Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening participants at Festival Asalto 2020: 1. FAITH XLVIII 410 BC – 340 BC 2. Ozmo / “La visión de Tondalo” via Urban Art Field 3. SOFLES / Geometric
BSA Special Feature: FAITH XLVIII 410 BC – 340 BC
You knew FAITH XLVIII was OG, but did you imagine she dipped back to the 4th century? In this newly unveiled clandestine scene, the South African street artist paints among the decay in Lexington.
She says it is part of her “7.83Hz Series”
FAITH XLVIII 410 BC – 340 BC, Lexington, Kentucky
Ozmo / “La visión de Tondalo” via Urban Art Field
Ozmo in Turin finds inspiration here from a Renaissance panel from the Bosch school and interprets it for Urban Art Field. In it, we find the journey of a dreamer in hell beneath the power of the Mole Antonelliana, the major landmark building that serves as a symbol of Turin.
SOFLES / Geometric
Professor Sofles takes us to school again with this brand new 3D-style graffiti piece he painted in a gym. He says he took inspiration from the interior wall design and climbing equipment.
In the US, families of military veterans say, “Freedom isn’t free.” It refers to the enormous amount of sacrifice people have to make – military and civilians alike – to guarantee that societies provide a fulsome measure of freedom and autonomy to their citizens. Likewise, free speech has to be fought for periodically to ensure that people have it – because it can be so swiftly taken away if we are not vigilant.
In our third installment of the murals painted in February in Barcelona, Spain, we are reminded that historically, the artist is often one of an oppressive government’s targets. It is somewhat sequential, the positions and stations in society who gradually are targeted for slurring and silencing. Academics, clergy, the press – a building degradation of respect for institutions and trust across the board.
These artists express their opinions in defiance of silencing because, inherently, they fight for everyone’s right to freedom of speech and expression, regardless of our comfort or discomfort with the ideas expressed. Because they must.
It is notable when an organized gang of aerosol-wielding vandals protests your protest against censorship with censorship.
It’s also odious.
Everyone knows that it is normal for graffiti writers and street artists to expect that their ephemeral work may be buffed by a municipality or crossed out by a rival painter. This is a different matter entirely.
This is our 2nd time to bring you this story from a paint jam in Barcelona’s Plaza de las Tres Chimeneas where a collection of artists gathered to paint works addressing what they see as an unjust attack on the freedom of a citizen to express opinions in lyrics and writings. Taken together, these works are a passionate rejection of censorship and a colorful act of free speech by a community.
It made international news last month when Pablo Hasel, a Spanish rapper/singer/artist/musician from this city, was imprisoned under a Supreme Court ruling, which found his lyrics about King Emeritus Juan Carlos De Borbon to be offensive.
Artist Roc Blackblock was surrounded by a tight semi-circle of scrutinizing journalists and citizens as he painted. This was his second mural since his first had been immediately censored and ordered removed at the action in mid-February by an NCNeta brigade who a Barcelona Urban Guard escorted. He didn’t appear to mind the pressure.
Because there have been demonstrations in various cities and because modern media drools over scenes of destruction and violence, it’s easy to forget the many peaceful artists who paint their opinions, says documentary photographer Fernando Alcalá, who shares his work here.
“I think it’s important to keep speaking about the artistic actions when, after days of riots and looting, the media has forgotten about freedom of speech, and they just talk about burnt trash cans,” he says.
We’re happy that he captured these before they were destroyed by ‘Union de Brigadas,’ who recorded their censorious actions proudly and shared them on Twitter and YouTube.
I think it’s important to keep speaking about the artistic actions when, after days of riots and looting, the media has forgotten about freedom of speech and they just talk about burnt trash cans.”
Like graffiti writers sharing black books and styles, BSA Writer’s Bench presents today’s greatest thinkers in an OpEd column. Scholars, historians, academics, authors, artists, and cultural workers command this bench. With their opinions and ideas, we expand our collective knowledge and broaden our appreciation of this culture ever-evolving.
by James Prigoff
Graffiti Documenting and Divinity
A writer once shared with me the following observation concerning the early documentation of modern graffiti, if stated in religious terms.
He said:
Henry Chalfant would be God. Martha Cooper would be the Virgin Mary. Jim Prigoff would be Jesus Christ, Jack Stewart the Holy Ghost.
Subway Art would be the Bible. Spraycan Art the New Testament.
I’m no savior, but I’m proud to have saved some incredible and iconic images of this culture while they were painted and to have met so many talented artists.
