BSA Film Friday: 06.16.17

BSA Film Friday: 06.16.17

bsa-film-friday-JAN-2015

Our weekly focus on the moving image and art in the streets. And other oddities.

Now screening :
1. PASSAGE / From Wall to Wall
2. Occupied in Bethlehem – from Fifth Wall TV
3. BYG //12 + 1 //  Contorno Urbano // Barcelona
4. 2KM3 Saint-Gervais Mont-Blanc Contemporary Art Platform

bsa-film-friday-special-feature

BSA Special Feature: PASSAGE / From Wall to Wall By Theodore Berg Boy and Aymeric Colletta

Louis Bourgeois, Keith Haring, Roy Lichtenstein, Ernest Pignon Ernest; Iconic artists of late 20th century shot in black and white portraits and clothes-pinned to a wire in an austere white box salon. Aside from their colorful personalities and histories, these images are not rewarding enough for the pursed-lipped gallery owner, she of great taste and refined posture.

So we are relieved to see the action of the cans on the street through the display windows of the gallery and the countenance of the gallerist. Later we are enchanted when the entire gallery becomes a colorful projection through which the scene sneaks in the pinhole in the grating – a camera obscura of “street” into the gallery.

“Passage” is quite literal, yet poetic, in the telling of this movement of Street Art and graffiti into the gallery setting, with the formal space painted as beneficiary of the life-giving, oxygenated aerosol blood from a sub-culture that isn’t.

To be fair, this is a muralist we witness, not a Street Artist per se, and there is nothing particularly transgressive in the work on the street but we understand the broader message. The video is a production for something called Urban Art Fair and the paint company manages to plant its logo many times into the story, so you know this is a budgeted production. Premiered this year at the occasion of the Paris edition of the fair, this one will be presented in New York at the first edition of the fair here over July 4th weekend.

It is interesting to see the parallels that are drawn in “Passages” – and with admirable dexterity and seamless segue by co-directors Théodore Berg Boy and Aymeric Colletta.

“ ‘Passage’ is a fiction film,” says Berg Boy, “which relates the meeting of two persons: a young artist and a gallery owner. Those two people bonding could be a metaphor of what occurs when a street artist – with his codes and his culture – finds himself thrown in a more institutional way of life: the life of the art market and museums.”

 

 

Occupied in Bethlehem – from Fifth Wall TV

“It’s almost become a playground for people to come to,” says your host Doug Gille as he looks at the section of the Separation Wall that the Banksy “Walled Off” Hotel is installed upon. “I think it is so crucial for people not to just come to see the wall or to paint on the wall,” he says.

“50 years under military control makes it the longest occupation in history,” is a quote that Gillen brandishes across the screen from the United Nations. The fact that Banksy is using his art star power to keep this on the front burner says a lot about the man.

“I think a lot of these people feel like we are forgetting about them and we have to remind them that we’re not,” says Gillen as he soul searches next to the Dead Sea.

BYG //12 + 1 //  Contorno Urbano // Barcelona

You may have seen our piece on this wall a few weeks back called “GO GO GO” BYG in Spain for 12+1 Project. Here are a few scenes illustrating how they made it.

Elian at 2KM3 Saint-Gervais Mont-Blanc Contemporary Art Platform

At the beginning of June this parking garage in Saint-Gervais Mont-Blanc inaugurated this “alternative museum” in the heart of the city that is free and open. All eleven floors (200 square meters each) and the façade were painted in May by international artists as part of the Lasco Project of the Palais de Tokyo. Here is Argentinian muralist Elian Chali’s floor as he imagined it. Also included were Etienne de Fleurieu of France, Felipe Pantone of Argentina, Jaw of France, Roids of Great Britain, SatOne Sobekcis of Serbia, Sten of Italy, Swiz of France, Zoer & Velvet of France and Spain.

2KM3 Saint-Gervais Mont-Blanc Contemporary Art Platform

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“ONCE” Deconstructs and Reconstructs His Tag for 12 + 1 Project In Barcelona

“ONCE” Deconstructs and Reconstructs His Tag for 12 + 1 Project In Barcelona

Abstraction is something we spoke recently with French graffiti writer Jeroen Erosie about in Berlin, and here in Barcelona we find that ONCE is interested in deconstruction of the revered letter form as well. Even hardcore lovers of letters like to blow them up, explode them, inflate them, deflate them, stream line and distill them to an essence.

ONCE. Contorno Urbano “12 x 1” 2017. Barcelona. (photo © Alex Miró)

Influenced by Bauhaus and Russian propaganda posters during the revolution, Catalonia born ONCE says he doesn’t really think that he is using abstract methods of manipulating his text into something unrecognizable. “Although for the general public,” he says, “these are only geometric shapes and they are more likely to think that I am painting with abstraction.” His control of aspects of fine art lettercraft reflects some of that heralded industrial society that was lauded a hundred years ago and it is somehow quite modern as well.

For his wall with the 12 + 1 project in Sant Feliu de Llobregat, we can see his fearless dedication to form, to classical graffiti and his dexterity for incorporating them into the evolving contemporary mural.

ONCE. Contorno Urbano “12 x 1” 2017. Barcelona. (photo © Alex Miró)

ONCE. Contorno Urbano “12 x 1” 2017. Barcelona. (photo © Alex Miró)

ONCE. Contorno Urbano “12 x 1” 2017. Barcelona. (photo © Alex Miró)

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Lucy Sparrow Opens an All-Felt Bodega in NYC : “8 ‘Till Late”

Lucy Sparrow Opens an All-Felt Bodega in NYC : “8 ‘Till Late”

“Let’s see…Champagne Moet and Campari are selling well, Vagisil we’re very low on. Brooklyn Lager we’ve had to re-stock,” Store Manager Jo Brooks ticks off the hot sales of the day here in Manhattan’s newest deli.

Lucy Sparrow 8 ‘Till Late (photo © Jaime Rojo)

“And randomly, the cassette tapes have been flying out of here,” she says as she squeezes the rectangles with images of yesterday’s pop stars preening their way into your heart. “We sold Duran Duran, Pink Floyd, Wham, Madonna’s “Immaculate Collection”. We sold “The Sound of Music” on VHS, “Texas Chainsaw Massacre”, that lady’s just bought “Vertigo”.

