Everywhere you look today it seems like there is a storm of papers and forms for you to complete – you may even feel like this Surinamese ballerina dancing in a whirlwind of official documents in Leidseplein, Amsterdam.
The topic drives this new mural by JDL, who chose a ballerina because she observed how few persons of color make it into the arts as well, and she wonders about those same prejudices at work in other forms of bureaucracy.
“The Netherlands has come a long way, but there is still a lot of work to do,” she says. “This piece is a small reminder and dedication to keep dancing in bureaucracy. With awareness comes change, and by constantly addressing the issue we will collectively walk towards a brighter, more equal future.”
This project was realized with the contributions of: Yourban2030, Amsterdams Fonds voor de Kunst, Prins Bernhard Cultuurfonds, Airlite, Won Yip and Humberto Tan.
This week we wandered off the streets onto the train tracks to catch some graff in the wild. As we did we thought about photographer Jim Prigoff and how he told us that he relied upon the “graffiti gods” to lead him in the right direction to catch photographs. He was so right when he shared that jewel – an adviso to follow one’s intuition and trust your instincts. It was during this same adventure on the tracks that we learned of Jim’s passing, which was a very sad addendum to the exploration, at first. Then we realized that Jim is now one of those “graffiti gods” and he will lead us to find the next piece, burner, paste-up, sticker, poetry on the street.
May Jim and his instincts always be with us.
“You only live once, but if you do it right, once is enough.”
– Mae West
Take it from Brooklyn’s own Mae West to give us the dry-eyed wit that pushes us further forward, boldly and without reservation.
So New York graffiti and street art continues to run apace – from Red Hook to Ridgewood to Williamsburg to Chelsea in Manhattan – we are dumb-founded by the new work that is covering Gotham. It is also notable the preponderance of LETTER-based street art and graffiti there is everywhere. Letters and their deconstruction, reconstruction, re-imagining have always been a part of the graff tradition of course, but it looks like many artists are talking at you from the wall right now.
So here’s our weekly interview with the street, this time featuring: 2 Much, Adam Fujita, Al Diaz, Aneko, Healer, Jeff Roseking, Jet, Jowl, Lunge Box, Mega, Panic, RAKN, Riisa Boogie, Sac Six, Seo, Timmy Ache, UFO 907, and Wokem.
James Prigoff signed all of his emails with one word in Spanish: “Paz.” (peace)
It was deliberate, intentional, and with that one word, he created a tag for himself that spoke to his commitment to peace on the street and across the world. Looking over his decades of dedication to exploring and documenting, one sees a sincere commitment to understanding and identifying with other cultures and embracing others as brothers and sisters.
Known foremost in the graffiti world for being the co-author of Spray Can Art with Henry Chalfant in 1987, he captured 100,000 photographs worldwide over five decades. His professional sense of curiosity and self-education drove him to persevere in his documentation of the graffiti scenes of the Western US but eventually spread worldwide.
Today we recognize the personal sacrifice and pride that went into that publication or his subsequent publications and honor the dedication. With his efforts and others like him, the graffiti/street art/mural art cultures received much greater recognition and validation. Serious discussion of the contributions of these practices can be directly attributed to the massive platform his work provided the scene.
Along with Subway Art by Chalfant and Martha Cooper, Spraycan Art is annually sighted as a powerful inspiration to thousands of artists worldwide who needed that encouragement to express themselves as artists. That alone is a reason to celebrate his life and be thankful for his work and deep dedication to the culture.
Spraycan Art by Henry Chalfant and James Prigoff and published by Thames & Hudson on September 1, 1987.
Jim Prigoff and Henry Chalfant at Chalfant’s retrospective Henry Chalfant: Art Vs. Transit, 1977-1987 at the Bronx Museum, 2019
It was in the early 1970s “I became fascinated with the political nature of the art in the streets,” Jim wrote in perhaps his last personally written essay and publication here on BSA Writer’s Desk just last month. The inaugural opinion/editorial of the monthly series provided him the opportunity to talk about his life, formal and street education, his observations of artists and movements in culture and politics during the last 7 of his 9-plus decades. A civil libertarian and champion of the rights for the equality of people across the spectrum, he was happy to make “good trouble” even suing the federal government over an unconstitutional surveillance program in the mid-twenty-teens.
