such as Craig R. Stecyk III, Chaz Bojórquez, Mister Cartoon, RETNA, SABER, REVOK, and RISK.

A special emphasis will be placed on photographers and filmmakers who documented graffiti and street art culture including Martha Cooper, Henry Chalfant, James Prigoff, Steve Grody, Gusmano Cesaretti, Estevan Oriol, Ed Templeton, Larry Clark, Terry Richardson, and Spike Jonze. A comprehensive timeline illustrated with artwork, photography, video, and ephemera will provide further historical context for the exhibition.

Art in the Streets will feature several shows within the show. There will be a special section dedicated to the Fun Gallery, which connected New York graffiti artists with the downtown art community in the early 1980s. Co-curated by gallery founder Patti Astor, the Fun Gallery installation will feature the work of Keith Haring, Jean-Michel Basquiat, and the graffiti artists who shaped the gallery’s history. A section dedicated to the seminal film Wild Style (1983), co-curated by the film’s director Charlie Ahearn, will document its influence on the global dissemination of graffiti and hip-hop culture. The exhibition will also feature a memorial presentation of Battle Station, a rarely seen work by legendary artist and theorist RAMMELLZEE, and a display of graffiti black books and other historic works from the Martin Wong Collection presented in collaboration with the Museum of the City of New York. A highlight of the exhibition will be a Los Angeles version of Street Market, a re-creation of an urban street complete with overturned trucks by Todd James, Barry McGee, and Steve Powers.

The exhibition will open with a skate ramp designed by pro-skater Lance Mountain and artist Geoff McFetridge. Skate demonstrations by the Nike SB skate team will be held onsite for the duration of the exhibition.

“Art in the Streets will be the first exhibition to position the work of the most influential artists to emerge from street culture in the context of contemporary art history,” said MOCA Director Jeffrey Deitch.

“This quintessentially urban and dynamic partnership between the Brooklyn Museum and MOCA began with the 2005 Brooklyn-organized exhibition of the work of Jean-Michel Basquiat, the consummate American street artist of his generation; continued with the MOCA-organized ©MURAKAMI in 2007, defining critical elements of worldwide street art; and now culminates with a groundbreaking exhibition devoted entirely to street art and graffiti,” said Brooklyn Museum Director Arnold L. Lehman. “The partnership has, in itself, provided a major record of public art over the past half century.”

Art in the Streets is organized by Jeffrey Deitch and associate curators Roger Gastman and Aaron Rose. Gastman is the author of The History of American Graffiti, which will be released in April 2011, and was a consulting producer on the film Exit Through The Gift Shop. Rose curated the exhibition Beautiful Losers and directed the related documentary film. Ethel Seno, editor of Trespass: A History of Uncommissioned Urban Art, is the curatorial coordinator of the exhibition. The Brooklyn Museum’s presentation will be organized by Managing Curator of Exhibitions Sharon Matt Atkins.

ART IN THE STREETS CATALOGUE
A comprehensive catalogue on the history of graffiti and street art published by Skira Rizzoli and edited by Nikki Columbus, former associate editor of Artforum, will accompany the exhibition. The book traces the birth and dissemination of styles through the stories of graffiti writers and street artists all over the world. It features a foreword by Deitch and essays by Carlo McCormick, Greg Tate, and Diedrich Diederichsen. It also features interviews and discussions with influential street artists about wild style, cholo graffiti, and the art that emerged from skate and punk subcultures. Additional contributors include Fab 5 Freddy, KET, Caleb Neelon, Lydia Yee, Kathy Grayson, Cheech Marin, Bill Daniel, and Hiroshi Fujiwara. The book was designed by Conny Purtill, whose previous projects include Barry McGee: The Buddy System and Beautiful Losers.

RELATED EDUCATION AND COMMUNITY OUTREACH
An extensive program of educational and community workshops will complement the exhibition. As part of its exhibition sponsorship and ongoing community collaboration initiative, Levi’s® will host the Levi’s® Film Workshop at MOCA, offering a diverse schedule of programming that celebrates the craft of filmmaking and explores the exhibition’s subject matter. Access to the Levi’s® Film Workshop’s resources is open to all and free of charge.

