Street Art Book Review

Leon Keer: “Break Glass In Case Of Lost Childhood”

Leon Keer: “Break Glass In Case Of Lost Childhood”

One of the challenges in creating a book about anamorphic art is presenting images that tell the viewer that they are being tricked by perspective yet hold onto the magic that this unique art conjures in people who walk by it on the street.

Leon Keer. “Break Glass In Case Of Lost Childhood”. Published by Lannoo Publishers, Belgium, 2020

In a way, that brass skeleton key that allows entry into another world is precisely what Dutch pop-surrealist artist Leon Keer has been seeking for decades to evoke in viewers’ heads and hearts. Some would argue he is preeminently such; certainly, he is the wizard whose work on walls and streets has triggered memories for thousands of children and ex-children of the fantastic worlds they have visited.

“You develop your senses all your life. Through what you experience, you involve affinities and aversions,” he says in his first comprehensive bound collection of gorgeous plates entitled In Case of Lost Childhood Break Glass. “Your memories shape the way you look at the world. When it comes to reflecting my thoughts, my memories are key. I needed to feel some kind of affection or remorse towards the object or situation I want to paint.”

Leon Keer. “Break Glass In Case Of Lost Childhood”. Published by Lannoo Publishers, Belgium, 2020

Looking through the various venues he creates with and within, you can find an imagination that fully entreats you to join in the fun. Whether they are street paintings. floor paintings, anamorphic rooms for you to pose in, experiments in augmented reality brought alive on your phone, enormous land art paintings, or oddly shaped painted canvasses, Keer is not keeping the fun to himself. You are the welcomed and necessary ingredient that will supremely complete the scene.

Los Angeles art dealer Andrew Hosner writes an introduction to the book, representing Keer to collectors and curating his work commercially. He is felicitously taken by the artist’s ability to conjure a familiar yet unusual world, describing the mind-melt that occurs during a typical Leon Keer encounter. “Bending your perspective, and opening your mind along the way, has never been more rewarding.”

Leon Keer. “Break Glass In Case Of Lost Childhood”. Published by Lannoo Publishers, Belgium, 2020

As you turn the pages, you wonder what some of the stories behind the pieces are, and he’ll often give you a clear description of what was going through his mind when he created it or what the particular significance is to him. You may also marvel at his dedication to preserving that precious world that each of us once lived in. Ingenious, witty, technically precise, Keer is a responsive and trustworthy guide.

Leon Keer. “Break Glass In Case Of Lost Childhood”. Published by Lannoo Publishers, Belgium, 2020

“Every day I try to be a child, but when I look in the mirror I am reminded that time is marching on,” he writes. “Gray hairs in my beard and a receding hairline make me realize that my childhood years are far behind. Yet my curiosity is never burned so bright.”

Leon Keer. “Break Glass In Case Of Lost Childhood”. Published by Lannoo Publishers, Belgium, 2020
Leon Keer. “Break Glass In Case Of Lost Childhood”. Published by Lannoo Publishers, Belgium, 2020
Leon Keer. “Break Glass In Case Of Lost Childhood”. Published by Lannoo Publishers, Belgium, 2020
Leon Keer. “Break Glass In Case Of Lost Childhood”. Published by Lannoo Publishers, Belgium, 2020
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BSA HOT LIST: Books For Your Gift Giving 2020

BSA HOT LIST: Books For Your Gift Giving 2020

It’s that time of the year again! BSA has been publishing our “Hot Lists” and best-of collections for more than 10 years every December.

In this year that has been so heavy and difficult for many of the BSA family we thought it would be inappropriate to do things the way we always do, out of respect for this moment. The one list that we feel good about this year of course is our shortlist of some of our favorite books from 2020 that you may enjoy as well – just in case you would like to give them as gifts to family, friends, or even to yourself.


From BSA:

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

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

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

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

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


From BSA:

Bill Posters knows his street art and activism history.

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

He also knows how to yarn-bomb.

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

“The Street Art Manual”; Rebel Artivism and Good Manners with Bill Posters

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


From BSA:

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

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


Artist Franco JAZ Fasoli Goes “Publico Privado”

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


From BSA:

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

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

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


ROA “CODEX” Reveals His Wild World Wanderings


From BSA:

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

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


“Martha Cooper: Taking Pictures”


Published by Urban Nation Museum Berlin & Steven P. Harrington and Jaime Rojo
.


