Urban Legends
Ordinary People
The Birds and the Bees
The Birds and The Bees
Featuring the artwork of Gigi Chen & H. Veng Smith
The Birds and The Bees
Featuring the artwork of Gigi Chen & H. Veng Smith
Spring is the season for growth and renewal and with it, people come together in joyous celebration. Drunk off the familiar sensation of green grasses and blossoming flora, the world is alive and full of inspiration. A romantic essence fills the air with an intoxicating blend of rejuvenating aromas that tempts the body and plays with the mind. It is easy to lose oneself in the cacophony of reawakening, as senses are overloaded and forged into the memory. Through the enchanted feelings resides a notion of self-discovery that enables reckless abandonment, which leads to a multitude of outcomes. Mighty Tanaka is pleased to bring you our springtime show, The Birds and The Bees, featuring the fantastical artwork of Gigi Chen & H. Veng Smith.
The Birds and The Bees is a traditional metaphor for love, yet it also encompasses the sharp stinging pain of loss. It is a constant reminder of balance and desire as well as the shock of reality. As the warmth grows, so does the undergrowth and the tangle of vines and thorns, creating an ever-challenging terrain of hope and expectations to navigate.
Both Gigi Chen and H. Veng Smith utilize a host of inspiring techniques to create their individual work. Both artists create their work from oil paint, yet their achieved outcome differs greatly. As the days grow longer and the sun shines a little brighter, it’s the perfect setting for The Birds and The Bees to come out to play.
111 Front St., Suite 224
Brooklyn, NY 11201
Email: contact@mightytanaka.com
Phone: 718.596.8781
(F Train to York Street, A/C to High Street)
Hours:
Wednesday – Sunday, 12pm – 6:30pm
1. Wooly Bully! (VIDEO)
2. “International Woman” at The Warrington Museum (UK)
3. “While Supplies Last” at Pawn Works (Chicago)
4. Crossing Borders at MSA Gallery (Paris)
5. Isaac Cordal “Waiting for Climate Change” at Beaufort 04 (Flemish Coast, Belgium)
6. HOW & NOSM show you HOW they made “Reflections” (VIDEO)
7. Kid Zoom Crashes Cars (VIDEO)
Let’s see if you can shake it as fast as the back-up dancer lady in this video!
“International Woman” the new group show at The Warrington Museum and Gallery in Warrington, UK is open to the general public with a lineup of brilliantly talented women artists from around the world including many Street Artists: Catalina Estrada, Cheryl Dunn, Elizabeth Mcgrath, Faith 47, Hera, Kukula, Mel Kadel, Miss Van, Pam Glew, Sarah Joncas, Stella Im Hultberg, Swoon, Tara Mcpherson and Xue Wang. With so much female talent under one roof this promises to be one hot and interesting show not to miss, Miss!
For further information regarding this show click here.
The Pawn Works Gallery in Chicago new show “While Supplies Last” opens this Saturday. For this show the space would be transformed into a site specific retail environment where you’d be able to purchase items from books to art from a list of artists that include: Shawnimals, Skewville, Kosbe, 5003, Ader, Amuse 126, Snacki, JC Rivera, Montgomery Perry Smith, Left Handed Wave, Max Kauffman, Nice-One, Swiv, and Jon Burgerman.
For further information regarding this show click here.
MSA Gallery new group show “Crossing Borders” opens this Saturday in Paris, France and arttists including are: DAL, David Walker, Stinkfish, Faith47, David Shillinglaw, Martin Whatson, Klone, Snik, Otto Schade, Ben Slow, Joseph Loughborough, Inkie and Banksy:
For further information regarding this show click here.
Sculptor and conceptual artist Isaac Cordal is doing a series of outdoor installations From March 31st to September 30th, 2012 in 30 Locations spread across 9 coastal municipalities throughout the Flemish coast as part of Beaufort 04.
Mr. Cordal’s army of little cement characters are sure to stop you on your heels if you see them that is. His commentary on social issues runs deep and wide always with a humorous touch and an impeccable sense of placement:
For further information regarding this event click here.