An avid observer and analyst, we prized Jim as a friend and confidante because he knew how to connect the dots between larger socio-political movements and to put the art and artists within context. Astutely diplomatic and wise, he advised us on navigation and perspective in this vast creative world of graffiti, street art, and mural – lessons we will not forget. He also shared his theory about photographers being led by “the Graffiti Gods” with a smile and a glint in his eye.
Jaime Rojo, James Prigoff, Steven P. Harrington, 2015, NYC
His empathy was never far from any topic, despite his strident views and opinions. Even during this last year of Covid he wrote to check on us;
“Not an easy time to be shut down in NYC. Hope you are doing OK.”
Only two weeks ago Jim wrote to us with his concern that Gen Z was not getting vaccinated at the rate of the rest of the population and he wondered aloud if street artists were helping to reach out to them on the street.
Less able to travel as freely in recent years, he attended big exhibition openings near his home of Sacramento and Miami and New York – usually with one of his gentle and patient children pushing his wheelchair. Each time he was enthusiastic and opinionated and, well, joyful. Last summer, during Black Lives Matter protests across the country, he was thoroughly following events and their effects on art on the street. He was also eager to share what he found with the world.
He shot photos from the open window of a car driving through Oakland, eager to share what he found – which we published. Jim often commented on our daily postings to us in emails – and we are proud that he shared his writing and photos on several occasions with BSA readers. Always more interested in people than profit, Jim understood our platform and mission better than many.
Our hearts are sorrowful to bid goodbye to Jim Prigoff now, but we are comforted to believe that he is joining his dear Arline, with whom he spent 72 years as husband and wife. An absolute pillar in graffiti, street art, and mural history, documentation, and archiving – Jim was a scholar, an ardent peace activist, an author, lecturer, community activist, a fervent supporter of so many, and a kind person. Our deep condolences to his children, grandchildren, great-grandchildren, his graffiti/street art family, and his colleagues. We are grateful to have called him a friend.
Jim’s last published essay was on Brooklyn Street Art as the inaugural essay for BSA Writer’s Bench in March, 2021:
Selected quotes from hundreds of social media commenters across Facebook and Instagram
“Jim’s good work is done, may he rest in peace.” Henry Chalfant
“Jim was so good to us. He allowed us access to hundreds of rare East Bay photos and couldn’t have been any more generous. Jim loved the East Bay and knew most of the writers by name. His only hope was that his photos would be seen and we intend to make that happen. Rest in peace to a great human being and true graffiti devotee. You will be missed. Much love, Will & Jake” from East Bay Archive
“The coverage Henry and Jim gave to Goldie in Spraycan Art provided a massive worldwide boost to his career and encouraged him to think globally.” Martin Jones
“Pictures that meant so much to so many. Those pictures was part of so many people’s phase of growing up and becoming those who they are today. People such like myself. Thank you Jim.” Tatu Moisio
“Spraycan Art was, is and will remain alongside Subway Art as the Bibles for anyone interested in graffiti. I’m from North-East Scotland, and it certainly had a huge influence in my life.
Not to mention being one of the most stolen books OF ALL TIME!
RIP Jim, and thank you.” Eddie Grady
“A worldwide generation were introduced to a new breed of heroes who became a catalyst to our lives, and for those whose work was featured by Henry, Jim and Martha, their lives were forever changed. Take a moment to imagine a world where your work never existed… … that truly provides an awe-inspiring perspective. A life lived with huge contribution. Rest In Peace Jim!” Gordon Barrett
“We went on a 6 hour tour around Chicago together. Fascinating conversation about art and life, thru the years. Very enriching conversation for a youth of 17. A Gentleman and a Scholar truly. Risen In Perfection.” Tyr Dem
“It’s so Strange. I was just going through Spraycan Art this morning.” Lars Skouboe
“I am saddened by the news of the passing of a champion of graffiti culture.” Gonzo 247
“Spraycan Art introduced us to other graffiti legends in across the country and internationally.” Carlos Tiangco
“This guy gave us kids access to a culture that shaped us, our futures and our world. Thanks James / Jim Prigoff. 1927-2021.” Sunk One
The graffiti community lost an advocate and documentarian yesterday. Thanks for all your years of dedication to documenting us all Jim. He was one of a kind. I’m glad to have known him. Rest well.” Alan Ket
“Rest in Peace James Prigoff — Spraycan Art was the first book I ever looked thru as a teen to learn about graffiti. It is where I saw Lady Pink for the very first time!” Toofly
“This was our culture. What we offered the world. The birth of a culture. A culture that became a world wide phenomenon. Last night one of our documentarian passed. RIP James Prigoff. A great guy who shared with the world through his photos this culture we created. Yo James..
