Karl Addison : Creating Public Work for New Rail Line in Denver

Karl Addison : Creating Public Work for New Rail Line in Denver

The veils that separate our intellectual distinctions of art practice and theory are so quickly and easily pierced when viewing creative expression as lying upon a continuum. Somewhere between free improvisational, unauthorized, radical self expression (mark-making, graffiti, perhaps) and juried, approved, charted public art (institutional murals, perhaps) lie a thousand shadings of aesthetic expression – and myriad degrees of relationships between artist and passersby.

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Karl Addison. Federal RTD Station in Denver, Colorado. July 2016. (photo © Henrik Haven)

Today we look at a commissioned public work by mural artist Karl Addison, who has previously engaged in less structured, free will art-making in the public.This kind of painting takes planning (over a year) and a number of people in Denver to approve it (20 or so panelists) before he could make his first mark.

Concept, budget, timelines, sketches – each element carefully considered with input from office holders and planners, a public project on a federal light rail station with permission is anathema to the approach of taggers and bombers of trains. Which is not to say that all bombers are antagonistic of public taste or wishes.

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Karl Addison. Federal RTD Station in Denver, Colorado. July 2016. (photo © Henrik Haven)

Additionally, unlike many but not all Street Art festivals which simply plop down artists on empty walls without a proviso to even educate themselves about the community they are visiting, Addison says a main consideration was whether the community likes or approves of the work they would be left to live with. “I love working with local communities and the people that inhabit those places – they are the ones that take the ownership and passion for their public artwork to the next level.”

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Karl Addison. Federal RTD Station in Denver, Colorado. July 2016. (photo © Henrik Haven)

So here are new work-in-progress images from photographer Henrik Haven of Addison’s station, one of 8 new Federal RTD Stations along 11 miles of new track in Denver that will open this October. Addison says the forms of giants and small people are meant as placeholders, everyday archetypes if you will. His particular interest is color theory and the effect his careful washes and blends will have on train travelers.

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Karl Addison. Federal RTD Station in Denver, Colorado. July 2016. (photo © Henrik Haven)

“The giants are overlaid on a smooth gradient of color blending from a rich warmer purple, to soft creams and ice blues, to a deep rich purple into blue,” he says. “The color transition goes into green and lighter subsection exceeding to the far left along an Ashlar Stone facade.”

In the most integrated consideration, he hopes that his work is soothing, and he painstakingly created each effect to ensure it. “Each cinder block is painted one by one with the same color blends as the gradient – a map of larger color blocks so the viewer can start to translate the 90 colors used.”

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Karl Addison. Federal RTD Station in Denver, Colorado. July 2016. (photo © Henrik Haven)

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Karl Addison. Federal RTD Station in Denver, Colorado. July 2016. (photo © Henrik Haven)

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Karl Addison. Federal RTD Station in Denver, Colorado. July 2016. (photo © Henrik Haven)

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Karl Addison. Federal RTD Station in Denver, Colorado. July 2016. (photo © Henrik Haven)

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Karl Addison. Federal RTD Station in Denver, Colorado. July 2016. (photo © Henrik Haven)

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Karl Addison. Federal RTD Station in Denver, Colorado. July 2016. (photo © Henrik Haven)

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Karl Addison. Federal RTD Station in Denver, Colorado. July 2016. (photo © Henrik Haven)

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BSA Film Friday: 08.12.16

BSA Film Friday: 08.12.16

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

Now screening :

1. Brad Robson in Rural Spain
2.”Inflateable Refugee” by Artist Collective Schellekens & Peleman
3. MIRA! ABCDEF Style Writing Part 3 from Bergerstrasse
4. Andaluz The Artist Creates all the Pokemon

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BSA Special Feature: Brad Robson in Rural Spain.

Graffiti/Urban Art/ Street Art supercharged the mural scene, which rightly means this kind of work must be necessarily urban. Right?

We’ve documented so many anomalies in the Street Art scene over the last few years that extend to rural examples of the architecture that everyone must now admit that our labels are not keeping pace with the change.

Fine artist and painter Brad Robson from Australia did one of his interrupted portraits in rural Spain recently, and frankly, he likes it. “It makes me want to do more like this around the world….I think the art has more impact in the remote areas, in the rural areas,” he says.

