Just in time New York’s Pride Month events, Street Artist Buff Monster unveils a wash of color and melty characters in lower Manhattan to commemorate the 50 anniversary of the Stonewall Riots in Greenwich Village.
Over the next month a number of artists will be painting murals across the city as part of World Pride and we hope that in some way this campaign will reach those across the world who still long to be free but who are restricted by laws, even threatened, persecuted, and killed for being gay, lesbian, bisexual, trans, or otherwise queer.
We talked to Buff to see what he was thinking when he was painting this mural over 6 days.
“It’s
nice to see that NYC is getting involved in what looks to be the biggest pride
celebration ever, but there still so many places around the US that are super
conservative and unwilling to be inclusive after all these years,” he tells us.
“It’s a shame that equality for all is still an issue in 2019, when we have so
many other serious issues in the world that need to be addressed. It seems like
there are news articles every day about this administrations’ efforts to
undermine the progress we’ve made; so there is no better time to paint this
mural.”
BSA: What are the thematic elements that correspond to Pride and the rights of LGBTQ people?
Buff Monster: The characters have a bunch of mixed emotions, which mirrors the long journey for equality of the LGBTQ community. Putting together a diverse set of my cartoony ice cream characters, filled with the iconic rainbow, seemed like a good way to bring a bit of levity to a very serious issue.
All
in all though, I think the colors and the characters create a positive and
optimistic image, in line with this year’s Pride celebration and the future of
equality. I’m really happy with how it turned out and I think it’s a really
nice addition to the neighborhood.
They designed the Ritz, the Vanderbilt, the Ambassador and the Biltmore hotels in Manhattan, along with townhouses for the Astors, the Yacht Club, and apartment buildings on 5th Ave and Park.
They were also architects on the team for Grand Central Terminal, that Beaux-Arts centerpiece of Gotham with its high marble walls, majestic sculptures, and lofty domed ceiling.
Also, Whitney Warren & Charles Wetmore designed the Casino Building here in Asbury Park, New Jersey a celebrated historical magnet for thousands of tourists escaping the heat and seeking buffeting breezes. The soaring glass paned windows may remind you of Grand Central, but also of that illustrated postcard on the cover of the Bruce Springsteen album, and of colorful resort town living.
If you had been promenading through this public thoroughfare that connects Ocean Grove to Asbury Park when it was bustling in the middle of last century, you would have seen Skee-Ball machines, bumper cars, games of diversion, and hot dog vendors. Now a cavernous yet sometimes ornate cave from yesteryear, you will feel the soft ocean breezes and hear the call of the seagulls echoing inside the casino throughout the day, and sometimes the night.
You’ll also see 5,760 pieces of colored yarn hanging from the beams above, forming a shape-shifting brick of radiating color that appears to levitate. The brand new installation by Street Artist Hot Tea is lifted and pulled and choreographed by the ocean air, dancing to the sounds of waves crashing, emulating the currents of the sea. 17 rows define the physical boundaries, but your imagination can go much further with it in a matter of minutes.
“One of the focal parts of this piece is about how people interact with it,” says Hot Tea (Eric Rieger) as he unbundles 153 containers of yarns he prepared in his Minneapolis studio and suspends them above.
“Hopefully they’ll take that idea of interaction and, I know this is a big ask, but maybe they’ll take more time talking to someone face-to-face. That’s the larger idea behind my artwork and that’s why am so passionate about doing work in public spaces because I want to alter peoples experience. I want to create more intimate experiences for people who aren’t expecting it.”
“I love the beauty of this movement of the color next to the decay of this beautiful historic building,” says Jenn Hampton of Parlor Gallery who organized the project after many conversations with the artist in the last few years.
This is the first installation of its kind for the Wooden Walls Project that has brought many Street Artists to paint murals here on the boardwalk since Hampton began it in the wake of Hurricane Sandy. She says that part of her process is working with the artist and partly with the people who live and work in this seaside area who may think of public art as limited to statues or murals.