A custom installation by How & Nosm just finished at the new show opening next week in the Bronx called “This Side of Paradise”. See BSA coverage of the show and more photos of How & Nosm’s installation along with Crash and Daze HERE.>>“Poorhouse for the Rich” Revitalized By The Arts
The other Australian bad boy Kid Zoom made a video of himself building a house and crashing some cars. We have video to prove it:
A block-long limestone mansion originally built as a welfare hotel for the retiring rich invites streetwise Graff artists and others to gild it’s decayed rooms, raising it from pigeon-infested squalor. Call it “This Side of Paradise”
Enter a discussion about the impact of the modern Street Art movement and someone will inveigh with swollen gravitas that Street Art has the power to “activate” or “re-vitalize” a previously moribund space, to bring it to life. Aside from sounding like part of the gentrification process, the “activate” argument is meant to tip on its head the impulse of simple-minded dullards who opine that Street Art and it’s cousin graffiti are pure social disease and degrading to the foundations of city life.
Opening in April in the Bronx a similarly anti-intuitive project invites artists of the street to create new life in a decaying mansion and the looking-glass contradictions are as rich as those of the benefactor for whom the aged home is named. The Andrew Freedman Home, with it’s Italian Renaissance details and stepped back grandeur along the Grand Concourse and a mile south of Yankee Stadium, acquired its landmark status in 1984 – the same year it breathed it’s final breath as a retirement home for the rich who had fallen on hard times.
When the building’s namesake, a New York millionaire businessman and colleague of the corrupt Tammany Hall, died as a confirmed bachelor in 1915, he wanted to make sure the money he left would keep the wealthy feeling wealthy after falling in the poorhouse. He simply didn’t want his peers to suffer no matter their financial plight so his wealth commissioned this mammoth home with roughly twice the space of the White House to give these deserved folk a good life in their later years, with servants. Beginning in the Roaring Twenties and over the next six decades, with hallways as long as 22 Town Cars, the ground-bound ship liner swam with former Cunard attendants serving the mostly white seniors as they dined in red and black Chinoiserie style, thumbed books in the library, played sport in the billiard room, and bobbed in the grand ballroom.
“I think that you cannot help but be struck by the bizarre nature of the enterprise because it was class solidarity. He was less concerned with the indigent poor than protecting his own class who had fallen on hard times,” exclaims Manon Slome as she frames the ridiculous circumstances that kept “members” well heeled into their twilight.
Slome is President and Chief Curator of No Longer Empty, a contemporary public art organization that takes empty buildings that are often in disrepair and revitalizes them with site-responsive contemporary art exhibitions. Together with the Mid Bronx Senior Citizens Council, the non-profit that has owned the 117,000 square foot complex since 1984, No Longer Empty is curating a 32 artist show that for two months will offer curious visitors the first peek at the decrepitude that is slowly being enlivened. Since bidding farewell to their last upper crust in the early 1980s, the crusty decay of walls and ceilings has been curling and peeling and dropping to the floor. With artists interpreting the history and memories of the place along with their own take on the economics involved, the results are definitely site specific.
As she talks about the new show “This Side of Paradise,” Jeanette Puryear, Executive Director of Mid Bronx Senior Citizens Council, reflects on how she used to watch the games and social activities in the grassy gardens of the home from the other side. “We began across the street when the council started in 1973. I came aboard as a staff person in ’77 and I used to look down on the parties that they had on the lawn here. I just thought it was a wonderful building.”
Discussing the selection of No Longer Empty (NLE) as partner to the arts community and curator of the new show, Puryear feels like it is a natural accord. “The idea, our collaboration, really came about when I met Manon and she talked about NLE’s interest in revitalizing communities and it really fit very much with our mission of comprehensive community revitalization.”