Special versions of Associate Curator Aaron Rose’s Make Something!! educational project will also be presented at Culver City High School and at The Geffen Contemporary at MOCA in conjunction with Nike SB. Art in the Streets will include a graffiti and street art film festival presented in collaboration with the Cinefamily, and music and dance programs featuring some of the originators of hip-hop and break dancing.

Art in the Streets is made possible by The Eli and Edythe Broad Foundation.

This exhibition is generously supported by the Sydney Irmas Exhibition Endowment.

Major support is provided by Levi’s®. Additional support is provided by Mandy and Cliff Einstein, Nike SB, MOCA Contemporaries, MOCA Partners, and Montana Colors.

In-kind media support is provided by Ovation, Los Angeles magazine, and KCRW 89.9 FM.

Saturday in the Streets is presented by Ovation.

MEMBERS’ OPENING
Saturday, April 16, 7–10pm
The Geffen Contemporary at MOCA

Join us for another legendary opening party at MOCA as we premier Art in the Streets, featuring performances by the stars of the classic hip-hop film, Wild Style—Busy Bee, Cold Crush Brothers with Grandmaster Caz—and the award-winning B-Boy crew from Los Angeles, Killafornia. Cash bar.
INFO 213/621-1794 or membership1@moca.org
FREE for MOCA members, $25 for additional guests

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“Space Invaders” at National Gallery of Australia

“Space Invaders” at the National Gallery of Australia in Canberra  is open for one more month as it presents a survey of the vigorous homegrown and international street art movement that has developed over the past ten years in the Pacific Rim. Home to well known and upcoming street artists like Anthony Lister, MISO, Kid Zoom and Creepy, Australia contributes a distinctive voice to a developing school and vocabulary.

With this show the National Gallery joined the ever expanding list of major art institutions recognizing and meditating on the importance and influence of Street Art as an art form and art movement. Once again the public is involved in the conversation about what Street Art is and where is it going- through the protected confines and altering prism of a formal art institution.

Below an excerpt from the Gallery’s web site:

“Drawn entirely from the collection of the National Gallery of Australia, the first Australian institution to have collected this type of work, Space invaders: Australian . street . stencils . posters . paste-ups . zines . stickers surveys the past 10 years of Australian street art. Featuring 150 works by over 40 Australian artists, this exhibition celebrates the energy of street-based creativity and recognises street stencils, posters, paste-ups, zines and stickers as comprising a recent chapter in the development of Australian prints and drawings..

Space invaders looks at artists and their iconic street-based works at the point of their transition from the ephemeral to the collectable and from the street to the gallery”

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HaHa “Ned’s Head Triptych” (detail) (courtesy National Gallery of Australia)

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The current show name borrows from the French street artist, who borrowed from the video game.

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Lister “Mr. Sinister” 2010 (detail) (courtesy National Gallery of Australia)

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Jumbo “X-Ray Man-machine” (detail) (courtesy National Gallery of Australia)

National Gallery of Australia
GPO Box 1150
Canberra ACT 2601
AUSTRALIA

  • Recorded information +61 2 6240 6501
  • General information +61 2 6240 6411

National Gallery of Australia Website  http://nga.gov.au/Home/Default.cfm

Space Invaders features stencils, posters, paste-ups, zines and stickers and will run until February 27 2011. If you are in the area and would like to visit the Gallery below is a list of upcoming events related to the show and the participating artists:

This Thursday (Jan 27) there is an artist talk with Mini Graff as she talks about her work featured in the exhibition.

This Saturday (Jan 29) there is a vinyl sticker printing workshop for teens
Print your own vinyl stickers with Sydney street artist Mini Graff. Translate your ideas onto vinyl stickers using screenprinting techniques. Please note that this program is at Megalo Print Studio + Gallery in Watson.

Sunday (Feb 6) there will be a screening of BOMB IT (DVD, 2007, not rated, 93 mins)
An explosive documentary about graffiti, the controversial art form shaping international youth culture today. By award-winning director Jon Reiss.