“You have to educate a community of people who may not understand installation art,” she says, and while you watch the arduous process of Hot Tea and his assistant overhead for a few days, you’ll have an opportunity to hear a variety of commentaries from people passing by. On one of the sunny May afternoons a tourist from out of town is so enthralled that she returns during the night time to see how it was progressing and befriends the artist with compliments and bromides during the challenging windy passages.
One gent who identified himself as a Vietnam veteran was sure that the art installation was probably “gay art” because of its rainbow color range. He wondered aloud abrasively to anyone who happened to pass by about gay art and the lamented lack of Straight Pride celebrations, among other observations. A pair of bicyclists stop to engage with him about art in general and this piece in specific but soon appears to withdraw. Before zipping away they take turns yelling up to the artist to say that they like the installation a lot.
“You know it’s interesting with my artwork,” Hot Tea says during a break from the installation. “I have noticed that people of all ages and from all different ethnicities have some sort of say when it comes to my work. Like when I did the piece in the Williamsburg Bridge called “Rituals” it was anyone from little kids who were four or five years olds just immediately responding to the work – just a gasp or a shouted word.”
“They could be young adults or adults on their commute and they were slowing down on their way and that was what I was experiencing with this piece. The kids were gasping and pointing and telling their parents to look up. And then there were young adults who were saying that it was calming and relaxing them and then these older people who stop and say that they’re having an experience with this. They say that this is making them think of the space in a new way.”
“Hot Tea’s piece brings me an immediate feeling of peace and presence,” says Angie Sugrim, a producer with Parlor Gallery and the Wooden Walls Project. Her loyalty to Asbury Park is palpable while you speak with her and it is clear that this installation has affected her meaningfully. “I love how it changes according to the way I choose to interact with it. It’s like a river, though it is constant, it is always changing. I like the feeling of connecting with the piece as it undulates, and following its movement as though it was connected to my own psyche and consciousness.”
“Hot Tea has taken this journey with me for the last
five years and I cannot say enough about how wonderful he is to work with,”
says Hampton. “Watching how driven he is in his process has been amazing.”
He talks to us about the logistics of unveiling his idea to the public. “I’ve tried it where I just drop the whole bundle and try to separate it with my hands but there’s no way to get the yarn to drop individually and it just looks a lot cleaner if you drop it one by one,” he says, “It’s more time-consuming but the end result is much cleaner. All in all from conception to execution I would say it was about three weeks to execute this.”
With roots as a graffiti writer, Hot Tea has created his own niche on the street with yarn – surprising many peers while he is designing and mounting these space-altering large installations for large and small clients around the world, particularly in the last half-decade.
He says that this one in Asbury Park has been unique because of its proximity to the ocean and the impact of the natural elements on the movement of his piece. He says the effect has also affected him aesthetically and emotionally – and he hopes passersby will similarly be moved.
“I think when you are looking up from the bottom you can appreciate the mechanics of it and during the day the yarns are flowing with the wind and more attention is drawn to the color because the wind is moving it.
It’s more of a kinetic experience I think; That’s how I experience it and this whole thing is more about just the experience. Color is a huge part with my work but a lot of it is about creating a lasting memory that people will subconsciously remember when this piece is gone. I hope that happens”
“Questioning the giant monolithic forces that we are all subjected to” – Shepard Fairey
“It all began with an absurd sticker of Andre The Giant that was a happy accident,” says Street Artist Shepard Fairey about his first foray as an artist on the streets back in ’89. “So there’s a giant in the original sticker which evolved into an exploration of control, questioning control, questioning the giant monolithic forces that we are all subjected to,” he says.
You didn’t doubt that Shepard had an anti-demagogue, anti authoritarian, anti-propaganda stance even then; his methods for skewering were cheekily challenging, often employing propaganda methodology of his own to get the point across. Good design, good satire, and grand targets.
As Fairey begins his multi-pronged celebration of three decades of questioning self-appointed authority and the agents of dis-information, the folks at Chop ‘em Down Films have produced the opening salvo here – and we’re sure you’d like to see it.