My Background
Graduating from M.I.T. in 1947, I set out with my wife and on an eleven-week camping journey to visit the U.S. and Western Canada’s natural wonders. It was then that I became interested in photojournalism to record and share my experiences.
I enjoyed documenting archeological site ruins around the world as a member of the Explorers Club during the 1950s. Still, it was the periods of a geopolitical upheaval of the 1960s, 70s, and 80s that undeniably informed my work. Being a very political person, these events and movements became a strong part of my documentation.
Discovering Tags
It was only natural when I attended a mural slide show in the early 1970s that I became fascinated with the political nature of the art in the streets. I began to seek and document murals all over the world with my camera. While combing the streets of NYC searching for painted murals, tags of all varieties kept getting in my face and grabbing my attention. After seeing enough Taki 183’s, Bio’s, Med’s, IN’s, a few PRAYs on subway platforms, an early Futura of arrows and stars in the west side train tunnel, and a T-Kid 170 on a curb, I took a few pictures of tags. In Philadelphia, I likewise began noting tags of writers, like those by Cornbread, for example.
As I observed the markings, it didn’t take long to realize that something important was happening on the streets. Living in a celebrity culture, how could youth be heard? They couldn’t put their tag on a vanity license plate and very few had the skills to become famous athletes or movie stars, but they could “get up” on the walls of their neighborhood. Pretty soon, they figured out that they could tag subway cars and, as the culture developed, actually do pieces on the outside of subway trains. Not traveling more than a few blocks from the Bronx, they could send their names all the way to Canarsie. Years later, advertisers would take cues from these youth with their ads mounted on trains’ sides.
A Graffiti Timeline
A quick, very minimal timeline sets the stage for worldwide exposure; Taki 183’s notoriety from the New York Times article in 1971 was a wake-up call. Guzman Cesaretti’s “Street Writers” (1975) and Mervyn Kurlansky and Jon Naar’s “Faith of Graffiti” (1975) with Norman Mailer’s essay, listed some 750 tag names. Not always noted, but essential was Craig Castleman’s “Getting Up” in 1982. Martha Cooper and Henry Chalfant’s “Subway Art” (1984), chronicled the New York trains, and Chalfant’s and my “Spraycan Art” (1987) went around the world – those last two books collectively sold over one million copies and were shared with millions more.
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
When Tony Silver came to see me in San Francisco to talk about raising money for his iconic film “Style Wars” (1983), I wasn’t much help. But he suggested that the next time I visited NY I should meet his partner Henry Chalfant. That became a life-long friendship. By that point, I had done substantial documentation of the art form, and I wrote to Henry to suggest that he join with me to create a book about how the art produced in the tunnels had come to the walls and handball courts of NYC and then traveled across the country.
Henry’s response was simple. “My brain is Graffitied out” – but – “let’s do it”. It didn’t take long to determine we should go around the world. When working on the book in New York, I would sleep in Henry’s SOHO studio. From time to time there would be a knock on the door at 2 or 3 a.m. The writers would tell me they just happened to be in the neighborhood and they were stopping by to see if anyone was up!
During that time, Graffiti culture also came to the big and small screen: Tony and Henry’s film documentary “Style Wars” (1983), Charles Ahearn’s “Wild Style” (1983), and the more commercial “Beat Street” (1984) directed by Stan Latham each appeared, having a significant impact in terms of educating the public about the scene.
Greater Documentation, Artworld Interest, and Proliferation on the Internet
There appears to be a lapse regarding documentation for much of the 1990s. Still, beginning in the early 2000s, there appeared to be a near over-saturation of graffiti books and films produced from all over the world. “Graffiti World” by Nicholas Ganz and “The History of American Graffiti” by Roger Gastman and Caleb Neelon stand out for me. Also notable are Alan Ket’s many graffiti and Street Art titles, which I believe number into the teens. Alan, Carlos Mare, and Allison Freidin opened the Museum of Graffiti in Wynwood, Florida, in 2019, and it has become a world destination to visit.
Artist and documentarian Jack Stewart captured the very early trains, but not many people knew of him because he only wrote a Ph.D. thesis on the topic, and the information wasn’t widely shared. It wasn’t until the late 2000s, after he had passed that his wife finally had his important work published, Graffiti Kings: New York Mass Transit Art of the 1970s.
In the 1980s, major art dealers’ efforts in the US and Europe to move the art form indoors to canvases eventually fizzled as writer’s hours and art dealers’ working days were greatly at odds. But during that decade, Patti Astor’s FUN GALLERY had a major impact along with Fashion Moda in the Bronx, and Sydney Janis began showing the art as early as 1984 at his uptown gallery on 57th street.