Lucy Sparrow 8 ‘Till Late (photo © Jaime Rojo)

“I wanted tapes that were going to be slightly like ‘B movie’ ,” says artist Lucy Sparrow, who made everything in this place, including the cassette tapes. “They’re supposed to be the ones that were going to be in the bargain bin. Stuff that is like second-hand that you’d find at a yard sale.” She’s cheerfully nostalgic when she says she has placed the timeframe of the bodega into the 1990s, where she spent most of her time in the single digits.

Nearby in the meat section next to the sausage links a small boom box plays “I’m So Excited” by the Pointers Sisters, “White Wedding” by Billy Idol, “Fire,” by Bruce Springsteen. You know, oldies.

Lucy Sparrow 8 ‘Till Late (photo © Jaime Rojo)

It’s 8 ‘Till Late, artist Lucy Sparrows first all-felt store in New York, and it’s literally just under the Standard Hotel in the Meat Packing district. She’s made 9,000 items over roughly 9 months out of this soft fabric-like craft material – and at first impression it sincerely looks like everything you would have found in a New York bodega in the 1990s aside from the hard liquor, which is actually illegal to sell outside a liquor store in NYC, but relax, its all heartfelt.

“We sell quite a lot of self-help books as well,” chimes in Clare Croome, a cashier.

“Yes! Self-help books! Have you seen them?” says Brooks “They’ve got nothing in them on the pages, they’re just blank.”

Lucy Sparrow 8 ‘Till Late (photo © Jaime Rojo)

The New York bodega installation idea began in 2014 when Sparrow’s “Cornership” in London turned into a blockbuster. “That was sort of my ‘Big Break’ in the art world. It sort of went viral and it was very very sudden and I had to sort of form a company and organize accounts and it was a very fast growing-up lesson.”

“But it was wonderful. I never did it thinking that the art world would take it seriously and then suddenly it happened.”

Lucy Sparrow 8 ‘Till Late (photo © Jaime Rojo)

Very methodical, she says that for nine months she just made piles of patterns and felt and paint and became somewhat of a factory. “I just put everything in a big pile, put on Netflix, and I literally just time myself. 1 hour: Pretzels. 1 hour: Bananas. Nothing is ever difficult, it’s just fiddly. And when it is fiddly I guess it is difficult,” she says.

But it must be a remarkable change for this young woman originally from Bath in the West Country to have such a solitary existence for weeks and weeks sitting on her couch with tubes of Crest toothpaste, Pringles potato chips, Ben & Jerry’s pints of ice cream, and bun-length wieners as her principal friends – to suddenly be meeting all sorts of talkative and neurotic New Yorkers who are pawing through the items that range from $15 for rolling papers to a few hundred for a collection of cleaning products.

 

Lucy Sparrow 8 ‘Till Late (photo © Jaime Rojo)

“It’s quite difficult going from literally nine months of being alone to being here with all these people,” she says conspiratorially, which explains why she has some cheerful help in the PR department.

“I’ve completely lost the ability to talk to people and I’ve got to learn to do it again really, really quickly,” she says under her breath as the front door swings open again and a professional woman in her thirties walks in wearing power heels and carrying a purse that might double as furniture or a weapon.

Lucy Sparrow 8 ‘Till Late (photo © Jaime Rojo)

Interestingly, she did have a bit of a ‘street practice’ as they say in art school, making birds and insects with red eyes and gluing them onto walls with a heavy cohesive to do what she calls “GRAFFELTI”.

Lucy Sparrow’s earlier foray into Street Art with a piece of “graffelti” in Manchester, 2012. (photo ©Lucy Sparrow)

You know what? I absolutely love doing it. I’ve done graffelti with flat pieces of felt and I use ‘No More Nails’, ” which sounds sort of like a product you could buy in a store like this. “I did it in Manchester when I lived there. A few years ago. I also did a seagull opposite the Hilton in Manchester as well.”

Lucy Sparrow’s Street Art seagull made as “graffelti” in Manchester, 2012. (photo ©Lucy Sparrow)

Lucy Sparrow 8 ‘Till Late (photo © Jaime Rojo)

You can buy the whole store for a half million, if you are wondering. It will also save her the trouble of sending this stuff back to England. Certainly the fresh produce wouldn’t make it through customs anyway.

We ask her the obvious: What separates this work from “craft”?

“I don’t think there should be any separation really,” she says quickly. I’m using craft materials but I’m not worried about the snobs- the same ones who look down their noses at watercolors. It’s the same way that many museums still look down at Street Artists as not necessarily real art. That’s always the question isn’t it, ‘Is it real art?’ It’s like ‘who the hell are you to decide?”

Now she’s on a roll.

“This is volume, context, meaning. I’ve never seen it as anything but art. I never realized that it would go the way that it did, due to my own insecurities or I don’t know what. But it did. And it is wonderful to be taken seriously.”

Lucy Sparrow 8 ‘Till Late (photo © Jaime Rojo)

Did she alter the selections from “Cornershop” to “8 to Late” for the New York audience?

“I mean I did some research,” she says, “Mustard, Ketchup – I did like 30 of each of them because I knew they were going to be popular.”

“The alcohol is literally flying off of the shelves. I don’t know what that says about you.”

“Indeed!” we say while pointing to the fresh produce and quickly flinging our basket with vodka bottles on top of a stack of frozen pizzas.

Lucy Sparrow 8 ‘Till Late (photo © Jaime Rojo)

Lucy Sparrow 8 ‘Till Late (photo © Jaime Rojo)

The bodega cat keeping the mice away and sniffing the sausage links. Lucy Sparrow 8 ‘Till Late (photo © Jaime Rojo)

Artist Lucy Sparrow grinding some meat in the middle of her 8 ‘Till Late show. (photo © Jaime Rojo)

Lucy Sparrow gallery area of 8 ‘Till Late (photo © Jaime Rojo)

Lucy Sparrow 8 ‘Till Late (photo © Jaime Rojo)


Lucy Sparrow’s 8 ‘Till late is currently on view at the Meat Packing District in Manhattan and will close on June 30th. 69 Little West 12th Street.