From BSA:

To accompany the exhibition “Writing the Future: Basquiat and the Hip-Hop Generation” at the Museum of Fine Arts in Boston, a substantial catalogue has been released to support the show and place the artist in context with his time as well as his influence on the future as it pertains to contemporary art and so-called art in the streets.

Accessible and erudite, the catalogue unpacks the social connections, the various emerging music, art, and performance sub-scenes of “Downtown” and “Uptown” New York culture, the opaque underpinnings of the dominant culture, and the urban syntaxes that formed this young Brooklyn artist and his work in the 1970s and 1980s. To faithfully set the stage for this story; to conjure the atmosphere, the moment, the context that Basquiat evolved himself into, you would need to create an interactive urban theme park with an impossible set design budget, a cacophonous sound-music map, a handful of public policy and political advisors, an anthropologist, a warehouse of costumes, too many actors, too many attitudes, and even more drugs.

Writing the Future: Basquiat and the Hip-Hop Generation. Published by MFA Publications on the occasion of the exhibition currently on view at the Museum of Fine Arts, Boston. Edited by Liz Munsell and Greg Tate with contributions by J. Faith Almiron, Dakota DeVos, Hua Hsu, and Carlo McCormick.


“Writing The Future”: Basquiat , Broken Poetics, and the NYC Cultural Context


From BSA:

With precision and guile Sandra Chevrier has painted a female world that is sophisticated, unreachable and appealing, whether painted on canvas, street mural, or stuck to a wall in the margins of a city. The characters who are punching and pouncing and swooning across her faces are reflective of her own hearts’ adventures, seamlessly rolling and intermingling with those epic storylines and dust-ups with superheroes and villains of yesterday.

Perhaps it is because of this sense of inexactly placed nostalgia, in “Cages” we are aware of the ties that bind us, the roles that we hold – whether chosen or imposed – and we’re rooting for these Chevrierotic women to win – as they scream and cry and swing for the rafters, looking for the way out.

“A dance between triumph and defeat, freedom and captivity, the poison and the cure,” stands the ambivalent quote on the page facing her black and white photo by Jeremy Dionn.

A closeup of her face, her hand horizontally obscures the lower half, her index finger raised to allow Sandra to see, to study and assess. Without question this artists’ work is more than autobiographical – these expressions offer a stunning sense of mystery, an understanding at the precipice, an adventure-ready to occur.

Sandra Chevrier: Cages. Published by Paragon Books and designed in San Francisco, CA. by Shaun Roberts. August 2020.

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Sandra Chevrier and “Cages”

Sandra Chevrier and “Cages”

With precision and guile Sandra Chevrier has painted a female world that is sophisticated, unreachable and appealing, whether painted on canvas, street mural, or stuck to a wall in the margins of a city. The characters who are punching and pouncing and swooning across her faces are reflective of her own hearts’ adventures, seamlessly rolling and intermingling with those epic storylines and dust-ups with superheroes and villains of yesterday.

Perhaps it is because of this sense of inexactly placed nostalgia, in “Cages” we are aware of the ties that bind us, the roles that we hold – whether chosen or imposed – and we’re rooting for these Chevrierotic women to win – as they scream and cry and swing for the rafters, looking for the way out.

“A dance between triumph and defeat, freedom and captivity, the poison and the cure,” stands the ambivalent quote on the page facing her black and white photo by Jeremy Dionn.

A closeup of her face, her hand horizontally obscures the lower half, her index finger raised to allow Sandra to see, to study and assess. Without question this artists’ work is more than autobiographical – these expressions offer a stunned sense of mystery, an understanding at the precipice, an adventure ready to occur.

Arranged chronologically over the last decade you can witness in her works ample evidence of her refinement of technique and reverence as an artist and as an individual; struggling between revealing and hiding, adding human dimension or remaining an object. Selected swatches of superheroes form collage masks across a steady parade of beautiful female faces and forms, their drama stirred and everpresent, lying in wait until confidence takes root.

Gorgeously designed and laid out; alternating between large matt-finished plate portraits and small sketch paper inserts, the book conveys warmth and clarity even as her superheroes remain mysterious. These cages, however they present themselves, are glossy and refined. Are they empowered, or are they objectified? The lines are blurred. Her femmes are imbued as more than just the fatale who lures one into a dangerous or compromising situation, but these figures may also revel in mystery itself, just beyond your arms reach.