Participating artists for “Space Invaders” include:

AEON
AZLAN

BYRD
CIVIL
DEVIANT
DLUX!
DODD James
DOYLE Adrian
GHOSTPATROL
HAHA
HOLLENBACH Misha
JUMBO
KEATING Ash
LISTER
MAKATRON
MARCSTA
MEEK
MEGGS
MINI GRAFF
MISO MONKEY
NUROK
OKIPA
OPTIC
PHIBS
PRISM
PROOF
PSALM
REKS
RONE
SIBLEY, DAN
SIM Robert
SIXTEN
STARK Al
SYNC
TWOONE
VEXTA
XERO
YOK

ZAP

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Musee Des Avelines Presents: “Jef Aérosol fait un carton à Saint-Cloud !” (Saint-Cloud, France)

Jef Aerosol
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“Jef Aérosol fait un carton à Saint-Cloud !”

Exposition / installation

Musée des Avelines

60 rue Gounod

92210 Saint-Cloud (France)

vernissage / opening : mercredi 26 janvier à 19h (entrée libre)

Le catalogue de l’exposition, préfacé par Ernest Pignon-Ernest, sera dédicacé le soir du vernissage.

The catalogue of the exhibition, with a foreword by Ernest Pignon-Ernest, will be signed by the artist during the opening.

Une série de 6 cartes postales sera également éditée / A set of 6 postcards will also be released.

pour en savoir plus (dossier de presse) / more details : http://www.saintcloud.fr/Media/File/dpjef.pdf

podcasts (interviews mp3 Jef Aérosol & Emmanuelle Le Bail) : http://www.saintcloud.fr/musee/

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Censorship! MOCA Has A BLU Tiger By The Tail

It’s hard to believe that Jeffrey Deitch censors artists.

One quick look into his adventurous past incarnation as the director and owner of Deitch Projects in New York shows a guy who has championed the work of artists outside the mainstream and given them a forum to speak. Hard to see the same guy who mounted a burned-out meth lab by Jonah Freeman and Justin Lowe, (Black Acid Co-op) being queasy about offensive content. Did you ever see the parade he sponsored through the streets of Lower Manhattan for a few years? Don’t remember anyone crying censorship in those very public multi-membered panoplies of costume and conceptual art. The fact is there is a very public record stretching back many years that shows he routinely encouraged his artists to expand intellectually and explore new ideas regardless of how difficult or controversial they might have been.

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The BLU mural as it was completed on the MOCA wall last week. (photo © Brain Forrest/MOCA)

The public controversy of the buffing of a large wall on the side of the Geffen Contemporary Wing of MOCA by internationally known street artist BLU shortly after it’s completion last week feels more like an easy way to pile on him, maybe by those who didn’t like him in the first place. Sometimes people just like to see successful people fall. If you were to listen to the wailing of the Censorship Battalion you would have thought that Mr. Deitch himself had run screaming, bucket in hand, through the streets splashing paint on the mural and all over his pink suit, ranting about the dollar-draped coffins BLU had arranged in formation across the massive wall. But the timeline of how Deitch mismanaged the quickly exploding events after the buffing really points more to being obtuse than obstreperous. He didn’t handle the information communication very well. Looks like he made some rookie mistakes in his new position as the head of a major public institution of art. And?


Only a year ago in October 2009 BLU finished another giant mural on the  Deitch Projects location in Long Island City in Queens that some said was a fun-loving jab at Deitch himself. So it looks like this curator-artist  relationship has some history.

Blu at Deitch Studios LIC
Blu at Deitch Studios in Long Island City, New York, October 2009 (photo @Jaime Rojo)

It just doesn’t add up.


Censorship in this country, especially art censorship, is always a hot spicy topic – Why, did you hear about the Smithsonian? Less obvious is the ongoing sort of cleansing across our increasingly corporate mono-culture and this alien creature politics-as-sports media that exhausts the populace into confusion and conformity. That kind of censorship of the many gray areas simplifies everything to an Us vs Them mentality. Rather than the knee-jerk suggestion of boycotting his upcoming show of Street Art, let’s give the new guy a chance to acclimate to this new position he’s had for six months.

brooklyn-street-art-casey-caplowe-good-MOCA-blu-12-10BLU Mural being buffed. (Photo courtesy of and © Casey Caplowe/Good Culture)

That said, if Deitch was being sensitive to the Veteran Affairs neighbors and cognizant of the history of the Japanese community in the US, his timing was a bit late. And if we are talking about sensitivity and communication, it looks like BLU got left out of the equation altogether. How can this be? A very prolific artist travels to LA to paint a big commissioned wall and there wasn’t a sketch?