The elite Artworld is always looking to find “stars,” and the eighties produced two who would enjoy the accolades and collectability of many of the famous pop-artists. Through their association with Andy Warhol and their own outstanding talent, Keith Haring and Jean Michel Basquiat became the focus of the collectors, in a way that was overshadowing to many other very talented spraycan artists.
And then there was the Banksy phenomenon.
The Internet changed everything. No longer printing pictures and exchanging them by snail mail, there arrived emails, Tumblr, Facebook, Instagram, Graphotism, at 149TH st., Aerosol Planet, and a thousand websites that gave instant access to everything that was happening worldwide. Susan Farrell’s “Art Crimes” was the granddaddy of such sites.
An ever-shifting ecosystem of Graffiti and Street Art websites like BSA have assumed an integral role in analyzing, collecting, and disseminating images, stories, history, and context for hyper-local and more international scenes as they continue to evolve now. Add to all of this the writers who became Graffiti magazine publishers, numbering hundreds if not thousands, and the exposure has become enormous.
From Tags to Throw-ups, to Pieces – to Masterpieces – to Murals – to Street Art; Now it is being referred to as Urban Art, even Urban Contemporary Art.
Commercial Interest, Murals, Museums, and Art vs. Vandalism
Today, cities around the world hold week-long events painting the walls with artists both local and international. Murals convert towns into destinations, often replacing lost industries. Today the number of these events appears countless.
In recent years major exhibitions have moved the art form to a new level of institutional recognition; “Beautiful Losers” (2004) at the Yerba Buena Museum in SF, The Tate Modern’s “Street Art” in (2008), L.A. MOCA’s “Art in the Streets”(2011). The Wynwood Walls project in Miami got its start as a new mecca for Graff in (2009), Shepard Fairey’s (2010) one-person show at Boston’s ICA, Basquiat at the Musee d’Art Moderne in Paris, Haring in multiple exhibits and cities, Barry McGee as well, and JR got a Ted award. Banksy’s “Exit Through the Gift Shop” film found a broad audience and was nominated for an Academy Award. (2011). In 2018 Roger Gastman curated “Beyond the Streets” in Los Angeles and followed that show in 2019 in Brooklyn. The Bronx Museum had a retrospective of Henry Chalfant’s train documentation and his many other involvements in the Hip Hop movement (2019)
In Europe, collectors have been acquiring the early art as Art Curiel in Paris has held many highly successful auctions that fetch high five-figure bids and even six figures for canvases. A Kaws in Hong Kong recently sold for $14 million, and a Basquiat went for $110 million at a Sotheby’s. While thinking historically about the earliest tags, I coined the phrase “From Tags to Riches.” It seems very appropriate now. Another of my favorite sayings is “Commercialism Co-opts Oppositional Culture.” Nothing could be truer as images of spraycan art have been used to promote many commercial products.
At one point, the title of many discussion panels was “Is it Art or Vandalism,” or a variation of it. I stopped participating in such forums back in the eighties because I was not too fond of the simplistic characterization. Vandalism, yes. However, some of the works and the culture that was created contributed significantly to what would become the most important art form of the last fifty years. Writers liked the term “illegal” because it was more daring. For me, in lectures, I always referred to the art as permissioned and non-permissioned.
A Few Other Observations
Who Gets to Write on the Bus?
If you are an advertiser, it’s no problem. If you are Jerry Brown running for President with a marketing war chest, you can hire Frame from LA to paint a whole bus with your name on it and have it driven around Washington. But if you are a graffiti tagger, it would be a $10,000 fine and six months in jail if you were caught.
This Practice Has a Long History
Modern graffiti is said to have started around 1969, but humans have been decorating walls in places like Lascaux in France and Altimira in Spain in 17,000 B.C. Recent finds in Madagascar go back to perhaps 60,000 B.C. Yanomami tribes-people in the Amazon left their handprints on walls, Graffiti on the lava covered walls of Pompei, conquistadors wrote their names outside of Gallup, New Mexico in 1624, and French soldiers wrote on walls at Angor Wat in Cambodia in 1804. More recently, “Hi Mary from Des Moines” was tagged on the Berlin Wall.