This may come as news to some that graffiti kings like Crash and Daze were called upon to do community revitalization in the same borough where leaders once reviled their painting style. With a few heavyweight street art and graffiti names bringing these rooms to life, it’s interesting to see their role as one of contributing in a positive way here where the emergence of a global “Wildstyle” graffiti first blossomed while entire neighborhoods burned.
“At the same time in the late 70s and early 80s when this home’s original purpose was failing you had the rise of Bronx graffiti,” says curator Keith Schweitzer, who introduced Crash, Daze and Tats Cru alumni How & Nosm to Slome, each taking one of the rooms and bringing it to life. Schweitzer sees many parallels in this Bronx tale as he reflects on the role of the artist rising from the ashes of the burned-out neighborhoods then and an art show in the decay of this home now. “At that time you had things like Fashion Moda in the Bronx, which sort of incorporated graffiti into a contemporary art exhibition and these conceptual spaces that Street Artists and Graffiti artists participated in. And it all happened at the same time.”
Slone brings the stories full circle as she excitedly relates the multiple arts and education projects currently afoot in the home, including many with a social mission of building community and connections within it. “When we started selecting and inviting the artists, we steeped them in the history of the home. The goal was really to create a fusion of the history of the home and the nature of the history of the Grand Concourse and the present day realities of the Bronx. And that fusion was really the creative springboard, if you like, for most of installations in the exhibition.”
Whatever role you assign the artist in this clubby home of decay, the experience of discovering these complete room installations is at times reflective, sometimes illuminative, and often revitalizing to the spirit. It will depend on the definition of paradise.
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This Side of Paradise will open on April 04 at 6:00 pm. For further details about this exhibition click here.
With special thanks to President and Chief Curator Manon Slome and Curator Keith Schweitzer of No Longer Empty for their generous access to the installations in progress. To learn more about No Longer Empty click here.
BSA would also like to extend our gratitude to Jeanette Puryear, Executive Director of Mid-Bronx Council for taking time to answer our questions. To learn more about Mid-Bronx Council click here.
Crash
Laetitia Hecht & ADDICT Galerie présentent :
John CRASH Matos – “Study in Watercolors”
14.04.2012 – 02.06.2012
Vernissage le Samedi 14 Avril 2012, 18:00 – 21:00
Opening on Saturday, 14th of April 2012, 6 – 9 pm
Doit-on encore présenter John CRASH Matos, ce pionnier du Street Art, né dans le Bronx en 1961, qui entreprend, à l’âge de 13 ans, de populariser son blaze de graffeur sur les trains de New York ?
ADDICT Galerie le propose pour la quatrième fois, tant passionne le travail de cet artiste qui, pour ne pas se laisser enfermer dans le graffiti, s’exprimera sur la toile dès 1978. Cette audace lui a permis de rendre ses lettres de noblesse artistiques au Street Art dès sa première grande exposition, “Graffiti Art Success”. Pour la première fois, l’Art urbain y était pris au sérieux aussi bien par le public que par la critique.
En passant des trains aux cimaises, CRASH a pu alors commencer à côtoyer les plus grands (Jean-Michel Basquiat et Keith Haring à la galerie Real Art Ways) et donner naissance au post-graffiti.
Depuis, du Musée d’Art Moderne de la Ville de Paris au MoMA de New York ou au Groningen Museum aux Pays-Bas, CRASH ne cesse d’afficher avec brio ses innovations. Il a appris à se renouveler tout en restant fidèle à ses options par une recherche incessante de la concision et de la synthèse. Son style ne cesse d’évoluer vers la simplification essentielle, le dépouillement éclatant. Pour lui, se renouveler, c’est approfondir en évacuant de ses toiles le superflu, les fioritures qui obscurcissent le sens, telle la démarche faussement simplificatrice d’un Matisse.
Preuve de leur singularité et de leur puissance, les œuvres de CRASH sont ainsi identifiables au premier coup d’œil.
Avec “Study in Watercolors”, ADDICT Galerie propose une sélection d’études préparatoires fraîchement réalisées par John CRASH Matos. Jusqu’ici peu montrées en France, ces aquarelles éclairent les dernières avancées du travail de l’artiste.