This article is also published on The Huffington Post.

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Selections from Farm Country: GarGar2 Festival in Penelles, Spain.

Selections from Farm Country: GarGar2 Festival in Penelles, Spain.

A well branded cultural initiative brings for the second edition a festival of art, music, craft beer, food trucks, workshops to the village of Penelles in Spain, including 900 square meters of murals in this town with farmer roots and low one story buildings.

It has become almost a formula for cities and municipalities to inject a youthful culture and energy into an area – as you may expect, it is about striking a balance and treating all of your artists well and creating a mixture of events and opportunities for the people to engage with the scene. Even when the population of your Catalonian town is a little less than 500 people.

Fonoll Mas. GarGar Festival. Penelles, Spain. May 2017. (photo © Lluis Olive Bulbena)

GarGar2 just happened in May with about 30 artists displaying public art in disciplines that touch on almost all of the currently used styles on the street; aerosol, wild style, figurative, illustration, neo-realism, photorealist, commercially slick, folk heroism, calligraphy, text based, pop art, abstract optics, political commentary, brush paint, stencil, craft, crochet, primitive sculpture… Organizers have studied the websites and social postings and surveyed closely what is happening in the mural/Street Art scene and are presenting a cross-section of at least one example of every category.

Sebastien Waknine. GarGar Festival. Penelles, Spain. May 2017. (photo © Lluis Olive Bulbena)

The somewhat arid agricultural community is spread out over many small roads and fields of wheat, rye, and corn. Old buildings are used for small art exhibitions and music venues – with many of the performing solo artists and ensembles playing a familiar mix of folk, jazz, afrocarribean, and electronic genres that merge local with international tastes.

It is a polished presentation meant to draw attention to the town, and we are thankful to photographer Lluis Olive Bulbena for capturing some of the images from this year’s festival. Following it is a video from last years’ GarGar.

Sebastien Waknine. Detail. GarGar Festival. Penelles, Spain. May 2017. (photo © Lluis Olive Bulbena)

Sebastien Waknine. GarGar Festival. Penelles, Spain. May 2017. (photo © Lluis Olive Bulbena)

BYG. GarGar Festival. Penelles, Spain. May 2017. (photo © Lluis Olive Bulbena)

Draw . Contra. Detail. GarGar Festival. Penelles, Spain. May 2017. (photo © Lluis Olive Bulbena)

Draw . Contra. Detail. GarGar Festival. Penelles, Spain. May 2017. (photo © Lluis Olive Bulbena)

Draw . Contra. Detail. GarGar Festival. Penelles, Spain. May 2017. (photo © Lluis Olive Bulbena)

Asu Calligraphy. GarGar Festival. Penelles, Spain. May 2017. (photo © Lluis Olive Bulbena)

Miquel Wert. Detail. GarGar Festival. Penelles, Spain. May 2017. (photo © Lluis Olive Bulbena)

Miquel Wert. GarGar Festival. Penelles, Spain. May 2017. (photo © Lluis Olive Bulbena)

Draw . Contra. GarGar Festival. Penelles, Spain. May 2017. (photo © Lluis Olive Bulbena)

Ryan Smeeton. Detail. GarGar Festival. Penelles, Spain. May 2017. (photo © Lluis Olive Bulbena)

Ryan Smeeton. GarGar Festival. Penelles, Spain. May 2017. (photo © Lluis Olive Bulbena)

Paella. GarGar Festival. Penelles, Spain. May 2017. (photo © Lluis Olive Bulbena)

Paella. GarGar Festival. Penelles, Spain. May 2017. (photo © Lluis Olive Bulbena)

Zeso WS. Detail. GarGar Festival. Penelles, Spain. May 2017. (photo © Lluis Olive Bulbena)

Zeso WS. GarGar Festival. Penelles, Spain. May 2017. (photo © Lluis Olive Bulbena)

Jofre Works. GarGar Festival. Penelles, Spain. May 2017. (photo © Lluis Olive Bulbena)

TV Boy. GarGar Festival. Penelles, Spain. May 2017. (photo © Lluis Olive Bulbena)

GarGar 2016

Festival GarGar 2016 from lacreativa.com on Vimeo.


Website for GarGar

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Bifido and a Secret Reading Place Under the Bridge

Bifido and a Secret Reading Place Under the Bridge

This new piece under a freeway bridge by Italian Street Artist Bifido may remind you of summer vacation and the chance to let your mind follow a fantastic story. Maybe “Mystery of the Golden Temple: Thailand,” or “Ronia, the Robber’s Daughter” or “Brown Girl Dreaming.

Bifido. “In my Room”. Naples, Italy. June 2017. (photo © Bifido)

The freshly wheatpasted piece that Bifido staged and shot also reminds us how important literacy is and how 2/3 of people worldwide who are illiterate are girls and women. Recent studies published in Science Daily last month indicate that adults reading out loud to their children makes a lasting impression on them and increases their abilities as they grow older.

A strong independent girl makes a strong independent woman and reading is crucial to this journey – wherever the journey leads. We just checked out a website called Smart Girls, begun by comedian Amy Poehler and producer Meredith Walker. It’s “dedicated to helping young people cultivate their authentic selves. We emphasize intelligence and imagination over ‘fitting in.’

Sounds like a great start!

Bifido. “In my Room”. Naples, Italy. June 2017. (photo © Bifido)

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BSA Images Of The Week: 06.11.17

BSA Images Of The Week: 06.11.17

BSA-Images-Week-Jan2015

“Yes, I’m an infowarrior,” says the African American yelling about how CNN is promoting Sharia Law in downtown Manhattan for the #MarchAgainstSharia and a short distance away someone is wrapping the “Fearless Girl” statue with a black burka. The infowarrior is wearing a red “Make America Free” baseball hat and very much seems like he might be gay. And then your head explodes.

Welcome to the “Disinformation Age.”

But New York is waaaaaay too diverse to even countenance this weird new wave of anti-Islam sentiment and the counter-demonstrators with their signs dwarfed the haters– and being good liberals, they probably invited them to come over for dinner after all that yelling.