We all censor ourselves every day. Sometimes for honorable reasons like not mentioning your co-workers’ deceased wife, or even pragmatic reasons, like rolling down your sleeves to hide your tattoos from your girlfriend’s dad. It’s all about context, and nuance. In the end, this microscopic chapter in Street Art is between BLU and MOCA, and only they know the contracts they have and the inner workings of their relationship. Maybe we can all find something else to speculate about.

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Huichol Art: Transforming A Vintage Beetle in Mexico

Pimping Your Ride Via Indigenous Traditions

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Applying beads to the “Vochol” (Vocho + Huichol) Image from the Facebook page of Museo de Arte Popular.

Mexico’s Indigenous people have been making art from millenia. When the Spanish invaded and conquered what’s now modern Mexico in 1492 they found complex metropolis, their buildings decorated with intricately carved sculptures and brightly colored painting. The painful conquest didn’t annihilate their passion for art making and in modern times their new works of elaborate pieces of art are often displayed in museums’ collections.

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For the opening, some of the artists appeared in traditional garb of The Huichol, an indigenous ethnic group of western central Mexico

For this piece eight members of two Huichol families took the task to create a piece of art, seven months in the making, by using more than two million glass beads and a vintage Volkswagen as a canvas. Inspired by the designs of Francisco Bautista, a patriarch of one of the families, they incorporated their traditional indigenous theologies and cultural symbols with modern vernacular.

The serpents on the the front design represent “rain”, while the the roof is decorated with the sun and four eagles. Birds were thought to be the intermediaries between gods and mortals. The rear part and sides are tributes or “ofrendas” of fruits of the earth to their gods.

The piece will be shown at Museo de Arte Popular for a period of time and then the four wheeled piece will be go on tour in Europe and the in the rest of the Americas. Finally the piece will be sold at auction with the proceeds of the sale to benefit the programs of the museum.

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Warrington Museum and Art Gallery Presents: Brian Adams Douglas AKA Elbow-Toe “Due Date” (Warrington, UK)

After Goya
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“After Goya” Brian Adam Douglas. Photo © Courtesy of the Artist

For my first solo show in the UK, Due Date, I am exploring my preconceived notions of parenthood and the opportunities for growth that come through that process. I am presenting a series of narratives that flirt the line between fact and fiction; they are moments of autobiography that have been extrapolated to become allegories. As an artist in the process of trying to become a parent and living in one of the most parent-centric sections of NYC, I am keenly aware of the mania that strikes at the heart of parents young and old. In these paintings I am addressing fears (loss of individuation as well as of the proverbial unknown), the strengthening of bonds in times of crisis, the issues of trying to become a parent later in life and the wisdom gained through the process of parenting.

The work is divided into two groups: a set of images on panels, and a set of images on paper. In the more fully realized works on panel, all the actions are taking place in staged environments. The elements surrounding the figures are merely cardboard props, strictly for the purpose of giving the action of the figures a point of reference. The action of the figures is the reality of the image, everything else is just window dressing. The paint drips and splashes act as abstract gestures clearing things away yet never managing to obscure the events occurring on the stage. In the works on paper, the events being described are contained in a sea of white. By the very nature of the presentation the gestures and relationships are isolated and distilled.

The current body of work builds upon a process of art making that I have been refining for several years. I refer to the work as paper paintings rather than as collage. I see each piece of paper as a brushstroke rather than as a juxtaposed idea. Each brushstroke is selected for it’s color, value and texture, rather than it’s imagery.

“Due Date”
December 4, 2010 – February 19, 2011
Warrington Museum
Museum St
Warrington, Cheshire WA1 1JB, United Kingdom

http://museum.warrington.gov.uk/

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Brian Adam Douglas AKA Elbow-Toe : Inside Out

Brian Adam Douglas AKA Elbow-Toe : Inside Out

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Brian Adam Douglas née Elbow-Toe stands inside looking out a third floor Brooklyn window down the block as late autumn winds whip and churn leaves and debris across the sidewalk, blowing lids off garbage cans and a Yankees cap off a bike messenger.  At his feet and all over the blond hardwood floor behind him are scattered piles of loose ArtForum pages; poked, pocked and carved with a sharp blade to cull their very particular hues.