“AND WE DONT STOP!” TKid
“My Heart is still breaking from the passing of our friend and historian, author and photographer Jim Prigoff whom I was in constant communication with until 3 days ago.” Portia Gail McHenry-Ogburn
“This book changed the course of my life forever… as well as tens of thousands of youths across the world throughout the 80’s – 90’s. Thank you #JimPrigoff for your passion and dedication. #JimPrigoffForever.” Revok
“Saddened to hear of Jim’s passing, my condolences to his family and friends.” John “Crash” Matos
“Wow. This is sad… he would stay at my dads house and do you Friday night slideshow sessions with popcorn when he would come to town.
Jim will would always remind me how lucky we are and to never throw food away. This has stuck with me to this day.” Carlos Rolon
“So sad to hear about the passing of one of the greatest – graffiti and street art photographer, author and peace activist Jim Prigoff.
I met him in Los Angeles where he took me on a tour to photograph graffiti. We shared a panel in the Museum of Contemporary Art (MOCA). He supported me so much with my books, contributed an amazing photo of female graffiti artist Reminisce to my Graffiti Woman book and even wrote a foreword for my last book Street Messages.
Through him I ate the American version of coleslaw for the very first time.
He was an amazing and inspirational person. He influenced the whole world with his book Spraycan Art (together with Henry Chalfant), that sparked a main flame for the widespread graffiti fire.
Thanks so much for all the time you shared with me, my thoughts are with your family and friends. May you rest peacefully.
Paz.”
Nicolas Ganz
“I have so many photos and emails from Jim from over the years. This man was a force and driver in the culture. If he was a kid when writing started he would have been a writer for sure. It’s nice to read all the stories about the him. This photo of me holding his book is from the beginning of 2020 when he had a showing in San Francisco. I told him i couldn’t believe after all these years i didn’t have a signed copy from him. He hooked it up in classic Jim style. I salute you to a full impactful life and thank you for helping a lot of writers careers one way or another. Rest in power” Apexer
“Yea man heavy hearts right now. That book man was the west coast bible!” Aaron De La Cruz
“Our dearest Jim.
When we last saw you two weeks ago you said the single most amazing technological advancement (in your opinion) was the ability for photographs to be shared via email. You said that you imagined that it was even more impressive to you than the automobile had been to your parents. Despite your awe of the invention of digital photography and email, you took on this miracle as you did all things you were passionate about, with gusto.
How lucky are we that you lived you in the era of the modern day camera. You took an art form that was inherently temporary (graffiti) and made it permanent. You took an art form that was the voice of an entire generation, who could not find a platform to be heard, and shared their voice with the world. You knew that “Art is power” and you never failed to use your privilege in this world to ensure that that power could be amplified for change.
You are a legend, who left the world a better place not only through your photographs but also simply through your presence on this planet.
To us however, you will always be our Grandpa Jim and our very small world will forever be just a bit sadder everyday now that you are no longer an email away.
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening: 1. BATTLEGROUND. A short film by Mark Bone and Kwesi Thomas 2. RIPDMX Via @NYCGRAFF.HEAD 3. Gigantic Graffiti by Ellr and Khol, via Montana Colors
BSA Special Feature: BATTLEGROUND. A short film by Mark Bone and Kwesi Thomas
“It’s just weird to feel like you’re this ‘issue’ in society and that the world is divided with how much they should care about you or how much they should listen to you or should be concerned with issues around your life. It’s weird to be like a battleground,” says co-director and subject Kwesi Thomas says in the opening of the film.
A film purely of this moment, Battleground treads on soil that has been contaminated for centuries, the current inhabitants the inheritors of a heritage of racism. This week’s conviction of a white officer for killing a black civilian was only fraught with tension because the system doesn’t guarantee it and because it’s an exception rather than a rule.
“I wanted to make the film because I wanted to change that for other people.”
Born from conversations that followed the death of George Floyd, Kwesi Thomas & Mark Bone break silences, make themselves vulnerable, continue this painful conversation that is necessary for change.
BATTLEGROUND. A short film by Mark Bone and Kwesi Thomas
#RIPDMX Via @NYCGRAFF.HEAD
A tribute of wholecars to rapper DMX needs only the soundtrack of the steel wheels screeching on the rails.