Otherwise the weather has been gorgeous and Street Artists have been getting up in New York, when they are not too busy fighting about the David Choe wall and calculating new ways to spray over it. We have brand new mural works from people like Dasic, Cekis, and Case Maclaim, and there is a lot more political content in the new free-range Street Art that we are seeing, with much of it focused on the corruption at the top of the national government, racism, environmental matters, the growing police state.

The Puerto Rican Day Parade is today down 5th Avenue, with people celebrating – and also fighting over the “freedom fighter”/ “Terrorist” Oscar López Rivera, who was going to be the Grand Marshall but whom will now simply be a marcher. And Lucy Sparrow tells us that “Vagisil” and champagne are the two big sellers at her temporary bodega under the Standard Hotel that is 9000 items made entirely of Felt. Our own story on that this week, so there’s something to look forward to, along with 90 degree weather and more brain-frying tweets from 45 in the White House while the Congress is emptying all the cupboards, privatizing everything that used to be the people’s and leaving the back door open for banks.

Other than that, everything is dope!

So here’s our weekly interview with the streets, this week featuring Adam Fujita, Beast, Blanco, Brandon Garrison, Cekis, Dasic, Dirty Bandits, El Sol 25, FKDL, Jetsonorama, Jerk Face, Joe Iurato, Logan Hicks, Mataruda, Mr. Toll, Myth NYC, Opiemme, S0th1s, and She Wolf.

At the top: Dasic and Cekis collab for The Bushwick Collective Block Party 2017. (photo © Jaime Rojo)

Dasic in action. The Bushwick Collective Block Party 2017. (photo © Jaime Rojo)

S0th1s (photo © Jaime Rojo)

Joe Iurato and Logan Hicks restored collab for The Bushwick Collective Block just in time for the block party 2017. (photo © Jaime Rojo)

FKDL for The Bushwick Collective Block Party 2017. (photo © Jaime Rojo)

Roof top view of The Bushwick Collective Block Party 2017. (photo © Jaime Rojo)

El Sol 25 (photo © Jaime Rojo)

She Wolf (photo © Jaime Rojo)

Brandon Garrison (photo © Jaime Rojo)

Trainwwg (photo © Jaime Rojo)

Adam Fujita and Dirty Bandits. (photo © Jaime Rojo)

Blanco has a new piece about prison and police reform, including advocating for the closure of New York’s Rikers Island. (photo © Jaime Rojo)

Mataruda (left) and Jetsonorama (photo © Jaime Rojo)

Myth and She Wolf collab. (photo © Jaime Rojo)

Myth (photo © Jaime Rojo)

Myth (photo © Jaime Rojo)

Myth (photo © Jaime Rojo)

Myth (photo © Jaime Rojo)

Jerk Face (photo © Jaime Rojo)

Disney Dollars (photo © Jaime Rojo)

Opiemme in and abandoned USA base in Ligure, Italy. (photo © Jaime Rojo)

Mr. Toll (photo © Jaime Rojo)

Unidentified artist (photo © Jaime Rojo)

Beast (photo © Jaime Rojo)

Untitled. Bushwick, Brooklyn. June 2017. (photo © Jaime Rojo)

 


Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!

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David Choe Paints Houston-Bowery Wall, Accusers Call Him “Rapist” in NYC

David Choe Paints Houston-Bowery Wall, Accusers Call Him “Rapist” in NYC

Artist David Choe painted the famed Houston-Bowery Wall last week in New York and the accompanying frenzy that often follows this Street Art/graffiti event ensued. The installation of his signature abstract/gestural/figurative layered mind-meld took roughly seven days, and some nights.

David Choe. Houston/Bowery Wall. Manhattan, NYC. June 2017. (photo © Jaime Rojo)

Photographer Martha Cooper stayed there longer than anyone, shooting and looking for stolen moments. Owners of the wall Jessica Goldman and her mom Janet joined in the paint-splash-fest, as did fans and passersby whom David and his crew entertained with opportunities to paint too – along with myriad requests for photos with the artist.

New York knows how to host a moment like this and rather ignore it at the same time. Our tribe-like Street Art/graffiti/mural circles vibrate and convulse, peers and fans stop by to shake hands and post on Instagram, overlapping with others tribes briefly.

David Choe. Houston/Bowery Wall. Manhattan, NYC. June 2017. (photo © Jaime Rojo)

The art world buzzes because of the “live performance” of an immersive art show for three minutes… and then the mural becomes a part of the schizophrenic visual conversation of the modern overbuilt city; wheels and sneakers and stilettos streaming by, briefly catching a glimpse of the wall or missing it entirely, perhaps rolling down the window at the stoplight, possibly using it as a background for a selfie.

The city is in the painting too: Images collide overtop of one another, pushing some to the side, partially obliterating that which came first, splattering liquids and smearing viscosity, pulling forms and buildings from the chaos and stirring in anxiety and humor, brush paint wrestling with aerosol and the unchecked fury of the fire extinguisher. An epic balance is achieved in some manner of speaking, energy is dispersed, almost calmed. A self-consciously outrageous and theatrical pop-philosopher who plays in bands, hosts podcasts, hops freights, hunts dinosaurs, shoots videos of himself in ridiculous situations, does stand-up, gives public talks and advice on art and life, one of Choe’s oft-repeated bits of wisdom is, “Comfort is the killer of creativity.”

A screenshot of a Tweet from Bucky Turco shows a photo of what appears to be a scrawled “rapist” across the new Choe mural. The word following it appears illegible. (copyright ©Bucky Turco)

There is no way that David Choe could be comfortable at the moment because he and the wall have also stirred a storm of accusations and acrimony. While he’s gotten criticized on numerous social threads, one of the most notable folks is direct peer and Bowery Wall alumni Swoon, who publicly challenged Choe to answer for published accounts that place him into a rape scenario, followed by his own muddied non-apology/apology/denial/jokes about it.

“This guy honestly thinks he’s being edgy while he celebrates within the safety of the same metaphorical locker room that has long protected Donald Trump, Bill Cosby, and countless entitled date raping predators,” says the Instagram statement from perhaps the best known female Street Artist, whose own wheat-pasted linotypes and paper cutouts have championed everyday people on this wall and countless others since the mid-late nineties, including museums like the MOMA and The Brooklyn Museum here, and many others around the world.