“There’s a certain amount of chaos but I know where everything is. This is the brown palette, right? This is all browns. This is greys, oranges, violets, blues, yellows, greens. I use that palette (pointing) – I have that set up. That’s how I learned how to paint – with that particular palette. The chromatic values are laid out in a grayscale value,” says the artist as he explains the disarray.
Brooklyn Street Art: I don’t know what that means.
Brian Adam Douglas: So basically the color goes from white to black. If you were to take a black and white photo of this right now, you would see. That yellow would be a real light grey, and it works it’s way down to black.

brooklyn-street-art-brian-adam-douglas-elbow-tow-jaime-rojo-11-10-web-15Photo © Jaime Rojo

His Street Art peers a few blocks from here, the Brooklyn Street Art collective Faile, have been exploring a new technique this year they call wood painting; not quite collage, nor sculpture or painting. Since the leaves that are blowing outside these windows first began to bloom in March this year, Brian has been exploring another difficult to categorize method of “painting” by assembling thousands of custom cut pieces of paper to create nearly 20 new canvasses. Its a process he calls collaging, and it’s effect leaves viewers stupified.

Brooklyn Street Art: You’ve been doing status updates on your Facebook and Twitter feed forever saying that you are collaging.
Brian Adam Douglas: I know! (laughing) That’s all I’m doing man! I can’t wait to say, “Today I’m sleeping”.

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“Cocoons Come And Cocoons Go. It’s The Transformation That’s Key”. Photo © Jaime Rojo

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Sketch for “Cocoons…” Photo © Jaime Rojo

Technically, yes, they are collage; a composition of materials and objects pasted over a surface. But it’s so easy to miss this obvious fact as you look at the painterly forms, their musculature, expression, gesture and puzzling symbolism. Each one of these new pieces fits somehow into an overriding theme that revealed itself to the artist only while Douglas labored. Surprising even the author, it took his wife and friends sometimes to help him see what was right in front of his exacting scalpel; through dream inflected symbolism he has unwittingly written a treatise about family, parenthood, and how they profoundly impact the formation of character. Without intending to, his inner world pushed it’s way to the outside, where he will be displaying this new powerfully personal collection December 4th at The Warrington Museum of Art in England with a show called “Due Date”, followed by a March show at Black Rat Projects.

brooklyn-street-art-brian-adam-douglas-elbow-tow-jaime-rojo-11-10-web-8“Knitting Circle” Photo © Jaime Rojo

But the artist won’t reveal to you their exact meanings necessarily when you are standing with him looking at a new piece at the easel or laptop, throwing out possible interpretations. “This is what I enjoy,” he says a bit mischievously, “people bringing in their own sort of meaning into the pieces.” Other times he’ll gladly offer a backstory. Even then, you are left to your own observation skills to intuit the relative intensity of the symbolism.

brooklyn-street-art-brian-adam-douglas-elbow-tow-jaime-rojo-11-10-web-10“Knitting Circle” sketch Photo © Jaime Rojo

Brooklyn Street Art: How successful have you been at fielding questions on what these pieces are about?

Brian Adam Douglas: Pretty good. There are certain things within them that I don’t talk about. I mean I think that they are kind of universal enough that they could mean a number of things. As far as I’m concerned with the work, I’d rather people bring their own interpretations of the work in. Rather than me saying, “This is what this work is about, this is my idea and this is what it has to be,” I find the most interesting art becomes better when you make it personal.

Even so, some of these are quite unusual depictions to trust oneself to interpret accurately. We did take a few guesses, and with time Brian also decided to help us uncover the meanings in these new paper paintings. One thing is not nebulous; this methodical and meticulous cutting and pasting has taken over his imagination so much that he’s confident that he’ll be doing it for a long time.

Brooklyn Street Art: Do you want to continue to explore this technique? Have you gotten tired of it? Is it still capturing your interest?
Brian Adam Douglas: As far as I’m concerned I understand the medium really well. Each piece builds confidence. Now I’ve got something and I want to really see what I can say with it. I’ve got so much inspiration about things that I want to really plump into that I want to figure out that I could do this for like 15 or 20 years.