Bien au-delà de l’esquisse préparatoire, de l’essai inaccompli, ces œuvres révèlent l’aisance avec laquelle CRASH synthétise avec une rare acuité la culture urbaine et la culture pop. Comics, mangas, hip-hop, science-fiction, produits télévisés, graphisme, ce déferlement désordonné d’images charriées par notre société, CRASH le condense en une expression picturale organisée selon le principe du sampling.
Les potentialités plastiques propres à l’aquarelle permettent à CRASH de composer de subtiles nuances chromatiques éblouissantes de lumière. De manière audacieuse, l’artiste inscrit dans des cadrages resserrés bribes de lettres et fragments de visages sans que l’œil, chaque fois, n’abandonne sa présence obsédante, signe complice à Roy Lichtenstein. Mais, dans son cas, le petit format n’est pas enfermement, il invite au contraire à saisir la dynamique des lignes entravées qui se projettent avec force hors du cadre.
Le nombre d’œuvres exposées montrent, s’il en était besoin, que CRASH n’a en rien perdu de sa fureur de peindre depuis près de 40 ans. La technique de l’aquarelle lui permet d’exprimer, dans une sorte d’urgence, toute son énergie créatrice.
Avec cette exposition consacrée à CRASH du 14 avril au 2 juin 2012, ADDICT Galerie, met en lumière l’ébauche, le travail préparatoire du graffiti, aspect trop souvent relégué au second plan d’un mode d’expression parfois assimilé à un jaillissement spontané de l’imagination de l’artiste. La reconnaissance du Street Art passe aussi par ce retour aux sources.
Visuels et informations disponibles sur demande
Images and informations available upon request
Contact : +33 (0)1 48 87 05 04 / info@addictgalerie.com
ADDICT Galerie – Laetitia Hecht
14/16 rue de Thorigny 75003 Paris
T:+33(0)1 48 87 05 04
Horaires d’ouverture / Opening hours
Mardi – Samedi 11:00 – 19:00 et sur rendez-vous
Tuesday – Saturday 11am – 7pm and by appointment
info@addictgalerie.com
www.addictgalerie.com
Crossing Borders
featuring work by
DAL, David Walker, Stinkfish, Faith47, David Shillinglaw, Martin Whatson, Klone, Snik, Otto Schade, Ben Slow, Joseph Loughborough, Inkie and Banksy
Opening Reception: Saturday, March 31, 5-9pm
MSAGallery @ L\INCONNU
17 rue Mazagran
75010 Paris, France
Please RSVP to rsvp@mystreetartgallery.com
Preview List can be requested to theshop@mystreetartgallery.com
Exhibition open to the public March 31st – April 5, 2012
MSAGallery is pleased to present Crossing Borders, a group show which brings for the first time in the heart of Paris, fifteen artists whose work activates creative conversations far from the French borders with geographically disparate cities of Bogotá, Cape Town, Beijing, Kiev, London, Oslo, Bristol, Concepcion and Tel Aviv
Artists will be present in Paris painting in the city for MSA’s open air gallery project ParisFreeWalls.
About MSAGallery:
Founded in 2011, MSAGallery focuses on a select group of artists breaking ground in painting, mixed media and sculpture. The annual program consists of a series of pop-up solo and group exhibitions that document the progress of these artists.
This Side Of Paradise
On April 4, 2012, the gates of the Andrew Freedman Home will open to the public. The Home was once built to be a haven, a paradise, for the rich elderly who had lost their fortunes. Bequeathed by millionaire Andrew Freedman, the Home provided not only food and shelter but all the accoutrements of a rich and civilized life style – white glove dinner service, a grand ball room, a wood-paneled library, billiard room and a social committee who organized concerts, opera performances and the like.
Referencing this quixotic history, This Side of Paradise will reference the past and reconnect the vision of Andrew Freedman to today’s Bronx and its realities. The exhibition and its extensive public programming onsite and offsite will draw together the economic and social history of the Home with the present day realities of the Bronx and its residents.