David Choe. Houston/Bowery Wall. Manhattan, NYC. June 2017. (photo © Jaime Rojo)

Another New York based Street Artist Ann Lewis (aka Gilf!) known for her activism on the street and in the gallery, addresses that topic as well, writes on Bowery Boogie that Choe was an insulting choice for this high-profile wall and that female and trans artists in general are underrepresented in the historical lineup. “I refuse to accept a rape apologist’s stammers about lockerroom talk when defending our current president, and I further refuse to stay silent when someone like David Choe is given such an opportunity,” says Lewis in her Op-Ed.

David Choe. Houston/Bowery Wall. Manhattan, NYC. June 2017. (photo © Jaime Rojo)

Other female Street Artists have been raising the issues of harassment and sexual violence in their work on the street over the past decade or so, including Brooklyn based Tatyana Fazlalizadeh, whose “Stop Telling Women to Smile” campaign on city walls has been addressing gender based street harassment and intimidation since 2012. Based upon interviews conducted with women about their experiences of public sexual harassment, the people in her portraits speak directly to would-be aggressors with quotes like “My outfit is not an invitation”, “I’m not your property, you are not in control of my body”, and “Harassing women does not improve your masculinity” – words that were translated into French and Spanish by the campaign when it went international.

A screenshot of an Instagram posting from Luna Park shows a tag by BTM across the wall. It’s unclear if it is related to this discussion or simply street beef. (copyright ©Luna Park)

With this environment of young confident women artists using the streets for their canvas (and sometimes screed), it is no surprise that the conversation is now reaching a tipping point and the behaviors and views of male peers are being questioned so publicly. There are many people talking about this but when two peers in the game call you out forcefully and publicly, it is unlikely the problem will simply go away.

David Choe. Houston/Bowery Wall. Manhattan, NYC. June 2017. (photo © Jaime Rojo)

We agree that rape is not something to be taken lightly and also recognize that Mr. Choe was making light of it in his public statements after this story broke – regardless of whether or not his original accounts were wholly factual. A categorical repudiation of rape would have helped his case, aside from denials of his own culpability. Standing silent on this topic only enables those who think that sexually abusing other people is a sport or a fantasy.

We should also recognize that our current atmosphere of “rape culture” didn’t just happen overnight and think deeper about how, in one way or another, we personally might have enabled it to continue. It is a gradual societal “raising of awareness” across cultures today. Thus, the growing number of “Slut Walks” from Tel Aviv to Miami to Las Vegas to Los Angeles to Ecuador. Ex Vice President Joe Biden thinks we have a genuine problem with rape culture on college campuses, and the US Military has such a big problem with sexual violence that they’re calling in the United Nations for help.

David Choe. Houston/Bowery Wall. Manhattan, NYC. June 2017. (photo © Jaime Rojo)

Regarding the critique of Goldman Properties for not putting enough female artists on this wall, the actual female-to-male ratio of graffiti/Street Artists in general should be considered when calculating. We could be wrong but it appears that there are many more males than females in the Street Art world, and an even higher percentage in graffiti. So if you are looking for the best artist according to your individual taste, that’s probably what ratio you’ll automatically select. You can argue about the percentages, and a few more females would bring up the average for this wall – if that is what you are shooting for.

Jessica Goldman Srebnick and her father Tony before her, has been/was deliberately inclusive in their programming of female Street Artists, especially in the last five years during the curating of murals in the Wynwood District. One recent year for the annual Art Basel events they went as far as presenting a roster of exclusively female artists for the entire season along with curator Jeffery Deitch.

David Choe. Houston/Bowery Wall. Manhattan, NYC. June 2017. (photo © Jaime Rojo)

The wall itself has become a high-profile spot in Manhattan mainly because of it’s location on the corner of Bowery and Houston, a Gotham nexus of neighborhoods that once had distinctly different bohemian characters but which now generally are becoming homogenized into one large Whole Foods market of ever-higher-end shops, boutiques, bars, restaurants, clubs, and sky-high rents that a small percentage can afford.

The Houston-Bowery Wall now feels a little like a precious segment of the Berlin Wall; a historical remnant of another period harkening back to the origins of the modern Street Art/graffiti scene that once characterized the area and the whole city in the 1970s, 80s and 90s; a throwback to a freer, openly corroded and somewhat lawless time where self-expression flourished and white people of some means fled to the suburbs and the city neglected those who remained, when artistic experimentation, discovery, drugs, and danger co-existed. Street gangs ran many blocks and Manhattan was “bombed out” in many places, and ironically it was largely affordable for artists and creative people who were pursuing their New York dream.

David Choe. Houston/Bowery Wall. Manhattan, NYC. June 2017. (photo © Jaime Rojo)

The Houston-Bowery Wall has a storied lineage of Street Artists and graffiti writers that stretches back to Keith Haring and Kenny Scharf and has included names like Shepard Fairey, Swoon, Revok, Os Gemeos, Faile – a couple dozen in total. Most recently it was the Spanish duo PichiAvo with their neoclassical graffiti-tag washes that wafted across the wall this January and into the spring.

There is a long list of possible names that will make it to this privately owned wall, but the list that won’t is much longer. Invariably, some of the featured artists will be contested, some rightly. On this center stage of Manhattan street theater, the actors include everyone in the NYC audience as well, and as the saying goes, in New York everyone’s a critic.

David Choe. Houston/Bowery Wall. Manhattan, NYC. June 2017. (photo © Jaime Rojo)

David Choe. Houston/Bowery Wall. Manhattan, NYC. June 2017. (photo © Jaime Rojo)

David Choe. Houston/Bowery Wall. Manhattan, NYC. June 2017. (photo © Jaime Rojo)

David Choe. Houston/Bowery Wall. Manhattan, NYC. June 2017. (photo © Jaime Rojo)

David Choe. Houston/Bowery Wall. Manhattan, NYC. June 2017. (photo © Jaime Rojo)

David Choe. Houston/Bowery Wall. Manhattan, NYC. June 2017. (photo © Jaime Rojo)

David Choe. Houston/Bowery Wall. Manhattan, NYC. June 2017. (photo © Jaime Rojo)

David Choe. Houston/Bowery Wall. Manhattan, NYC. June 2017. (photo © Jaime Rojo)


We reached out to David Choe and Jessica Goldman Srebnick for comment during the prep for this article and at the time of publication we had not heard back from either.