And Street Art? What about the twisted forms and ephemeral poetic passages that put Elbow-Toe plainly on the public radar a handful of years ago? Now that he has a gallery presence, has he abandoned his street persona? “About the street stuff – I’ll do that but it will be purely for fun. An outlet, like it was at the beginning. It kind of became a pain a year or two in. It got very stressful for a while, it wasn’t fun anymore,” he says.

“Now that I’ve kind of got my ‘gallery voice’ I just want to have a street voice that is it’s own thing. – strictly for the street and completely ephemeral.

 

brooklyn-street-art-brian-adam-douglas-elbow-toe-After-Goya“After Goya”  photo © courtesy of  the Artist

Brian Adam Douglas: You get all this loaded meaning that’s happening behind it. The fire that’s happening in the backyard. This one is partly autobiographical of when I was a kid.
Brooklyn Street Art: The split-level ranch?
Brian Adam Douglas: Well, we didn’t live in one like that but I had to find a photo of the suburbs. It was wintertime, I was pretty young, maybe 12 or 13, and I was playing around with my paper airplanes. I had this great idea – I can light these on fire and it will look like World War II planes coming down crashing. Right? And I had the hope that they would burn up before they hit the ground. It’s winter time. Texas. I light this thing on fire and throw it and it’s one of those trick planes. Instead of curving up and flying it goes down into my yard. I see it land and it is like, “Floom!” – the ring of fire is running across my yard.
Brooklyn Street Art: And that’s how you burned down your house and killed your parents?
Brian Adam Douglas: Yeah, exactly! No. This piece is all about the fact that your kid is going to f*ck up a lot. But as a parent, the kid gives you that look and you are going to be like, “Oh, right, it’s okay” Like you still love them regardless the insanity they can produce.

brooklyn-street-art-brian-adam-douglas-elbow-tow-jaime-rojo-11-10-web-9The sketch for “After Goya” photo © Jaime Rojo

brooklyn-street-art-brian-adam-douglas-elbow-toe“The Hand That Rocks The Cradle” photo © courtesy of the Artist

Brooklyn Street Art: Ha! Now that seems like a metaphor, doesn’t it?
Brian Adam Douglas:
Yeah, but also it comes from life. My Dad is a landscaper and one day when I was in high school he was up in a tree and he’s got the chain saw and he cuts the branch off. He’s so busy in the tree – he’s like “zhrooom!, Vrooooooom!” And he’s like 30 feet up! And so he’s falling, with this chain saw going in one hand as he’s failing. He grabs a branch as he’s falling and he’s hanging there swinging. He drops the chainsaw. Then he climbs down the tree. This is so….. I can imagine that moment when you find out you are going to be a parent and you are like, “Fuck! Everything is changing”. In order to take care of something else you are having to let a lot of other things go, and adapt. You are pruning things in your life. Certain things are taking precedence that maybe didn’t before.

brooklyn-street-art-brian-adam-douglas-elbow-toe-Sweet-Dreams

“Sweet Dreams” photo © courtesy of the Artist

brooklyn-street-art-brian-adam-douglas-elbow-toe-tradition“Tradition” photo © courtesy of the Artist

Brian Adam Douglas: This one is called “Tradition”
Brooklyn Street Art: So the elders are in a supportive pose.
Brian Adam Douglas: Yeah
Brooklyn Street Art: And there is a lantern and a nest on your head?
Brian Adam Douglas: On my head. Yes.
Brooklyn Street Art: Well I like the body language of the guy in the middle. I suppose that could be a father figure.
Brian Adam Douglas: Yeah.
Brooklyn Street Art: It’s supportive, but directional also. With intent.
Brian Adam Douglas: Yeah.
Brooklyn Street Art: Wow, that says a lot of love there. That’s very nice.

brooklyn-street-art-brian-adam-douglas-elbow-tow-jaime-rojo-11-10-web-13Sketch for “Tradition” photo © Jaime Rojo