Inquisitive, strong, and full of imagination, Chevrier may surprise everyone when these figures eventually take off their masks. Until then, the enchanting mysteries continue.

Sandra Chevrier: Cages. Published by Paragon Books and designed in San Francisco, CA. by Shaun Roberts. August 2020.

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

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

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

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

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

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

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

More about this project in a future posting.

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

Opening weekend

Opening:

Friday, October 2nd, 2020: 8 – 11 pm

Extended opening hours:

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

Sunday, October 4, 2020: 10 am – 8 pm

URBAN NATION Museum, Bülowstrasse 7, Berlin-Schöneberg

Livestream Opening Martha Cooper: Taking Pictures

Click HERE for more details about the exhibition.

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ROA “CODEX” Reveals His Wild World Wanderings

ROA “CODEX” Reveals His Wild World Wanderings

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

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

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

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

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

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

Bill Posters knows his street art and activism history.

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

He also knows how to yarn-bomb.

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

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

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

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

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

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

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

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

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

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

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

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

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


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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

DB Burkeman. Stickers Vol. 2: From Punk Rock to Contemporary Art. (aka More Stuck-Up Crap) Rizzoli, NYC, 2019.
DB Burkeman. Stickers Vol. 2: From Punk Rock to Contemporary Art. (aka More Stuck-Up Crap) Rizzoli, NYC, 2019.
DB Burkeman. Stickers Vol. 2: From Punk Rock to Contemporary Art. (aka More Stuck-Up Crap) Rizzoli, NYC, 2019.
DB Burkeman. Stickers Vol. 2: From Punk Rock to Contemporary Art. (aka More Stuck-Up Crap) Rizzoli, NYC, 2019.
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“Stencilists / Pochoiristes” Cuts Across the Street Scene Gallantly, with Serge Louis

“Stencilists / Pochoiristes” Cuts Across the Street Scene Gallantly, with Serge Louis

Enthusiastic authors like Serge Louis can make Street Art sing, even in print. His new “Stencilists/Pochoiristes” is a finely illustrated hardcover of iconic images from the street. The carefully selected plates are placed within interviews in French and English.

The 17 stencillists whom he has selected are from a populated field of possibilities but he captures a fair range from his travels in Europe – with a few from the US to compliment them.

Stencilists / Pochoiristes by Serge Louis. Editions Maedia. Collection Brigadier Plipp

In the intro from Samantha Longhi, who wrote a weekly stencil column here at BSA years ago – in addition to being a gallerist and former editor of Graffiti Art magazine – you get the sweetest memory of a Miss Tic stencil being buffed in her neighborhood, and a sense for how it rocked her world.

“I had truly lost it that day. I felt that this ‘Birth of Venus’ that was re-interpreted by the Parisian stencil artist literally belonged to me,” she says. “It was the stencil I looked at every day, morning and evening, and I had made it mine. It was the beginning of everything for me.”

Ben Spizz. Stencilists / Pochoiristes by Serge Louis. Editions Maedia. Collection Brigadier Plipp

You can tell that this is the same level of appreciation that Mr. Louis invests in his book, with ample space given to the artists to express their specific approach to the lunacy of art on the streets.

“The first trigger was living with two graffiti artists when I was a student,” recalls stencillest Jaune talking about his introduction coming from graffiti. “They would go out tagging at night, putting up small works in the streets… This is how I discovered the graffiti movement. I was very interested in the fact that artists could, just like that, write something completely unauthorized on walls! But I didn’t want to do it myself because visually it wasn’t me. The second trigger was the stencillist Banksy.

Billi Kid. Stencilists / Pochoiristes by Serge Louis. Editions Maedia. Collection Brigadier Plipp

Speaking of the famous Bristol-born stencil artist, there are a couple of topics that recur throughout these interviews; most of these 2nd/3rd generation practitioners point to their pioneers like Blek Le Rat, Banksy, Mis Tic, Jef Aerosol, Ernest Pignon-Ernest, and C215 for setting the standard. The second topic that comes up frequently is that cutting stencils is a time-consuming practice and it is far more involved than most people appreciate.