The selected artists’ will work in a site-specific manner and will respond to such issues as memory, immigration, storytelling, aging and the creation of fantasy that the original concept of the Home “being poor in style” suggests. This Side of Paradise will celebrate human ingenuity, the strength of the human spirit and the resilience needed to fashion beauty, hope and rejoicing.
Opening Reception will be Wednesday, April 4 from 6 to 8pm followed by the Speakeasy After Party Fundraiser sponsored by St. Germain starting at 8:30pm. Support NLE and future exhibitions by purchasing tickets here.
Exhibition Hours: Thursday to Sunday, 1pm to 7pm (extended hours when events are hosted).
Bronx Arts Alliance is a partner for This Side of Paradise either installations, events or general cross-promotion of Bronx Arts. Partnering organizations are: Bronx Documentary Center | Casita Maria | Hebrew Home at Riverdale | Lehman College Art Gallery | Longwood Art Gallery at Hostos College | The Bronx Children’s Museum | The Bronx Council of the Arts | The Bronx Museum of the Arts | The Bronx River Art Center | The POINT | Wave Hill
Organizations Presenting Installations are Wave Hill – Installation by Adam Parker Smith; The POINT – Designed by Carey Clark, Alejandra Delfin, Danny Peralta, Lady K Fever, Sharon de La Cruz, Tats Cru, David Yearwood among others; The Bronx Museum of the Arts – Works by artists in the AIM Program; Bronx Documentary Center -Film by Tim Hetherington; Lehman College Art Gallery – Works by Scherezade García
Video and Production Support: BronxNet– a not for profit that provides local television by the people of the Bronx, for the people of the Bronx.
Media Partner: WNYC Radio
The Cafe in the Home is generously supported by La Colombe Torrefaction coffee.
This Side of Paradise is a collaboration with the Mid Bronx Senior Citizens Council, one of the largest nonprofits who has been providing community services in the South Bronx. Contact wpuryear@midbronx.org about the Andrew Freedman Home and mjenkins@midbronx.org about MBSCC.
Curatorial team is Manon Slome, Keith Schweitzer, Charlotte Caldwell and Lucy Lydon. A tremendous thank you to all our volunteers and interns involved in the project. Thank you!
ARTISTS:
Isaac Cordal
SUBEN PRESENTS
ISAAC CORDAL . Solo Show
RAS Gallery Barcelona . Carrer Doctor Dou 10
Opening Friday April 13th from 7.30 till 10 pm
Exhibition runs from April 13th till May 12th
Curated by Maximiliano Ruiz
“In 2007 the Spanish building industry used 54.2 million tones of cement. This factoid did not escape the thoughtful attentions of one very interesting Galician digital nomad, namely Isaac Cordal. Cordal saw this frenzied ‘cementisation’ of the world around him as evidence of our deep alienation from an ongoing conflict with the natural environment. So, being an artist very much obsessed with the problem of the human body Cordal appropriated cement as the tool for his own intervention in the built environment. What this means in laymen’s terms is that he used cement to make his art and in this case his art was sculptures of little people.”
Gary Shove
“Blink and you’ll miss it. Turning the urban landscape in on itself with installations that are almost to subtle to be noticed while passing by in an individualistic frenzy, Isaac Cordal uses the grey functionality of cement to question the lack of colour and vibrancy in so much of our lives through his tiny figures.”
Street Art Utopia
“Creator of a tiny community of cement sculptures hidden and isolated around the city, Isaac Cordal invites us to reflect on the sad state of the world through his art. It holds a mirror up to society by recreating scenes of our everyday modern life reminding us of the numb passage of time, the overwhelming influence of consumerism and elimination of nature. Keep your eyes open!”
Street Art London
Mousse!