Gigantic Graffiti by Ellr and Khol
“A small piece may look good in a picture but to look good in reality it needs to have size.”
50 meters should be sufficient for this new piece by Swedish writers Koll and Ellr. Montana Colors, who sponsored the wall, says the two are “drawing influence from some of the more sophisticated trends of Scandinavia and New York.”
Land artist, street artist, and scientist Andreco has given the Earth a gift of trees to celebrate Earth Day.
Andreco. Aula Verde. Earth Day 2021. Rome, Italy. (photo courtesy of the artist)
Together with citizens, environmentalists and researchers, he’s created a work of Land Art here in Rome, and he calls the project Aula Verde.
“The work is alive, and over the years it will take shape and as it grows it will return innumerable benefits to the territory,” Andreco says, “currently it is studied by the researchers who are involved in the project, both for the purification of the water and the redevelopment of the surrounding greenery.”
Andreco. Aula Verde. Earth Day 2021. Rome, Italy. (photo courtesy of the artist)
A more positive approach to community involvement in actively helping the air, soil, and water is hard to imagine, but Andreco never ceases to amaze with demonstrations like these; a parade of people of all ages marching to a field to plant trees together.
The name Aula Verde comes from the shape of the work, he says, “made up of poplar and willow trees, Polulus Alba and Salix Alba, arranged on two large concentric centres with a diameter of forty metres that forms a sort of Green Pantheon which can be accessed freely.”
Andreco. Aula Verde. Earth Day 2021. Rome, Italy. (photo courtesy of the artist)
Aula Verde is part of FLUMEN, a movement of climate actions for rivers and parks in Rome, and a project intersecting art and science conceived by the artist Andreco and organised by the cultural association Climate Art Project. A multifaceted initiative, FLUMEN includes the environmental monitoring of the waters and the ecosystems of the two rivers of Rome, the Tiber and the Aniene, as well as workshops, performances, exhibitions and tree plantings.
SEE VIDEO BELOW
Andreco. Aula Verde. Earth Day 2021. Rome, Italy. (photo courtesy of the artist)Andreco. Aula Verde. Earth Day 2021. Rome, Italy. (photo courtesy of the artist)Andreco. Aula Verde. Earth Day 2021. Rome, Italy. (photo courtesy of the artist)Andreco. Aula Verde. Earth Day 2021. Rome, Italy. (photo courtesy of the artist)Andreco. Aula Verde. Earth Day 2021. Rome, Italy. (photo courtesy of the artist)Andreco. Aula Verde. Earth Day 2021. Rome, Italy. (photo courtesy of the artist)Andreco. Aula Verde. Earth Day 2021. Rome, Italy. (photo courtesy of the artist)
The originators of Art in Odd Places have reliably embraced fully aware of the spirit of inclusivity that art on the streets originally embraced. For its 16th iteration on May 14-16, AiOP the street festival will again launch a series of installations along a vast expanse of 14th Street.
“We will not go back to normal. Normal never was…”
Taking inspiration from the quote by the author, poet, spoken word artist, and social justice activist, the show is called NORMAL. It is curated by artist Furusho von Puttkammer, who agrees that “normal” is a difficult concept that is not necessarily a sought-after goal, even if we could define it.
“Boldly pushing its way through pandemia, where social constructs warp to reveal discriminatory realities,” she writes in the manifesto, “corporations relentlessly claw at tax-payer dollars while citizens are made homeless, and the police continue to brutalize the black community, NORMAL confronts the term with artistic work.”
For AiOP (not to be confused with the much smaller and recent private project with the very similar name Art in Ad Places), von Puttkammer has selected a wide range of artists working in different mediums – and says she is aiming for an anti-elitist vibe. Borrowing from street artist credo over the last decades, she says, “The art world has become inaccessible and elitist. We take art outside of the galleries and museums and bring it out onto the streets of New York City.”
So many basketball courts have been used as canvasses these last few years. Here we have a small city in Marche Hills, Italy where street artist Giulio Vesprini says he has just painted his third.
A student of architecture and illustration, he says his influences come fromland art and all manner of urban culture as well. It’s a bright palette of abstract geometry, owing as much to the courts’ function as the energy of the city.
“It’s a popular place for boys and girls who play basketball,” he tells us, and he wanted to bring back the area that has fallen into disuse. “I wanted to recreate a meeting point between culture, sport, nature, and people.”