“Facing the Giant: Three Decades of Dissent” for the OBEY GIANT 30th body of
work – reflecting on 30 years of his art in the streets… and everywhere else”.
Facing the Giant: Three Decades of Dissent. Video by Chop ’em Down Films
“This one goes out to the whole LGBTQ community!” says Street Artist Remi Rough as he finishes his first of two brightly abstract and geometric installations here in NYC over the last couple of days.
The South London artist started in graffiti, which makes this wallss’ connection with Crash and Wallworks in the Bronx especially meaningful to him. He and other practitioners sometimes call themselves “graffuturists”, owing to the roots of graffiti and the complete deconstruction of the traditional letterform which leads to modernist aestheticism now expressed on the street.
Over the last fifteen years Mr. Rough’s work and practice successfully moved into formal gallery work along with his Street Art murals in cities like Hong Kong, London, Los Angeles, Paris…we’ve even saw him in Marrakesh a few years ago.
This particular wall is at the invitation of Wayne Rada and Rey Rosa of New York’s L.I.S.A. Project NYC, a business improvement initiative begun in the Little Italy neighborhood that has worked with many Street Artists over nearly a decade. They have selected and organized a significant number of local and international artists from the Street Art scene to install murals celebrating the 50th anniversary of the Stonewall riot that turned back at the police to fight for the rights of gays, trans, and lesbians – a fight that eventually expanded to be more inclusive.
Starting now and right through June (often called Pride Month) we’ll be bringing you many of these murals by some of the best Street Art and graffiti artists on the scene today.
Happy Memorial Day Weekend! – we are smack in the middle of it today.
Colloquially thought of as the first weekend of summer in the US, it is also the first weekend when there are lifeguards at the beach. Since New Yorkers love to head to the Jersey Shore (no offense Coney Island) we thought we’d regale you with some fresh shots this week of cool murals on the boardwalk in Asbury Park, New Jersey.
Most of these are part of the “Wooden Walls” a program created by Jenn Hampton, co-director of Parlor Gallery, who tells us that it was inspired by the destruction of a hurricane here that pulled up so much of the wooden boardwalk that is iconic to the shore experience here.
“I started doing it after Hurricane Sandy because they were all these boards up from the devastation,” she explains. “It kind of reminded me of when you go into an artists’ studio and there are little excerpts of paintings that the artist is working on. Some may feel sad because they see unfinished paintings – but for people who are creative it creates excitement because it is about ‘what’s to come.’”
She’s always trying to bring art
to the public space, so this devastation prompted her to write proposals to
start the program and it worked. “It’s weird that it took a natural disaster
for me to get funding for an art project!” she laughs. Five years of steadily
growing the list of artists, the project now includes local, national, and
internationally recognized street artists.
Wooden Walls producer Angie
Sugrim says that this project is as personal as it is public. “Jenn
and I both feel a deep sense of stewardship in our community and this project
and all it entails are our way of giving back and helping to grow what we love
about our town. We both are eternal believers in the power of art and seeing it
help to transform Asbury Park.”
“I try to curate it from
the eyes of a six-year-old and a 20-year-old and a 80 year-old – because we get
such a diverse crowd on the boardwalk,” says Hampton. “I just want to make sure
that there is art in that spirit of creation next to the ocean. I think that
there is something really poetic about.”
Time and the elements have begun
to fade and weather the walls, but she thinks it just adds character.
“I think people get too
attached to public art,” she says. “The impermanence of it makes it really
special and you have to see it and engage with it – Mother Nature will take it
back when it wants!”
So here’s our weekly interview with the street (or boardwalk), this time featuring Ann Lewis, Art of Pau, Beau Stanton, Dee Dee, Fanakapan, Haculla, Hellbent, Indie 184, James Vance, Jessy Nite, Joe Iurato, Lauren Napolitano, Lauren YS, Logan Hicks, London Kaye, Porkchop, RC Hagans, Rubin 415, and Shepard Fairey.