BSA…………………BSA…………………BSA…………………BSA…………………BSA…………………BSA…………………

Brian Adam Douglas will be showing these pieces and more beginning December 4, 2010 at The Warrington Museum of Art . He is currently preparing for his solo show at Black Rat Projects in March 2011

To see more images for “Due Date” visit the artist’s web site at:

http://www.elbow-toe.com/studio.html

“Due Date”
December 4, 2010 – February 19, 2011
Warrington Museum
Museum St
Warrington, Cheshire WA1 1JB, United Kingdom

http://museum.warrington.gov.uk/


Black Rat Projects
through Cargo Garden
Arch 461, 83 Rivington street
London EC2A 3AY

http://www.blackratprojects.com


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Interview With Pedro Alonzo, Street Art and Gen Net go to the Museum

Interview With Pedro Alonzo, Street Art and Gen Net go to the Museum

As art institutions gear themselves continually to remain (or become) relevant to Gen Net patrons, all manner of incarnations will likely continue to parade before you. Yes, Picasso still draws a crowd but in the last decade, as Boomers began retiring and their media-drenched progeny grew more distracted by one million apps of eye candy, even blue chip and gray ladies of the art world started hosting DJ’s, indie bands, and endless jazz cocktails to get the booties in the house and the eyeballs off the little blue screens, if only for a second.

The size and span of the opening night crowd at Viva La Revolucion at MOCASD was a clear indicator of a much wider interest in Street Art as contemporary art than has been seen in US. (photo © Geoff Hargadon)

The size of the opening night crowd as well as it’s relative youth at Viva La Revolución at MCASD was a clear indicator of a much wider interest in Street Art as contemporary art than has been seen before in the US. (photo © Geoff Hargadon)

One way to make sure you are grabbing the attention of Millenials is to embrace that which they have already identified as culturally important and begin to make sense of it as it evolves.  Pedro Alonzo, guest curator of Viva La Revolución at the Museum of Contemporary Art San Diego (running until January 2) understands that a wide embrace of an evolving movement is important right now until the field winnows itself. More importantly, he recognizes that “high-minded” culturally no longer requires the confines of a museum and, along with associate curator Lucía Sanromán, he leaves the door ajar to acknowledge the continuum between street and museum in this largest exhibition of the modern global Street Art movement yet in the US.

Curator Pedro Alonzo show's Jeffrey Dietch the indoor exhibition of the newly opened show. (© Geoff Hargadon)

Curator Pedro Alonzo shows Jeffrey Deitch the indoor exhibition of the newly opened show. (© Geoff Hargadon)

The truth is that buck-wild artists have been making the streets a gallery in earnest for a little while now, preferring to take the more direct route to admirers and detractors alike. Billed as “a Dialogue With the Urban Landscape”, Viva goes beyond the initial infatuation with graffiti and so-called “Urban” art that institutional interests expressed in 1980s and 1990s. For some reason that new-found love eventually turned tepid and measured in the embrace.  Maybe that’s why nervous nellies in academia shuddered when the New York impresario, art dealer and gallerist Jeffrey Deitch, a champion of selected Street Artists among other vocations, was named director of Los Angeles Museum of Contemporary Art this year. Indeed a revolution of some sort is afoot.

Art collective Date Farmers followed the newly typical route to the gallery and museum by collectively showing and hosting their own shows until someone recognized the work. (photo © Geoff Hargadon)

Mexican-American artists Date Farmers combine pop, folk, and political in this charged raw screed. (photo © Geoff Hargadon)

Admittedly museums must be followers as well as leaders (Guggenheim/YouTube anyone?) and the grassroots nature of this new surge of Street Artists circumvents the structures and curatorial practices of the established gallery and museum world. It also cuts across race, class and socioeconomic lines and maybe that’s part of the slow uptake. But like so many aspects of our current era, the foundations are melting before our eyes.  When you consider the democratizing force of internet/social networking communications and the fact that many of these artists come with a built-in fanbase as a result, it is a no-brainer that major and minor institutions are taking a fresh look at the new Street Art scene.