The artist wishes to thank the City Hall of Monte Urano city, Mayor: Moira Canigola, Public works Assessor: Federico Giacomozzi. Support by: Associazione Culturale ZacZac and his whole team.
The street sticker, be it ever so humble and diminutive, is profligate and sometimes even inspiring. An amalgamated scene that is anonymous, yet curiously stuck together, the organizers and sponsors of so-called sticker jams have been overwhelmed in recent years by thousands of participants.
Hand-made one-offs to slick mass-produced and custom die-cut by the hundred, these adhesive back expressions of personal branding may depict characters, slogans, witticisms, or satirical skewing of pop culture memes. Collectively these are the DNA of a global game played out in the street and in public spaces, a silent dialogue that yells quite loudly.
Artist and organizer IWILLNOT has compiled, organized, archived, and preserved this collection as a ‘field guide,’ he says, and another artist named Cheer Up has laid out page after page. It is a global cross-sample from 60 countries and a thousand artists – a treasure trove of the witty, insightful, snotty, and sometimes antisocial street bards of the moment, seizing their moment to speak and mark territory.
UNSMASHED: A Street Art Sticker Field Guide. Compiled by IWILLNOT, Designed by Cheer Up. A Collection of 1,229 full color sticker designs by 1,000 artists from more than 60 countries. Published by IWLLNOT and Cheer Up. December 2020.
Welcome to BSA Images of the Week! Ramadan Kareem to Muslim brothers and sisters in New York and around the world. May you have an easy fast.
We’re bowled over by the beauty in the streets and parks and rooftops right now, with performances and painting and the blossoming of flowers underfoot and on branches overhead. Fires are alit in hearts everywhere.
“All the roofs are wet and underneath smoke that piles softly in streets, tongues are on top of each other mulling over the night.”
from Gamin ~ Frank O’Hara
Yes, there is a sort of battered nervousness in conversations on the streets and as we go about our quotidian duties; a discerned increase in agitation due to economic instability, surges of new Covid strains in our hospitals, and ongoing examples of police brutality toward black and brown people is met with resistance and sometimes violence as well.
Still, consider the robin. In your heart, may hope spring eternal. Also, we learn today that summer may be returning at least one exceedingly creative and participatory public art event as the Gothamist reports that “Coney Island’s Mermaid Parade May Return In The Flesh This Summer.”
And yo! Don’t sleep on the street artists who are putting up new work right now. They are addressing our ills, regaling us with visual puns, poking at our foibles, recontextualizing and performing feats of wonder under cover of night, or while heads are turned in broad daylight. Entertaining, bragging, dreaming… onward they go.
So here’s our weekly interview with the street, this time featuring: Absconded Project, Atakbf, Bastard Bot, City Kitty, Clown Soldier, Degrupo, George Collagi, Lexi Bella, Manik, Marka27, Matt Siren, Peachee Blue, Royce Bannon, Sonni, Teens for Press Freedom, Vexta, and Zaver.
Trust artist Dread Scott to perfect the provocative phrase that can raise the prickly ire of certain street passersby, simply and succinctly. And trust the self-elected censorious social media platforms like Instagram to actually ban it.
Chicago-born, Brooklyn-based Scott says, “White people can’t be trusted with power” in this new public artwork at 42nd near 10th Avenue in Manhattan. It may remind you of a Jenny Holzer “Truism” that she may have wheat-pasted on the street in the past, a pertinent pique that strikes at the heart of the matter, minus the sense of irony. But in the current context of white people’s reluctant awakening, Mr. Scott writes, “When this was originally posted, Instagram banned it as ‘hate speech.’ ”
The “opening” for this piece at the Playwrights Horizons performing arts theater was this week and will be up through May 9th.
It remains unharmed as placed safely behind thick glass in a nondescript contemporary vacuum streetside, – leading street artist and conceptual artist Ann Lewis to compare it to a single layer stencil by Bristol’s Banksy further that lies north about 30 blocks, which is also behind protective perspex eight years after it appeared.
“Though,” she writes to us, “that was meant to protect it because people ‘loved’ it, not because its radical enough for folks to want to destroy it.” In fact, the piece she speaks of depicts a small boy in the act of destructive vandalism – hardly an act normally worth preserving for posterity, but there you have it. Speaking of Scott’s taut text, Lewis comments on his posting, “I love that it’s sitting behind glass as if to say it will likely be vandalized because we white folks can’t take this sort of blatantly obvious criticism without attempting to destroy the truth.”