Highbrow, Lowbrow, Nobrow – MOUSSE! Datum: 7 april – 23 juni 2012
Opening: vrijdag 6 april 2012, 19:00 – 23:00 Kunstenaars: Admir Jahic (CH, 1975), East Eric (FR, 1974), Isaac Cordal (ES, 1974), Mark Jen- kins (USA, 1974), Nomad (DE, 1971), Stefan Gross (DE, 1965), Tobias Allanson (SE, 1974), Zoe Strauss (USA, 1970)
Gastcurator: Harlan Levey (USA, 1974)
Locatie: Showroom MAMA, Witte de Withstraat 29-31, 3012 BL, Rotterdam
Highbrow, Lowbrow, Nobrow – MOUSSE! is een tentoonstelling over hedendaagse Mousse Art, samengesteld door MAMA in samenwerking met Harlan Levey, hoofdredacteur van Modart Europe.
Moussism verhoudt zich in gelijke mate tot proces en beweging. Het verkent creativiteit en sociaal welzijn door onderwerpen als smaak, erfgoed en de relatie tussen kunst en activisme aan de kaak te stellen.
Highbrow, Lowbrow, Nobrow – MOUSSE! Date: 7 April – 23 June 2012
Opening: Friday 6 April 2012, 19:00 – 23:00 Artists: Admir Jahic (CH, 1975), East Eric (FR, 1974), Isaac Cordal (ES, 1974), Mark Jenkins (USA, 1974), Nomad (DE, 1971), Stefan Gross (DE, 1965), Tobias Allanson (SE, 1974), Zoe Strauss (USA, 1970)
Guest curator: Harlan Levey (USA, 1974) Location: Showroom MAMA, Witte de With- straat 29-31, 3012 BL, Rotterdam
Highbrow, Lowbrow, Nobrow – MOUSSE! is an exhibition of contemporary Mousse Art pro- duced by MAMA in collaboration with Harlan Levey, Editor in Chief of Modart Europe.
Moussism refers to process as much as move- ment. It discusses taste, legacy and the line between art and activism to explore creativity and social wellbeing.
Het tijdschrift Modart werd in 1999 gelanceerd om de houding en acties van opkomende kunstenaars en hun verhouding tot de taal van rebellie te docu- menteren en presenteren. Rond de eeuwwisseling was burgerlijke ongehoorzaamheid in alle uithoeken van de culturele sector sterk in opkomst. Er was vaak sprake van vandalistische toepassingen van creativiteit en innovativiteit in technologie (hi en lo fi). Dit was ook zichtbaar in bijvoorbeeld de groei van open source platforms, p2p websites zoals Napster, de totstandkoming van protestgroepering- en in de zogenaamde ‘battle for Seattle’ of de ‘grassroots’ manier waarop een jonge generatie street artists de esthetiek van de publieke ruimte uitdaagde en de sociale architectuur opnieuw toeëi- gende.
Modart was niet geïnteresseerd in ‘professionele’ kunst maar eerder in kunst die werd ‘geleefd’. Mod- art maakte zich als tijdschrift consequent sterk voor de toename van artistiek amateurisme en participa- tie. MAMA en Modart zijn bijna vanzelfsprekende partners. Niet alleen zijn ze gelijktijdig uitgegroeid tot volwassen organisaties, er was ook een continue overlap van deelnemende kunstenaars, die later
de pijlers van een internationale ‘street art scene’ zouden vormen. Het zal niemand verbazen dat de eerste berichten over Mousse Art in reactie waren op de MAMA tentoonstelling The Adventures of the Great Abnerio. Time Out Amsterdam citeerde Abner Preis destijds met de vermelding dat Mousse Art
er misschien shit uitziet, maar dat het wel heerlijk smaakt. Zoals elke shit is ook Mousse een bewe- ging die zich uitspreekt over het gehele proces, inclusief gezondheid.
Als onderdeel van de tentoonstelling Highbrow, Lowbrow, Nobrow – MOUSSE!, presenteert MAMA twee gesprekken met Zoe Strauss en gastcurator Harlan Levey op 7 en 9 april. Op 7 april bij MU in Eindhoven en op 9 april in Concordia 21rozendaal in Enschede. Bezoek de MAMA website voor de details.