JRE x David Choe on DVDASA Controversy– a published conversation with the artist that we found online.

Links to the podcast where Choe told the original masseuse parlour story are now not working but you can find an articles about it HERE

 

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BSA Film Friday: 06.09.17

BSA Film Friday: 06.09.17

bsa-film-friday-JAN-2015

Our weekly focus on the moving image and art in the streets. And other oddities.

Now screening :
1. NIMI – The Last Travel
2. Art Meets Milk: BustArt . Hombre . Carl Kenz
3. Said Dokins in Mexico for Letrástica Festival
4. Urban Nation. We Broke Night 19.05.2017

bsa-film-friday-special-feature

BSA Special Feature: NIMI – The Last Travel

“The character was originally a Nepalese woman – it was during the time they had the earthquake there. I was sort of wondering why we didn’t hear about it from the media, we didn’t hear about it three days into it,” says Nimi about the portrait he completed recently in Stavanger for Nuart Festival. Here image stands for the millions who are uprooted and currently have no home, are stateless and unrooted.

 

Art Meets Milk: BustArt . Hombre . Carl Kenz

German cow scenes now. A dairy industry boost here from three graffiti artists, BustArt, Hombre, and Carl Kenz. Also some heavy advertising from the paint sponsor in the middle. Mooooo!

 

Said Dokins in Mexico for Letrástica Festival

In Guadalajara, Mexico for Letrástica Festival, here’s Said Dokins with a tribute to Chalchihuites, an archaeological site in the northwest of Mexico. “This mural is a tribute to ancient wisdom, indigenous cosmogony and ancient thinking and refers directly to the prehispanic rain god Tlaloc, represented by those two great circles made using calligraphy and the geometric elements that accompany them,” he says. You’ll also see techniques common to other cultures, including calligraphic brushstrokes with a Japanese brush.

 

 

Urban Nation. We Broke Night 19.05.2017

Inside scenes of the new museum space at Urban Nation for its last public event before the opening in September. Here you can see new temporary works and hear observations from such artists as Fin Dac, Shepard Fairey, Snik, Millo, 1UP crew, Klebebande, Inkie, Fanakapan, Nuno Viegas, Sepe, Cranio, Sebastian Wandl, Dot Dot Dot, Onur & Wes 21, Erik Jones, Lora Zombie, Haroshi, Woes, OG Slick, TankPatrol, Mimi S., Jef Aerosol, Bustart, Vhils, Christian Rothenhagen, Herakut, Daniel Van Es… and more.

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Laura Llaneli “OUR ACTIONS BECOMING THE POLICY”

Laura Llaneli “OUR ACTIONS BECOMING THE POLICY”

A New Wall Translates a Rockers Lecturing Tirade to His Audience


Aural. Visual. Two modes of exchange and experiencing the world that interest artist Laura Llaneli, the Grenada born painter of this months’ 12+1 project wall in in L’Hospitalet de Llobregat in Barcelona.

Laura Llaneli. Our Actions Become The Policy. Contorno Urbano “12 x 1” 2017. Barcelona. (photo © Clara Antón)

Having produced works as varied as using dot matrix printers as orchestra, “live” texting the visuals behind a performing band, and recording a “telephone game” experiment of 37 people individually interpreting a melody – and passing it to the next one.

Since she doesn’t mind studying jazz, folklore or even current pop to dissect the relationship between sound-music experience, it is not a surprise that today’s wall is inspired by a rant from a hardcore band singer delivered to his audience. Text based, but more from a taggers aesthetic than a painters, the words are a translation of singer Cedric Bixler-Zavala’s speech mid-concert with his band “At The Drive-In”.

Laura Llaneli. Our Actions Become The Policy. Contorno Urbano “12 x 1” 2017. Barcelona. (photo © Clara Antón)

He is berating the audience for slam-dancing, a fully corporeal, often rageful and cathartic dance activity of forceful interaction where multiple people clear a circular area on the floor and audience members repeatedly careen and throw themselves at another person, bouncing off of them and being bounced off of. It’s chaotic, often physically dangerous, and produces feelings of elation or more rage, or both. From his perspective at that 2001 concert, it was unacceptable and he used a shaming, belittling device to lecture the audience, by saying they were only imitating actions they witnessed elsewhere, were unthinking, and followers instead of leaders.

“I think it’s a very very sad day, when the only way that you can express yourself is through slam-dancing. Are you all typically white people? Y’all look like it to me. Look at that. You learned that from the TV, you didn’t learn that from your best friend. You’re a robot, you’re a sheep! Baaaah. Baaaah. Baaaah. I have a microphone and you don’t, you’re a sheep. You watch TV way too much. Baaaah. Baaaah.”

Laura Llaneli. Our Actions Become The Policy. Contorno Urbano “12 x 1” 2017. Barcelona. (photo © Clara Antón)

It’s actually sort of confusing what the racial reference was, and what it meant. But in the context of his other accusatory and bullying language, it seems like he was chiding them as behaving in a way that was unlike their race, or his image of how white people are supposed to behave.

Laura likes the text because she thinks that they were trying to control violence, or horde the right to it. “This meant keeping a certain ‘monopoly of violence’ for themselves.”

Laura Llaneli. Our Actions Become The Policy. Contorno Urbano “12 x 1” 2017. Barcelona. (photo © Clara Antón)

In the final flip of this script, Laura says that eventually event promoters borrowed the bands technique of stopping the performance to make people stop slam dancing – now actually insisting that bands do it. Thus the name “Our Actions Become the Policy”

“So they were astonished to find out that the security of Australia’s ‘Big Day’ festival had taken on their idea,” and  now it feels like Big Brother is controlling the crowd… which of course pisses people off.

Regardless how you feel about slam-dancing, this mocking, goading text-based screed is a notable departure from the more graphic and aesthetically pleasing murals that are marking this current era as well as the 12 + 1 project.