While the sentiment may or may not be the artist’s, more powerful perhaps is the reaction it engenders – again providing a mirror to the viewer as much great art on the street does.
Predictably, IG commenters on his artwork run the gamut, from the hands-down agreement to the mildly put-out to the outraged and whiney. “Seems to me – “PEOPLE can’t be trusted with power,” writes a poster called Lil Oak Productions – clarifying that one shouldn’t single out the predominant race that has held power on this continent for centuries for specific criticism.
Artist Steve Locke responds directly to this comment as if calling to a cabaret singer, “Great. Now do ‘All Lives Matter’ since you are playing the hits.”
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening: 1. Nadia Vadori-Gauthier and Friends Dance Through Parisian Empty Spaces 2. New Burner from Olivier Kosta-Thefaine – Symphonie / Hangar 107 3. Sofles / Mega Bunsens With Sirum 4. “Ingobernable” with C. Tangana, Gipsy Kings, Nicolás Reyes, Tonino Baliardo
BSA Special Feature: Nadia Vadori-Gauthier and Friends Dance Through Parisian Empty Spaces
Nadia Vadori-Gauthier: Dances in places of art and culture closed to the public during the Pandemic.
“In the almost-silence of these emblematic places, usually punctuated by the passage of crowds, vibrates an intense life: those of works, feelings experienced, memorial traces of art experiences, of the succession of eras.
Dancing in this context is, for me, both a resistance and a manifesto. It is an act of solidarity, a gesture of love and recognition. Because I would never be who I am without the familiar attendance of these extraordinary places where, over time, through the face-to-face with the works, a look is forged that embraces otherness, the new, the difference, a look that invites participation in life. ”
Nadia Vadori-Gauthier
New Burner from Olivier Kosta-Thefaine – Symphonie / Hangar 107
During his residency at Hangar 107, artist Olivier Kosta-Théfaine patterned the walls using a lighter, selectively burning 70 square meters to create a new carbon visual symphony.
Sofles / Mega Bunsens With Sirum
This video shows some mega bunsens being painted with SIRUM,” says Sofles in this brand new video filmed and edited by After Midnight.
“The sheer diversity of style Sofles has is unparalleled,” says only casual on Youtube. “I’ve seen the work of thousands and thousands of writers and nobody even comes close. It’s insane.”
“There is so much going on in every letter of that Sofles piece that each letter could be a video of its own! And also, I’m so stoked that they used some proper dope dnb for the tune!,” says Sciz. “Awesome work by Sirum too, whom I’ve followed for quite some time on Instagram; I always try to follow the artists whom I feel are breaking down barriers and this collaboration came out perfect because of the expertise of both artists.”
“Ingobernable” with C. Tangana, Gipsy Kings, Nicolás Reyes, Tonino Baliardo
Next time you make a video be sure to invite your sister, mother, and lots of aunts. It will leave the competition shaking in their shoes.
A year after its close, we open the book on American street artist MOMO’s new book chronicling the exhibition “Parting Line.” Writing about and covering his work for 15 years or so, we’re always pleased to see where his path has led – never surprised but always pleased with his evolution of decoding the lines, textures, practices, serendipity of discoveries unearthed by this wandering interrogator.
Here, along the river Seine banks, we see his exhibition for the still young Hangar 107, the recently inaugurated Center For Contemporary Art in Rouen, France. While we think of his work in New York in the 2000s, we see the steady progression here – his cloud washes, raking patterns, his experimental, experiential zeal. This is the spirit of DIY that we first fell in love with, the lust for uncovering and desire for making marks unlike others across the cityscape, quizzically folding and unfolding, pulling the string, drawing the line.
In this svelte purple rose volume, his work is captured. More importantly, we can see a sliver of the joy that he applies his entire being to the art of discovery with.
Edited by Christian Omodeo, “Parting Line” contains texts by Tilt, El Tono, Vittorio Parisi, and an interview with and by Swoon.
MOMO “Parting Line”. Hangar 107. Edited by Christian Omodeo – Le Grand Ju. Published by Hangar 107. Rouen, France. 2020.
This one caught our eye for the merging of classic graffiti nerve, blunt style execution, sentimental velvety roses, inspirational verses, …Read More »
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