“Inflateable Refugee” by Artist Collective Schellekens & Peleman

Wearing a life jacket and clutching his knees, this inflatable art project created by the collective of Schellekens & Peleman continues to be exhibited in high profile waterways to speak about the hundreds of thousands of people escaping war and economic catastrophe. These few images of the 6 meter tall “Inflatable Refugee” this summer in Copenhagen demonstrate the strong effect that a large figure on a flattened horizon has, and the impact it can have on city dwellers.

Following that is a news story of the installation’s local significance.


Drone video by filmbureauet.dk

ABCDEF Style Writing Part 3 from Bergerstrasse

 It just seems to get better. So here again is MIRA!

Andaluz The Artist Creates all the Pokemon

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Faring Purth and David De La Mano, “Chrysalis” in Montevideo

Faring Purth and David De La Mano, “Chrysalis” in Montevideo

Faring Purth and David De La Mano collaborated on a wall in Montevideo, Uruguay last week in a very short period of time. “We have been corresponding for quite some time, years in fact, and the pieces finally fell into place for us to cross paths,” Faring tells us, and surprisingly her mysterious, somewhat mummy-like Chrysalis character came together in only half of an office work day.

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Faring Purth and David De La Mano “Chrysalis”. Collaboration mural in progress in Montevideo, Uruguay. (photo © David De La Mano)

De La Mano’s silhouetted forms bended and leaned organically nearby, mimicking the shadows of the bare branches and shadows here at Joaquín Suárez y Venancio Benavidez. Are they mere puppets controlled by the master, or are they the roots that give her sustenance and strength?

“I am thrilled to say creating with David was incredibly easy & natural. We met, shook hands, did a little bow to one another, and got to work. No plans ~ just a white wall and two artists kneading away, through the shadows of that incredible Uruguayan sunset.”

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Faring Purth and David De La Mano “Chrysalis”. Collaboration mural in progress in Montevideo, Uruguay. (photo © David De La Mano)

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Faring Purth and David De La Mano “Chrysalis”. Collaboration mural in progress in Montevideo, Uruguay. (photo © David De La Mano)

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Faring Purth and David De La Mano “Chrysalis”. Collaboration mural in progress in Montevideo, Uruguay. (photo © David De La Mano)

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Faring Purth and David De La Mano “Chrysalis”. Collaboration mural in progress in Montevideo, Uruguay. (photo © David De La Mano)

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Faring Purth and David De La Mano “Chrysalis”. Collaboration mural in progress in Montevideo, Uruguay. (photo © David De La Mano)

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Faring Purth and David De La Mano “Chrysalis”. Collaboration mural in progress in Montevideo, Uruguay. (photo © David De La Mano)

Our thanks to David for sharing his images here with BSA readers.

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Spaik Brings Symbolic Eagle to Address Fear in Paris and Ibiza

Spaik Brings Symbolic Eagle to Address Fear in Paris and Ibiza

Mexican modern folkloric muralist Spaik participated in the Bloop Festival in Ibiza during the month long proactive music festival that is now in its fifth year. With a general ethos that “Art is for Everybody”, Bloop invites a number of artists each year to create works all over this town that for two decades has gained the international reputation as a party place with superstar djs, natural beauty, and sun-soaked hedonism.

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Spaik at work on “Nochixtlan” for Le Mur. Paris, France. July 2016. (photo © Pierre Lecaroz)

So it is interesting that this year’s theme is “No Fear”, and the festivals’ manifesto points to cross-cultural scourges of relentless cell phone addiction, job insecurity, and unrealistic body types portrayed in fashion advertising . Looks like the honeymoon for pleasure-seekers is over.

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Spaik “Nochixtlan” for Le Mur. Paris, France. July 2016. (photo © Pierre Lecaroz)

Spaik interpreted the “No Fear” theme with the same symbol of a massive colorful eagle that he used the previous month at Le Mur in Paris. Known for its association on the Mexican flag perched on a cactus with a serpent in its mouth, here in Ibiza the eagle flies freely through a tunnel in this country that Mexico declared independence from in 1821.

Interestingly, Spaik depicts a slightly more political eagle in Paris at the famously curated wall with references to the PEN party, the state of Oaxaca, and a small little rat with a Mexican sash – looking rather fearful. So we are not sure if “No Fear” can extend around the world, as hopeful as the Bloop festival manifesto may be, but Spaik definitely has created two impressive works that would please many in the Mexican mural-making tradition that addresses social and political issues.