Modart was launched in 1999 to document the attitudes and showcase the actions, of emerg- ing artists and their relationship to a language of rebellion. As the last century came to a close, in every cultural sector, civil disobedience was on the rise. Often vandalistic applications of creativity and innovation were evident in the use of technology (hi and lo fi) that saw simultane- ous rises in open source platforms, file sharing programs like napster, mobilization of protest groups in the battle for Seattle or the grassroots way in which a new generation of street artists challenged the aesthetics of public space and re-appropriating social architecture.
Modart was not interested in ‘art’ in any profes- sional sense, but rather in art as something that was lived. As a magazine Modart consistently communicated a plea for increased artistic amateurism and participation. Maturing during the same years and with a consistent overlap of artists who would become staples in an interna- tional ‘street art scene’, Modart and Showroom MAMA are very natural partners. It was not sur- prising, that the first critical mention of Mousse Art came in response to the Showroom Mama exhibition, The Adventures of the Great Abnerio, when Time Out Amsterdam quoted Abner Preis to declare that Mousse Art might look like shit, but tastes sweet. Like any sort of shit, Moussism is a movement that speaks of an entire process and eventually of health.
As part of MAMA’s exhibition Highbrow, Low- brow, Nobrow – MOUSSE!, MAMA presents two talks with Zoe Strauss and guest curator Harlan Levey on 7 and 9 April. On 7 April we will be at MU in Eindhoven and on 9 April you can find us at Concordia 21rozendaal, Enschede. Be sure to check the MAMA website for details.
office:
Kromme Elleboog 35 3012VM Rotterdam – NL
post:
PO Box 23070
3001KB Rotterdam – NL
T +31 10 2332022 info@showroommama.nl www.showroommama.nl
MAMA is supported by: City of Rotterdam, Ministery of OC&W
Isaac Cordal
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Last two months I´ve been working in a project called ‘Waiting for Climate Change’. It will be exhibited on the beach of De Panne as well as in a local historic villa once occupied by Chalutier. This is part of the Beaufort04 edition. For this project I made some ephemeral installations in different locations of the coast. ‘ Waiting for climate change‘ presents a few stereotypes of persons that confronting climate change in different ways. Some of them climbed to the top of a pole from where they look the horizon. From March 31st to September 30th, 2012 More info: |
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Welcome to Friday! You made it! It’s sunny and warm in New York this morning – time to hit the streets and parks and bookstores, before they’re all gone.
1. BOOKLYN in the House (VIDEO)
2. Adam Void “American Dream”
3. La Pandilla and Trek Matthews @ Living Walls Concepts
4. NSM “Justified Scriptures” (San Francisco)
5. Street Artist on the Street – Hugh Leeman (VIDEO)
6. Allan Dalla and Kero – Street Artists in Romania (VIDEO)
7. Slim Shady Mitt Romney (VIDEO)
Big Ups to these two serious readers. Read Books Ya’ll.
“(I) read so hard, libraries tryin’ to find me.”
“Animal Farm, Jane Eyre,
Barnes & Noble, FourSquare”
Adam Void has a show called “An American Dream” at the MICA Decker Gallery in Baltimore, opening today. This is the artist’s MFA Thesis show. Congratulations Adam! 
For further information regarding this show click here.
Saturday Living Walls Concepts in Atlanta will be at The Jane with a show featuring new works from Street Artists La Pandilla from Puerto Rico and Trek Matthews from Atlanta in conjunction with their participation in this year’s edition of Living Walls, The City Speaks. 
941 Geary Gallery in San Francisco invites you to the opening reception of an NSM solo show entitled “Justified Scriptures” this Saturday.
(photo courtesy of the gallery)French videographer Clemence Demerliac filmed the San Francisco based Street Artist Hugh Leeman to understand his original thinking and in inventive approach to helping other with his work.
An INGENIOUS compilation of clips to create this parody of Eminem’s “Slim Shady”
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BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