Laura Llaneli. Our Actions Become The Policy. Contorno Urbano “12 x 1” 2017. Barcelona. (photo © Clara Antón)

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Never Crew Brings the Bear in Satka, Russia

Never Crew Brings the Bear in Satka, Russia

Never Crew is in the Ural Mountains in Satka, Russia with a message about man’s disconnection with nature. Their murals often contain one large animal, and this time a bear takes center stage – rather papered over by industrial “progress,” perhaps?

NeverCrew. “Baring Machine” Satka Street Art Festival. Satka, Russia. May 2017. (photo © NeverCrew)

The Swiss-based duo say we have developed systems of working against nature that “lead to an emotional and intellectual detachment where everything becomes acceptable also when it’s damaging, where there’s no more perception of consequences and so no more perception of reality.” The new large scale mural appears in a city that was founded on an iron mine and now is organized around an immense magnesite quarry that burrows deep into the earth’s crust.

NeverCrew. “Baring Machine” Satka Street Art Festival. Satka, Russia. May 2017. (photo © NeverCrew)

Perhaps that is the inspiration for the name of the large piece called “Baring Machine,” playing on the spelling of ‘bear’ and the machinery of extraction. A smaller related mural work nearby features tool sets involved in the digging and extraction process.

We’re not sure if locals will directly appreciate what could be interpreted as an indirect critique – but what the hell, once the earth is exhausted and the money is gone, someone may relish this sentiment. “This is a place that well represents the relation between mankind and nature,” the duo says in a statement, “the proportion between them and especially a connection based on the use of resources, on which are built the local life and structures.”

NeverCrew. “Baring Machine” Satka Street Art Festival. Satka, Russia. May 2017. (photo © NeverCrew)

NeverCrew. “Baring Machine” Satka Street Art Festival. Satka, Russia. May 2017. (photo © NeverCrew)

NeverCrew. “Baring Machine” Satka Street Art Festival. Satka, Russia. May 2017. (photo © NeverCrew)

NeverCrew. Satka, Russia. May 2017. (photo © NeverCrew)

NeverCrew. Satka, Russia. May 2017. (photo © NeverCrew)

NeverCrew. Satka, Russia. May 2017. (photo © NeverCrew)

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Icy & Sot and a Man of Trash in Tbilisi, Georgia

Icy & Sot and a Man of Trash in Tbilisi, Georgia

15 centuries old, Tbilisi may not last as long as this garbage man sculpture by Street Artists Icy & Sot.

Icy & Sot.  “Human reflection on nature”. Tbilisi, Georgia. May 2017. (photo © Icy & Sot)

“It took us only 10 minutes to collect all this trash because there was so much of it – including American brands – in the river by this village,” says Icy as he tells us about the trip he and his brother Sot made last month. A gorgeous and historically diverse city of 1.5 million people, Tbilisi reflects art, architecture, trade and culture that have given the Georgian capital a reputation as a crossroads for Europe and Asia.

During their stay with the Art Villa Garikula, a self organized community contemporary art center begun Tbilisi born painter and educator, Karaman Kutateladze in 2000, Icy and Sot did two pieces and an ad takeover that reflect the global problems posed by a consumer culture sold by corporations with little concern for its impact long term.

Icy & Sot.  “Human reflection on nature”. Tbilisi, Georgia. May 2017. (photo © Icy & Sot)

Just last week BSA featured another Street Artist who is concerned about plastics floating around in the oceans, and here we have a sculpture of a human figure made entirely of plastic packaging.

The brothers were in town as guests of the Nova I Festival. “They were such a wonderful people,” says Icy, “and it was a magical place to work. They do art residencies and have held this festival every summer for the past 9 year where artists go to make installations, sculptures and paintings.” The Art Villa Garikula and its collaborative art community provide exhibition space and a museum facility with more than 300 artworks of contemporary art. They also offer unconventional educational programs based on experiential learning, an artist-in-residence program, and the annual festival.

Icy & Sot.  “Human reflection on nature”. Tbilisi, Georgia. May 2017. (photo © Icy & Sot)

Often more than a little ironic with their placement, this new sculptural figure is positioned in the midst of the rolling Georgian landscape, Sot says, “we loved the nature and the landscape – it was a perfect opportunity for us to make work about the nature and the environment.”

A second piece not shown here is a human shaped mirror buried in a grassy lot reflecting the sky – but that may appear in a future posting.

Icy & Sot. Ad takeover. Tbilisi, Georgia. May 2017. (photo © Icy & Sot)

Here also we see an ad takeover with the simplest imagery of a free-flying bird trapped beneath a clear plastic water bottle. According the the World Counts website, we only recycle 1 of every 5 water bottles. Guess where the rest goes?

“Its so sad to see how much plastic trash we produce,” continues Icy. “We all should try to use less and less plastic in our life. Every single piece of plastic that has ever been created since the 19th century its still somewhere in our planet.”

Sot adds “Plastic is killing the planet and our health.”

 


Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!

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Marx and Engels Statues Re-Skinned & Re-Located : Various & Gould

Marx and Engels Statues Re-Skinned & Re-Located : Various & Gould

“Why do you glorify and duplicate these two criminals?! They shouldn’t have a monument at all. Next you’re doing Hitler?”

Various & Gould. “City Skins – Marx and Engels” Berlin, May 2017. (photo © Boris Niehaus)

Various and Gould try to paraphrase some of the comments they received from passersby in a park near the town-hall in centrally located Berlin-Mitte while working on their latest project with a statue of the creators of Marxist theory. Some imagined they were glorifying, others alleged defamation.

“It’s a shame how you treat Marx and Engels!”

Truthfully, this new project in public space that literally copies a monument and then transfers it to another location didn’t have much to do with the capitalist system that creates/allows very rich and very poor people, but it certainly adds stories to the overall experience of Various and Gould.

Various & Gould. “City Skins – Marx and Engels” Berlin, May 2017. (photo © Boris Niehaus)

And while these inquisitive Street Artists/Public Artists conceptual project was meant to have an interactive element, they say they didn’t really expect the constant demand of observers to engage in conversation – even to explain and sometimes defend their project, while they constructed it.

“We had a focus on communication. We got into talks and discussions with passers-by, residents and tourists, while taking the paper casts. Discussions about monuments, art, cultural politics and so on,” says Various of the roughly month-long project that spanned April and May.