The photorealist Niz talks about her work in a way that many artists can appreciate. “If you were working with a regular job, if you work an eight hour day, you come home and all your creative energy has been used for something else. Because actually, you need to have time and energy to think about your stencil. You need to execute it. You need to look for materials and do all that stuff. So, unless you are rich and wealthy and you can afford a lot of free time that is disposable, it is challenging doing stencils!”

Dipo. Stencilists / Pochoiristes by Serge Louis. Editions Maedia. Collection Brigadier Plipp

” …you have to carry this wet and sticky template around with you, which adds some serious complications to bombing. Secondly you have to have some type of tight spray can control to pull it off. Thirdly there is a lot of thought to put into stencil design prior to painting. I think anyone that has ever tried stencil art and is actually pulling it off, would agree with me.”

Jaune. Stencilists / Pochoiristes by Serge Louis. Editions Maedia. Collection Brigadier Plipp

From painterly and multi-layered, to the simplicity of symbols, in the vernacular of advertising, or with a knowledge of art history, the collection represents a good cross section despite the limited size of the list. In his essay, the author is an idealist, and a philosopher – revealing his engagement to be as civic as it is poetic.

“Stencillists are first and foremost profoundly human. And radically humanistic,” he writes.

“They release citizens to express themselves… their criticism of the world is essential and vital for us. They take risks. They raise awareness. Stencil artists radically change how we look at things, as a passerby or as a resident, making us more attentive and more alert to the urban condition..”

Jinks Kunst. Stencilists / Pochoiristes by Serge Louis. Editions Maedia. Collection Brigadier Plipp
Logan Hicks. Stencilists / Pochoiristes by Serge Louis. Editions Maedia. Collection Brigadier Plipp
Raf Urban. Stencilists / Pochoiristes by Serge Louis. Editions Maedia. Collection Brigadier Plipp
Spencer. Stencilists / Pochoiristes by Serge Louis. Editions Maedia. Collection Brigadier Plipp

Maedia Publishing will host a book signing on June 1st at 212 Arts Gallery in Manhattan. Click HERE for all the details.

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“Street Art Las Vegas” Takes a Tour Beyond the Strip

“Street Art Las Vegas” Takes a Tour Beyond the Strip

Before there was a scene in Las Vegas, there was a scene in Las Vegas.

Not in just the shimmering, drink slamming, dice rolling, pink-fur bikini with a rhinestone choker kind of way – that’s the real Las Vegas scene that you may think of – but in the urban art scene as well.

Street Art Las Vegas by William Shea and Patrick Lai. Smallworks Press. Las Vegas, NV. April 2019.

In this context the Las Vegas graffiti/Street Art scene that existed in the 1990s and 2000s that led up to a massive “Meeting of Styles” in 2012 was lively and varied and leaned more toward lettering, handstyle, and characters. Later, beginning in 2013 with a music/art festival called “Life is Beautiful”, a select group of international Street Artists were paid by public and private interests to help the city tap into a growing interest in urban decoration with eye-popping murals.

You can see both families of aesthetics at play here on the pages of the new hardcover “Street Art Las Vegas” (Smallworks Press) by William Shea and Patrick Lai, local photographers who have studied the city’s scene closely. Presenting documentation primarily from the 2010s, it is a pretty complete overview of the art-on-the-streets divided into geographical sectors of the city.

Suchart. Street Art Las Vegas by William Shea and Patrick Lai. Smallworks Press. Las Vegas, NV. April 2019.

In very personal texts and essays that reference local developments and flavors, the authors give a sense of the changing political and social dynamics in the city. Notably in such a short period of a decade you learn that popular tastes, behaviors, shifts in demographics, and legal regulations evolve relatively quickly regarding art in the streets – in a city where presentation and image are often paramount.

No surprise, Vegas can take on the air of spectacle.

Aware. Street Art Las Vegas by William Shea and Patrick Lai. Smallworks Press. Las Vegas, NV. April 2019.

“With the increased growth of East Fremont Street, the Arts District became a regular destination for landscape and portrait photographers. Many visitors began to utilize the painted walls as backdrops for graduation and group photos and were willing to pay the extra cost just to use the property,” write the authors to describe the near frantic adoration that surrounded the new murals in one part of town at a certain point.