French Street Artist JR and his assistan Youssef doing a bit of Skyping before the show (© Geoff Hargadon)

French Street Artist JR and his assistant Youssef doing a bit of Skyping before the show (© Geoff Hargadon)

That said, Viva La Revolución is a bold undertaking that presents some of the biggest names on the scene right now and a variety of them. Under Mr. Alonzo’s guidance and audacity, it also thoroughly involves the street in the exhibition, making the city of San Diego quite literally part of the show. To pull this off and keep the respect of the artists intact is an accomplishment itself. By all accounts, he has. Having curated shows successfully including iconic street artists like Faile and last year’s Supply and Demand show by Shepard Fairey at ICA in Boston, Alonzo has easily established a rapport with a scene that is rapidly evolving.

Brooklyn Street Art: How has the response since the show opened?
Pedro Alonzo:
The response has been great. The museum has had tons of calls about the exhibit and many visitors. The age of the average visitor also appears to have dropped. We are getting a younger crowd.

Brooklyn-Street-Art-WEB-Dudes-copyright-Geoff-Hargadon-D3S_9631

Spencer Elden, (with Shepard Fairey’s crew and famous for a nude photo in your CD collection) and Ben Logan, a volunteer who flew out from Boston to help set up the show. (photo © Geoff Hargadon)

BSA: You have a number of installations all around the city.  Was it easier to work with private owners rather than the city to secure building walls?
Pedro Alonzo:
Although there have been people who work for the city who have been very supportive and instrumental in securing walls, all of the walls we used are privately owned. It was way too complicated and bureaucratic to secure city or state owned walls.

Brazillian twins Os Gemeos in front of two of their pieces (photo © Geoff Hargadon)

Brazillian Street Artists Os Gemeos in front of two of their pieces (photo © Geoff Hargadon)

BSA: Can you talk about the name “Viva la Revolución” and it’s significance to you historically?
Pedro Alonzo: The title of the exhibition is significant on many levels, from the fact that this year marks the 100th anniversary of Mexico’s revolution to the street in Tijuana, “Avenida Revolucion” where many under age southern Californians, like myself back in high school, spent the weekends drinking and dancing. The title also refers to street art’s defiant posture towards the arts establishment in being an art that is populist, intended to be understood by most people, not just the art world elites, as well as being a form of expression that references popular and/or urban culture. This show is about an artistic revolution, art that appeals to a wider audience.

Dzine (© Geoff Hargadon)

Calma on the ladder doing last minute touch ups. (© Geoff Hargadon)

BSA: Experts, particularly the jaded ones, have been forecasting the death of Street Art periodically for years, yet we feel like New York has an ongoing explosion of it. Do you feel like street art is experiencing a revolution?
Pedro Alonzo:
There are those who have stated that painting is dead and they were wrong. From my perspective, street art is finally being looked at by the art world. If anything the hoards of people who want to see street art are a clear indication of the vibrancy of the genre.Shepard Fairey entertaining the guests at the opening (© Geoff Hargadon)

Shepard Fairey entertaining the guests at the opening (© Geoff Hargadon)

BSA: Can you talk about the street artist you have from Mexico?  Is there a Street Art movement south of the border?
Pedro Alonzo:
There is definitely street art in Mexico. Stenciling and graffiti are visible in many cities. The most vibrant examples I have seen are in Oaxaca, where the art often responds to social and political issues.

Mexican tattoo and street artist Dr. Lakra is a blur (© Geoff Hargadon)

Mexican tattoo and street artist Dr. Lakra is a blur (© Geoff Hargadon)

BSA: What has been the most surprising part of this experience for you?
Pedro Alonzo: More than surprised, I am amazed at how quickly these artists work and adapt to the environment. Both inside the museum and on the street, the artists created amazing works for the exhibition in a very short period of time. Some of them even had time to go to the beach. We had a lot of fun. I am very proud and grateful to all of the artists for their hard work and stunning achievements. The city is responding accordingly.

In fact, the biggest surprise about the show was the response from many San Diegans of sincere gratitude at having this type of exhibition in their city. Some loved the fact that they did not have to drive to LA or fly to NYC to see it. Others felt that their interest in art was finally being acknowledged. It is a wonderful experience to have this kind of feedback in my home town.

Pedro Alonzo and Lucía Sanromán at the opening (© Geoff Hargadon)

Lucía Sanromán and Pedro Alonzo at the opening of Viva (© Geoff Hargadon)

Learn more about the exhibition HERE.

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