Beautifully
disfigured, on the mottled edge of grotesques, Sepe’s portraits admire and
recoil from humanity and its foibles. Here in the Phillipines in monochrome,
his newest public works reflect the intensity of the streets where near martial
law or actual martial law locks down society.
The Polish Street Artist/ fine artist has traveled to many cities around the world in the last decade painting on the streets and on canvasses, but these four months have been unlike the others. Here we see his rough-hewn painterly style complimented by the schematic illustration style of an architect, the tension between emotional and rational in harmony.
An observer of social and political phenomenon, you may see the state of life reflected here as he surely has formed a view – one that appears to look for a sense of balance. Eyes are fatigued, identities are obscured, clouds may contain troubled thoughts and struggles, yet figures are elegant and dignified.
“Poverty is huge here and probably
some parts of the country are very dangerous,” he tells us, “however I was
lucky to meet only good and open people.”
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening : 1. “Nuart Aberdeen 3” by Fifth Wall TV 2. “The Green and Pleasant Land” by Max Colson 3. Jorge Rodriguez-Gerarda in NYC for Street Art For Mankind 4. 0h10m1ke live drawing at the opening of Wastedland 2 in Manhattan.
BSA Special Feature: “Nuart Aberdeen 3” by Fifth Wall TV
Mural art as a cultural catalyst and promotional campaign for the reinvigoration of cities has proved successful in recent years for tourism and business development initiatives eager to re-engage people in the public square – luring peoples’ attention away from their phones, or perhaps inviting them to bring with.
The Nuart brand from Norway continues to build on and amplify its success for templating a skillful mix of community events, street tours, painting, talks, and screenings for enthusiastic local folks to the walk the streets of Aberdeen. It also helps that the Scottish city happens to be blessed with a growing economy, soaring granite gothic architecture, sweeping vistas by the sea, and a rich history. This year’s installations by a diverse group of artists reach a variety of demographics (including graffiti grannies), making the story appear quite rich, especially as told by Fifth Wall TV.
“The Green and Pleasant Land” by Max Colson
As a tearful Theresa May resigns today, we reflect upon the fact that everything is an invention, including the concept of nationality. We turn to the animation of Max Colson, who allows us to pretend that creating a new world from scratch is realistic. It is a series of experiments at the computer using 3D software, attempt to reimagine the tangible UK as digital, its complexity reduced, its natural open spaces expanded. No hurry, just play.
Jorge Rodriguez-Gerarda in NYC for Street Art For Mankind
Silently he paints. Some up close footage from Jaime Rojo of Jorge Rodriguez-Gerada in NYC painting his mural for Street Art for Mankind. More about the project here: Fighting Child Labor With NYC Murals
0h10m1ke live drawing at the opening of Wastedland 2 in Manhattan.
Ohio Mike makes your portrait in a minute or two, despite the milling crowd and excitement that surrounds. Last week at a group show hosted by Russel Murphy and Lou August on Broome street that pulled together a true New York graff/street art crowd of fans, this artist wowed attendees with his on-point talent.
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.
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!”
” …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.”
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..”
The artistic duo just brought two new pop culture inspired billboards last week to this small town in Catalonia to entertain you with their hybrid brand of graffiti, video games, and sports references. Like many today they’re using the free association split-attention style of memes and the Internet that is now our lingua franca – or should we say linqua españa
At the
intersection of graffiti, the Internet, and cute things, Imon Boy has developed
a fun-centric database of pop-cultre references merged and interplayed in
scenarios from many a ‘00s teen memories surfing YouTube and catching tags –
and showing his work in a gallery setting in Munich, Hamburg, Phillipines,
Miami, Sydney, and New York. He says this game is typical of writers and cops –
but it looks a lot more fun from this perspective.