Artists Whose Work Impacted Me
I focus primarily on the US and its writers here, leaving the rest of the world for future in-depth commentary by those who live abroad and have greater expertise. The practice of naming names is disastrous when you have limited space but since I have named a few already, let me take the risk of a few more who have been important connections for me along the way – with apologies to all those whose names I believe deserve to be here:
BLADE, who claims 5,000 trains, FREEDOM and his famous NYC tunnel, HOW/NOSM, who have painted giant murals in over 70 countries, SEEN, LEE, LADY PINK, THE TATS CRU, DAZE, CRASH, BRETT COOK AKA DIZNEY, MARK BODE, TWS and TMF CREWS SF, APEXER, CHAZ BOJORQUEZ, the Godfather of Graffiti, RISK, HEX, SLICK, RETNA, MARKA 27, CALEB NEELON – SONIC, BILL DANIELS.
Jim with Blade, 2019
I also want to mention a few writers who came to the states to paint. The Os Gemeos twins from Sao Paulo, Loomit from Germany, D’Mote and MAD C from Australia, ASKEW from Auckland, Herakut from Germany, BEN EINE from London, BLEK LE RAT from Paris, ROA from Belgium, Bando and Mode2 from Paris, and SHOE from Amsterdam.
In my years documenting the scene, the only close call I had was a result of my own misjudgment. I was on the Pelham Amtrak tracks with SAR and SACH, and suddenly someone shouted “train coming!”. I ran to the wall instinctively, without thinking about the spatial requirements that the train would occupy – it would overhang the track, and I would be crushed against the wall. My companions began shouting at the top of their lungs that I should reverse course. That forceful and timely guidance perhaps helped me set a broad-jump record: I leaped across the tracks to safety while the train rushed by. I thank them for that.
James Prigoff is co-author of Spraycan Art with Henry Chalfant (1987), Painting the Towns: Murals of California with Robin J. Dunitz (1997), and Walls of Heritage, Walls of Pride: African American Murals with Robin J. Dunitz (2000).
His photographs have been exhibited in galleries and museums, including: Art and Design Museum (LA), Brooklyn Museum, Cambridge Arts Council, Crystal Bridges Museum of American Art (Arkansas), de Young Museum (San Francisco), Los Angeles Museum of Contemporary Art (LA MoCA), Museum of Graffiti (Miami), Oakland Museum, Smithsonian Museum (Washington, DC), Tate Modern (London), and The Broad Museum (LA)
Calligraphist and decorative painter Tarek Benaoum has Algeria, Italy, and French in his blood, but it’s all gold when he writes across walls. A graffiti writer who studied script formally in his early twenties, his hybrid of Arabic and gothic takes him from wall to canvas in both hemispheres.
At the request of the Parisian public housing agency Régie Immobilière de la Ville (RIVP), Art Azoï conjured a solution to rehabilitate this massive structure with a mural that would resonate with the locality and its residents. The Salé-born Benaoum rose to the challenge with a 40 x 15 meter mural in his signature blue and gold on the south gable of this building on the boulevard Mortier in the 20th arrondissement.
Standing at the outer rim of these circular motifs are texts by the Indian philosopher Jiddu Krishnamurti from his 1969 book Freedom from the Known (Se libérer du connu), a treatise on the only worthwhile revolution: inner liberation.
Among the famous quotes often remembered from the book is this one, “To be free of all authority, of your own and that of another, is to die to everything of yesterday, so that your mind is always fresh, always young, innocent, full of vigor and passion.”
Welcome to BSA Images of the Week. Happy Purim! Streets in Brooklyn were wild with Hasidic Jews in funny costumes the last couple of days, accompanied by loud music and seemingly drunk men weaving through the streets.
“The efforts of underpaid artists and arts professionals have always powered NYC, but in an ongoing crisis, NYC is turning its back on them,” Nuyorican Poets Cafe Executive Director Daniel Gallant told the Daily News this week, referencing job losses that have affected 2/3rds of New York’s creative community. We are in crisis. And national leaders have been quibbling over a $1,400 check – which is only the third check for poor and middle-class people in a 1 year period. One month’s rent can be that much.
Thanks to the hate speech of many, including Donald Trump during the last year, there has been an increase in violence against members of the Asian community on the streets in New York and across the country. Yesterday hundreds rallied in NYC to protest attacks on Asian Americans. Clearly, it’s time for us to stand up and protect our brothers and sisters and to shame those who would harm them in any way. “We will not allow them to thrive. We will not allow them to succeed,” said Attorney General Letitia James.
Meanwhile on the street we have been seeing a boon of new creative displays by artists – with a broad sweep of themes and techniques.