Various & Gould. “City Skins – Marx and Engels” Berlin, May 2017. (photo © Boris Niehaus)

They began working in one high-visibility park with the larger-than-life bronze images of the ancestors of the scientific communism Karl Marx and Friedrich Engels and ended with the figures at another park in the peripheral district of Hellersdorf three weeks later with papier mâché “skins” of them in colorful street advertisement posters.

“Most of the people coming by were very surprised, some in positive ways, some in negative,” says Gould. “Some people cheered, some people shouted at us – the later in fact for very different reasons.”

Various & Gould. “City Skins – Marx and Engels” Berlin, May 2017. Original monument by sculptor Ludwig Engelhardt (photo © Boris Niehaus)

We often refer to Street Art and graffiti in terms of being “urban interventions”, active installations of artwork into the public sphere where usually no one was requesting its sudden, unannounced presence. Additionally these interventions are necessarily anonymous and done quickly when people are not around.

Various and Gould are studied and thoughtful in their preparations for their interventions and this project takes on additional significance due to the fact that they are interacting directly with another artists public art – a sort of cross generational unsolicited “collaboration” with sculptor Ludwig Engelhardt, who inaugurated his piece in 1986 and who passed away in 2001.

Various & Gould. “City Skins – Marx and Engels” Berlin, May 2017. (photo © Boris Niehaus)

Calling their project “City Skins” they did a sort of test run with public sculpture in 2015 without permission. This time they have permission from the Berlin Monuments Office, with certain caveats that seemed perfectly reasonable, like using materials and methods that did no damage to the original sculpture.

“The paper enclosed the monument without sticking to the bronze itself,” says Various, “and it was opened and removed without residues, like the skin of a fruit.” – which explains the project’s name “City Skins”.

After the duo took the paper cast back to a spacious workshop at an arboretum called “Baumschule Köpenick” they reassembled the figures and covered them with ornamentative guilloche – large abstractions of patterns lifted from currency – a subtle nod to the capitalist system and the figures represented.

Various & Gould. “City Skins – Marx and Engels” Berlin, May 2017. (photo © Boris Niehaus)

One may also draw a corrollary significance to the choice of paper as their art-making material.

“Now it is in the nature of the bronze that it is heavy, stiff and immovable. Congealed to shape. The question might arise whether bronze is the appropriate medium for honoring a genius,” says Jan Kage, an author, musician, moderator and curator from the art space “Schau Fenster” in a rough translation from German.

“The artist duo has chosen a completely different material. A much more transient one than bronze, a more flexible one, and above all one that Marx and Engels had also chosen to carry their ideas into the world: paper.”

Various & Gould. “City Skins – Marx and Engels” Berlin, May 2017. (photo © Frederic Leitzke)

On the day of the unveiling in a park with the new colorful skinned Marx and Engels, the verdant knoll atop which it sat was a challenge to climb for the some of the 100 or so visitors who came for a Sunday reception. The incline down toward the train station also proved an ideal place for kids to roll down and get dizzy – when they weren’t racing around the new temporary sculpture and trying to catch each other.

By now the duo have been compared to the French public artists Christo and Jeanne-Claude, who stay in the minds of a generation of Berlinians for their 1995 wrapping of the Reichstag, a vastly larger public art endeavor with a different set of goals. They say that they are also influenced by the artist duo “p.t.t.red” (paint the town red) and their subversive intervention in New York in 1996 where they turned the Statue of Liberty red by manipulating the spot lights so the monument was illuminated in red light at night.

Various & Gould. “City Skins – Marx and Engels” Berlin, May 2017. (photo © Frederic Leitzke)

In fact Various and Gould did their first sculptural public interventions over a decade ago in New York. “In 2006 we were both part of a one-night pop-up group show in NYC  called “Stitch Project” on 9th Street,with Solovei, Albert Zuger, Tod Seelie and many more,” says Gould. They describe an antique cash register which Various delicately cast. Somehow themes lead back to money and our relationship to it.

“Monuments are projection screens of collective memory and witnesses of a time period,” they say in their conceptual description of the project. “They reflect history, zeitgeist and models of a social system. After political upheavals, they are frequently overthrown, toppled or buried. This is testament to them being supercharged with symbolic meaning.”

Given the responses of literally hundreds of people during the two public phases of City Skins, Various and Gould feel assured that Marx and Engels and their theories are as powerfully relevant in today’s world as they were in theirs – if in a new light.

Various & Gould. “City Skins – Marx and Engels” Berlin, May 2017. (photo © Various & Gould Studio)

Various & Gould. “City Skins – Marx and Engels” Berlin, May 2017. (photo © Various & Gould Studio)

Various & Gould. “City Skins – Marx and Engels” Berlin, May 2017. (photo © Various & Gould Studio)

Various & Gould. “City Skins – Marx and Engels” Berlin, May 2017. (photo © Various & Gould Studio)

Various & Gould. “City Skins – Marx and Engels” Berlin, May 2017. (photo © Boris Niehaus)

Various & Gould. “City Skins – Marx and Engels” Berlin, May 2017. (photo © Boris Niehaus)

Various & Gould. “City Skins – Marx and Engels” Berlin, May 2017. (photo © Boris Niehaus)

Various & Gould. “City Skins – Marx and Engels” Berlin, May 2017. (photo © Jaime Rojo)

Various & Gould. “City Skins – Marx and Engels” Berlin, May 2017. (photo © Jaime Rojo)

Various & Gould. “City Skins – Marx and Engels” Berlin, May 2017. (photo © Jaime Rojo)

Various & Gould. “City Skins – Marx and Engels” Berlin, May 2017. (photo © Jaime Rojo)

Various & Gould. “City Skins – Marx and Engels” Berlin, May 2017. (photo © Jaime Rojo)

Various & Gould. “City Skins – Marx and Engels” Berlin, May 2017. (photo © Jaime Rojo)

Various & Gould. “City Skins – Marx and Engels” Berlin, May 2017. (photo © Jaime Rojo)

Various & Gould. “City Skins – Marx and Engels” Berlin, May 2017. (photo © Jaime Rojo)

Various & Gould. “City Skins – Marx and Engels” Berlin, May 2017. (photo © Jaime Rojo)


Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!

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