Despite what appears to be a commercial element that bends the aesthetic landscape away from local talent, the choices of work here are additive, good quality, contextual and well framed.

Skul. Street Art Las Vegas by William Shea and Patrick Lai. Smallworks Press. Las Vegas, NV. April 2019.

As long-time urban explorers and artists, we’re attracted to the tales of stuff off the beaten path, which they preserve in a chapter called “Outer Limits”:

“From the back-city streets to the deepest corner of the desert, the vast landscape surrounding the city creates and environment that continues to amaze even the most experience art seekers. Hidden from public view, large-scale projects can be discovered for those willing to venture out, explore and get dirty. In most cases, day trips to these areas yield the greatest finds for those looking for something beyond your average wall.”

We’re ready!

Aware. Street Art Las Vegas by William Shea and Patrick Lai. Smallworks Press. Las Vegas, NV. April 2019.
Lords, ALB, Zeke. Street Art Las Vegas by William Shea and Patrick Lai. Smallworks Press. Las Vegas, NV. April 2019.
ROA. Street Art Las Vegas by William Shea and Patrick Lai. Smallworks Press. Las Vegas, NV. April 2019.
Alexis Diaz. Street Art Las Vegas by William Shea and Patrick Lai. Smallworks Press. Las Vegas, NV. April 2019.
Fintan Magee. Street Art Las Vegas by William Shea and Patrick Lai. Smallworks Press. Las Vegas, NV. April 2019.
Indecline. Street Art Las Vegas by William Shea and Patrick Lai. Smallworks Press. Las Vegas, NV. April 2019.
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Michael De Feo “FLOWERS”

Michael De Feo “FLOWERS”

Amid the detritus of the urban cityscape in decline, it is a welcome contrast to see a dandelion or wild daisy sprouting up from a crack in the sidewalk. Not only is it a reminder of the original inhabitants of the land you are standing on it is an ever-present truth that the plants and the trees and the animals will inherit the earth again, no matter what grand ideas you have for it.

Michael De Feo FLOWERS Abrams Books. New York, NY. 2019

The simplest symbol of nature in the layered debris of urban margins, and a decorative one, is the flower that Micheal De Feo has been “planting” on walls since the early 1990s. The practice has sustained him through many cities and travels abroad, introducing him to artists and fans and collectors, eventually pushing him into explorations of contemporary art.

Michael De Feo FLOWERS Abrams Books. New York, NY. 2019

“Conceptually, I had stumbled upon something that made sense to me on so many levels,” he says in his new hardcover book,”Flowers”, published this spring by Abrams, New York.  “Using whimsy and beauty, I was inspiring smiles and also making connections to ideas about the cycle of life and the ephemeral nature of all things.”

The collection of early images of this simple flower popping up in many streets and scenes remind you of your connection to nature and to his art, almost taking it for granted.

Michael De Feo FLOWERS Abrams Books. New York, NY. 2019

“You learn from watching your artwork set roots in a city,” say the Street Art duo Faile in their intro to the book, “causing people to pause in an alley or on a side street, to stop and look: You see the city in broader terms.”

Now expanding in studio to abstractions and a gestural piling-up of brushstrokes around and upon commercial figurative photography and more recently over top images of classical painting, De Feo is refining and redefining his practice. The newer works are well suited for magazine covers and living room walls as he transitions to a decorative contemporary oeuvre. But the simplicity is still there, happy to be in your world.

“Oh so you’re the flower guy!”.

Michael De Feo FLOWERS Abrams Books. New York, NY. 2019
Michael De Feo FLOWERS Abrams Books. New York, NY. 2019
Michael De Feo FLOWERS Abrams Books. New York, NY. 2019
Michael De Feo FLOWERS Abrams Books. New York, NY. 2019
Michael De Feo FLOWERS Abrams Books. New York, NY. 2019
Michael De Feo FLOWERS Abrams Books. New York, NY. 2019
Michael De Feo FLOWERS Abrams Books. New York, NY. 2019

If you are in NYC this Thursday, April 25th Michael De Feo will be hosting a Pop-Up party, exhibition, book signing and the release of a new special print in celebration of his book FLOWERS. The Pop-UP will be held at 198 Allen Street from 6:30 – 9:00 pm on April 25th and on Friday, April 26th from 10:00 am – 5:00 pm.

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