A
native of Badalona (Barcelona), Dagoe is similarly well travelled
geographically as well, taking his illustration, design, and animation powers
to France, Tunisia, Italy, Belgium, and the Netherlands. Here he namedrops Cope
and references Tupac and Drake – with the sensitive Canadian rapper wearing a FC
Barcelona team shirt and crying into a phone – that’s a mashup, bro.
Gastman’s Massive Graffiti and Street Art Show Arrives at Epicenter.
“I’m really excited to bring this show to New York,” says curator, graffiti historian and urban anthropologist Roger Gastman, “because the city plays such a pivotal role in the origin and evolution of the culture. The iconic images of covered subway cars made graffiti famous worldwide.”
He’s talking of course about “Beyond The Streets” the hybrid exhibition that he mounted in LA last year featuring the work of 150 who have proved to be pivotal to the evolution of a fifty year global people’s art movement that includes graffiti, street art, and urban contemporary art. Filling over 100,000 square feet of new space in Brooklyn, this two-floor cross-section survey will feature artworks by many of the same vandals, graffiti writers, Street Artists, and art activists who hit NYC streets, created dialogue with passersby, and were sometimes chased by the authorities. To see them showcased here is to recognize that there is not just one route to take – in fact there are many.
“We have an incredible roster of artists for New York,” Gastman tells us, “and a brand new space in Williamsburg that has a stunning view of the Manhattan skyline as our backdrop.” Notably the lineup includes artists whose work BSA has documented on the streets in this very same neighborhood over the past two decades, including Shepard Fairey, Faile, Swoon, Bast, Invader, Aiko, and others. Ironically the appearance of free-range Street Art in the neighborhood has been seriously diminished since that time.
The exhibition is one more verification that a significant portion of the scene is being widely recognized for its cultural contribution and value in the contemporary art canon – a significantly fluid scene fueled by discontent and a desire to short-circuit the established routes to audience appreciation. Like large survey shows elsewhere, the takeaway is the significant impact street culture and its tangential subcultures continues to have on the culture at large.
Gastman says the New York version of “Beyond The Streets” will take an
additional interest at the role of music and art activism on the street, along
with immersive installations, a tattoo parlor, a special Beastie Boys
installation with artifacts and ephemera, a new 30th Anniversary
Shepard Fairey project “Facing The Giant: 3 Decades of Dissent,” and large
scale works by Gorilla Girls, Futura, Cleon Peterson, and Takashi
Murakami.
More news coming on programming and events, but the important opening date to know right now is June 21st.
“All in all, it will make for a really special show this Summer,” says Gastman.
BEYOND THE STREETS TEAM
Curator: Roger Gastman
Co-Curators: Sacha Jenkins SHR, Evan Pricco, David CHINO Villorente
A-ONE, AIKO, Al Diaz, Alexis Ross, Alicia McCarthy, André Saraiva, Barry McGee, BAST, Beastie Boys, Bert Krak, Bill Barminski, Bill Daniel, BLADE, Broken Fingaz, Buddy Esquire, buZ blurr, Carlos Mare, Carl Weston, Cey Adams, C.R. Stecyk III, Charlie Ahearn, Chaz Bojórquez, Claudia Gold, Cleon Peterson, COCO 144, Conor Harrington, Corita Kent, Craig Costello, CRASH, DABSMYLA, Dan Witz, Dash Snow, DAZE, DEFER, Dennis Hopper, Dondi White, Doze Green, EARSNOT, Estevan Oriol, Fab 5 Freddy, FAILE, Faith XLVII, Felipe Pantone, FREEDOM, FUTURA 2000, Gajin Fujita, Glen E. Friedman, Gordon Matta-Clark, Guerrilla Girls, HAZE, Henry Chalfant, Herb Migdoll, Husk Mit Navn, INVADER, Jane Dickson, Jason REVOK, Jean-Michel Basquiat, Jenny Holzer, Jim Prigoff, John Ahearn, John Fekner, John Tsombikos, Joe Conzo, José Parlá, KATS, KC Ortiz, Keith Haring, Kenny Scharf, Kilroy Was Here, LADY PINK, LAZAR, LEE Quiñones, Lisa Kahane, MADSAKI, Maripol, Mark Gonzales, Mark Mothersbaugh, Martha Cooper, Matt Weber, Maya Hayuk, Michael Lawrence, MIKE 171, MISS 17, Mister CARTOON, Nina Chanel Abney, NOC 167, Pat Riot, Patrick Martinez, Paul Insect, POSE, PRAY, Rammellzee, Randall Harrington, RETNA, Richard Colman, Richard Hambleton, RIME, RISK, Ron English, Ruby Neri, SABER, Sam Friedman, SANESMITH, Sayre Gomez, Shepard Fairey, SJK 171, SLICK, SNAKE 1, SNIPE1, STAY HIGH 149, Stephen Powers, SWOON, Takashi Murakami, TAKI 183, TATS CRU, TENGAone, Tim Conlon, Timothy Curtis, Todd James, Trash Records, UGA, VHILS, and ZESER
The show is developed in partnership with Adidas and Perrier. Additional support provided by Modernica, Montana Colors, NPR, NTWRK, Twenty Five Kent and WNYC.