Here’s our weekly interview with the streets, this week featuring Allie Kelley, Aya Brown, Billy Barnacles, Bobo, Elianel Clinton, Fells, George Ferrandi, George Collagi, Gianni Lee, Icebox, Megan Gabrielle Harris, Merch, Plan9, Sara Lynne-Leo, Sasha Lynn, Shoki San, and Swoon.
In collaboration with SaveArtSpace.Org Swoon and Giani Lee curated a series of billboards in NYC and In Los Angeles asking the artists involved to focus on the themes of climate change, racial justice and the places where those concerns intersect. Below we share with you some of the billboards we found in NYC.
When you are in trouble, reach out! You don’t have to do it alone. That is the sentiment you may think of when regarding this new mural by JDL (Judith de Leeuw) in Amsterdam.
The three frame story reads like stills in an animation, with two hand gradually getting closer to one another, loosely wrapped in bandage.
JDL. “Closer in distance”. Amsterdam, The Netherlands. (photo courtesy of the artist)
Intended as a temporary placeholder for the new HIV/AIDS monument that will be installed soon at Amsterdam Central Station, JDL says that she’s depicting the relationships between people who are ill and their loved ones.
“Illness often isolates, but also brings people closer together,” says the artist. “This piece is a symbol and a celebration of the love that grows at the edge of the abyss.”
The three separate frames will be placed around the station at the projects’ end.
JDL would like to thank her assistant painter on this project, James Jetlag.
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening participants at Festival Asalto 2020: 1. Silence Shapes by Filippo Minelli 2. Apocalypse Now / INO 3. Vesod x Wasp Crew / Urban Art Field
BSA Special Feature: “Silence Shapes” by Filippo Minelli
“Most of my process is about finding the right place and finding the right time to start,” says Italian public space interventionist Filippo Minelli. During URVANITY 2019, the artist created billowing bending funnels of prodigious color that poured into the air, interacted with architecture, and redefined spatial relationships in the public realm. Our worldwide survey of ephemeral art is surpassed in brevity by this category of interactive art installation that quickly changes its dimensions and fills and evaporates.
He refers to it as giving shape to silence.
Silence Shapes by Filippo Minelli
Apocalypse Now / INO
With music by The Flood and smooth-paced shooting from Constantino Flood, Greek muralist INO is captured as he paints his masked figure in Athens at great scale.
Vesod x Wasp Crew / Urban Art Field
A quick look at the works completed by Vesod and Wasp Crew for the urban art festival hosted in the municipality of Cavagnolo for the second intervention of the three-year project. The artists say that it “addresses the issues of Sustainability and Equality, in terms of respect for the climate and the right to live in a healthy environment.”
One of the best parts of this horrible pandemic is that people are really challenging their creativity to organize new ways to relate to each other and do business. We’re proud to be a part of URVANITY as the fair celebrates its 5th Edition – this year, it is a double edition, actually.
Today begins the On-Line edition. The physical edition begins May 27th at COAM in Madrid.
You can now tour galleries from your home’s comfort, from London, Bogota, Caracas, New York, Amsterdam, and a few cities in Spain. Each will feature just one artist URVANITY SOLO SHOWS 2021.
Here’s a sneak peek!
Juan Naranjo. Es Arte Gallery. Urvanity Solo Shows 2021. (photo courtesy of Urvanity Art)Enaei Ferrer. Cerquone Projects. Urvanity Solo Shows 2021. (photo courtesy of Urvanity Art)James Rielly. Alzueta Gallery. Urvanity Solo Shows 2021. (photo courtesy of Urvanity Art)Juan Miguel Quinoes. Reiners Contemporary Art. Urvanity Solo Shows 2021. (photo courtesy of Urvanity Art)Juan Cuellar. Reiners My Name ‘s Lolita Art. Urvanity Solo Shows 2021. (photo courtesy of Urvanity Art)Phil Ashcroft. Fousion Gallery. Urvanity Solo Shows 2021. (photo courtesy of Urvanity Art)
To see the complete list of artists, art works and participating galleries click HERE
Attributed to the Bristol-born street intervention artist Unikz, who has goaded and criticized people and institutions using his work in the past, the artist installed a monkey wearing a red mask offering the springtime flowers as well, minus the three that he is clumsily trampling underfoot.
Local photographer and businessman Olivier Krafft says the monkey and the method are in alignment with the previous works in public space by the mocking artist – where Unikz “installed giant rats in Paris during the contemporary art fair in 2018 on the Champs Elysées and placed masked rats lifting “Ratcoin” in front of the Palais Broignard.”
As is often the case with interventionist sculpture, this one has been standing for several days in public space without authorities’ comment. According to Krafft, who happened upon the installation, the artist told him that park authorities didn’t realize that he was doing some monkey business, and they left him alone to do his work. “It’s funny because the gardeners of the Ville de Paris thought he was a Jeff Koons assistant and the monkey was a part of the bouquet of tulips!”
South African fine artist and muralist Sonny has been a champion of the beautiful wild beasts that populate its native land and beyond throughout his career. Lions, elephants, tigers, jaguars, leopards, whales, bears, eagles, and the occasional human. He brings all these creatures to life on walls worldwide with precise and impressive realism, executed to the finest detail. The artist makes it his mission to raise awareness of the plight that many of these animals are confronting to survive in increasingly inhospitable habitats. Humans have been encroaching on their natural territories at an alarming rate – forcing wildlife to subsist in smaller areas at a huge risk to their ability to thrive and survive.
For the Baz-Art International Public Art Festival in Cape Town, Sonny painted a Cape Leopard in response to the festival theme of “100 Sustainable.”
Says Sonny, “For me, this Cape leopard is a symbol of hope, as people are waking up to new ways of approaching conservation that are less about fencing off wildlife in nature reserves, and more about adapting our world to allow animals and humans to safely and peacefully co-exist. We humans are not above nature, we are part of it.”
This year the festival poses a question: How can we answer today’s needs without compromising the world our future generations will inherit?
“We’re back!” Announces URVANITY, the organization that has celebrated a distinctly street-influenced flavor of New Contemporary art in Madrid for 5 years. In anticipation of their upcoming fair at the end of May, they’re tantalizing you virtually starting this week with a special program called URVANITY SOLO SHOWS. Featuring 20+ galleries from February 25th to March 28th, attendees will be strolling through the solo shows of artists like D*Face, Eugenio Recuenco, Rafa Macarrón, Marría Pratts, James Rielly, and 108.
Ru8icon. Padre Gallery, NY. Urvanity Art 2021, on-line exhibition. February 25-28. Madrid. (photo courtesy of Urvanity Art)Ru8icon. Padre Gallery, NY. Urvanity Art 2021, on-line exhibition. February 25-28. Madrid. (photo courtesy of Urvanity Art)
We were in Madrid at URVANITY a couple of years ago to host the BSA Talks Program. The energy and mix of talents and visitors created an exciting formula for conversations and education. The impact of graffiti writing and street artists continues to influence the contemporary art field, especially in Europe. We’re also excited this year to learn more about the launch of Urvanity LAB, “a creative laboratory and online shop platform” that will be offering limited edition products by artists like Add Fuel, Boa Mistura, Cristina Daura, GR170, Yubia, and Rorro Berjano.
As we lead into summer and more people get their vaccines, and public spaces begin to open, URVANITY will welcome visitors again to the Colegio Oficial de Arquitectos de Madrid (COAM) May 27-30. We’re looking forward to seeing this smartly curated fair bloom and grow again this year.
We share with you a selection of the participating artists and galleries for this year’s edition of Urvanity Art and a selection of the first crop of artists selected to participate in the first edition of Urvanity LAB.
108. Swinton Gallery, Madrid. Urvanity Art 2021, on-line exhibition. February 25-28. Madrid. (photo courtesy of Urvanity Art)108. Swinton Gallery, Madrid. Urvanity Art 2021, on-line exhibition. February 25-28. Madrid. (photo courtesy of Urvanity Art)D*Face. StolenSpace Gallery, London. Urvanity Art 2021, on-line exhibition. February 25-28. Madrid. (photo courtesy of Urvanity Art)Wendy White. Badr El Jundi Gallery, Marbella. Urvanity Art 2021, on-line exhibition. February 25-28. Madrid. (photo courtesy of Urvanity Art)Marria Pratts. Yusto/Giner Gallery, Marbella. Urvanity Art 2021, on-line exhibition. February 25-28. Madrid. (photo courtesy of Urvanity Art)Rorro Berjano. Urvanity LAB 2021, on-line exhibition. February 25-28. Madrid. (photo courtesy of Urvanity Art)Rorro Berjano. Urvanity LAB 2021, on-line exhibition. February 25-28. Madrid. (photo courtesy of Urvanity Art)Add Fuel. Urvanity LAB 2021, on-line exhibition. February 25-28. Madrid. (photo courtesy of Urvanity Art)
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