With giant murals at the forefront of the message, a recent Manhattan campaign of select walls is intended to make us talk and keep our eyes on an ugly social justice issue that organizers hope we can collectively address: child labor and forced labor.
Even in downtown NYC on Wall Street people will admit
that capitalism isn’t cool if we are doing it on the backs of children
somewhere. Nobody celebrates that. Do they?
With murals that advocate for “decent work”, asking us to create a better “future of work”, a small inspired group of international artists created impressive new works on Midtown’s East Side – roughly in the area of the United Nations.
Included in the group are Clandestinos (Shalak Attack and Bruno Smoky), Faith 47, Jorge Rodriguez-Gerada, Mr Cenz and Victor Ash. The collection is quite striking on city streets, as are the individual pieces. In fact each artist did their own interpretation of the overall theme by concentrating on direct and ancillary topics: green jobs, youth employment, gender equality at work, child labor and forced labor and the future of work.
Perhaps with some irony, the professionally rendered and emotionally stirring mural by Jorge Rodriguez-Gerada (at end of posting) was completed in the face of multiple obstacles that plague Street Artists sometimes, just not usually all at once. Regardless, the piece has an overwhelming impact.
A former culture-jamming urban installation artist who garners serious respect on the street as well as in professional art-world circles, he soldiered on for an installation that included lift equipment failures and a series of uncommon logistical challenges that come with mounting one of New largest mural works on the side of a soaring building that has a relatively narrow city alley. Only Rodriguez-Gerada’s determined vision allowed him to endure through a seemingly relentless torrent of bitter cold rainy spring weather for weeks.
Nonetheless, the results of his work, and of all of these artists, are as remarkable as they are sweet. In the service of the International Labour Organization (ILO) and a philanthropic group called Street Art for Mankind (SAM) these works can hopefully help raise our consciousness and protect children from enslavement and harsh work globally. Remarkably, SAM is going to directly to the heart of the matter, funding efforts to “help fund raid & rescue programs to free children from slavery,” says their press release.
Congratulations to all the runners in yesterdays BK Half Marathon – you all make us proud. Yo! NYC mayor says he wants to be president, but he got a rocky start with many protests in the streets from New Yorkers who think otherwise.
At this point if he’d promise us an end to endless wars abroad austerity here at home I’d vote for that 3-legged dog that’s always hunting for scraps behind the Bowl-a-rama.
The UAE is Building the World’s Biggest Solar Farms, yet the US is starting yet one more oil war in Venezuela? And what about these war drums toward Iran? Where have we seen this before?
So here’s our weekly interview with the street, this time featuring Bebar, Brolga, Chris RWK, Combo-CK, Derek Fordjour, Food Baby Soul, Grimm the Street Kat, Hispano Man, Kathryn Rose, Sickid, Trice, and Winston Tseng.
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