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Spaik “Nochixtlan” for Le Mur. Paris, France. July 2016. (photo © Pierre Lecaroz)

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Spaik “Nochixtlan” for Le Mur. Paris, France. July 2016. (photo © Pierre Lecaroz)

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Spaik at work on“Flying Eagle” for Bloop Festival. Ibiza, Spain. July 2016. (photo © Spaik)

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No fear, bro. Spaik “Flying Eagle” for Bloop Festival. Ibiza, Spain. July 2016. (photo © Spaik)

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“ABOVE” in New York City

“ABOVE” in New York City

In dense cities like Hong Kong and Tokyo and New York there is so much activity that takes place above you, yet we primarily grant relevancy to what happens at street level from our pedestrian perspective.

Perhaps those machinations and love affairs and backroom deals and elegant dances and mergers of all sort on higher floors are what continue to fascinate Tavar Zawacki to direct our attention ABOVE our heads. Perhaps he is simply reminding us that there is a sky.

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Tavar ABOVE Zawacki at The Quin Hotel. Manhattan, NYC. (photo © Jaime Rojo)

As an artist in residence this summer with the Quin hotel, the California born artist is currently visiting from Berlin but, as happens to many, is falling in love with New York.

His current show is a collection of highly glossed icons placing his nom de street front and center. These abstracted kaleidoscope-induced neon versions of his tag may bring to mind street signage and the blinking store window vernacular of nighttime commercial districts in many cities.

We’ve been seeing him around town and caught him painting last week in Little Italy with the Lisa Project and you will undoubtedly be seeing of ABOVE’s work in New York in the future. You know where to look for it, right?

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Tavar ABOVE Zawacki at The Quin Hotel. Manhattan, NYC. (photo © Jaime Rojo)

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Tavar ABOVE Zawacki at The Quin Hotel. Manhattan, NYC. (photo © Jaime Rojo)

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Tavar ABOVE Zawacki at The Quin Hotel. Manhattan, NYC. (photo © Jaime Rojo)

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Tavar ABOVE Zawacki at The Quin Hotel. Manhattan, NYC. (photo © Jaime Rojo)

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Tavar ABOVE Zawacki at The Quin Hotel. Manhattan, NYC. (photo © Jaime Rojo)

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Tavar ABOVE Zawacki in Little Italy for his mural in collaboration with The L.I.S.A. Project. Manhattan, NYC. (photo © Jaime Rojo)

 

Tavar Zawacki AKA Above solo exhibition at The Quin Hotel in Manhattan is currently on view and it is free to the public. Click HERE for more information.

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Two brothers. Two Murals. Two Countries. One Great Great Grandfather.

Two brothers. Two Murals. Two Countries. One Great Great Grandfather.

Overunder and his Bro create “Nostalgia”

A migration story has just been completed between Osnago, Italy and Vogorno, Switzerland by two Reno artist brothers who traced their great great grandfather’s journey via bicycle adventure this summer.

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“At either end of the bicycle trip I proposed to create a mural. Or half mural to be exact,” says Erik Burke, a Street Artist (Overunder) who has worked on walls in many cities over the last decade. He proposed the idea of creating half a portrait of Guisseppe Mozzetti in each town. “Each mural would be painted at the border of a building to create a break in the composition. By allowing the imagery to break at the edge it hopefully would hint at the absence of image, identity, and a larger picture,” he explains.

Using their only known photo of him for a study, these brothers connected the story of his past and their family roots going back to the mid 1800s. They say that the art project and the entire trip gave them a unique opportunity to study the countries and cultures that formed him before he eventually immigrated to the United States (Reno, Nevada) in 1890.

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Overunder with help from his brother. “Nostalgia”. The first half of the project goes up for La Voce Del Corpo Festival in Osnago, Italy. (photo © Overunder)

“My brother and I were navigating the Ticino countryside on borrowed mountain bikes without a map or knowledge of the language,” Erik says. “Regardless we approached most encounters with ‘Tutto bene’ and we think we came to a deeper understanding of both pizza and penne, valleys and peaks, nostos and algos.”

Those last two words speak directly to the name of the collaborative two-mural immigration mural project which they named “Nostalgia”. According to the brothers there was a certain sentimentality about the natural beauty of the countries and the people whom they encountered on their trip. All of the gathered information also permitted them to imaginine what this great great grandfather may have been like.

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Overunder with help from his brother. “Nostalgia”. The first half of the project goes up for La Voce Del Corpo Festival in Osnago, Italy. (photo © Enrico Ponzoni)

Erik explains, “The word nostalgia is a learned formation of a Greek compound, consisting of νόστος (nóstos), meaning “homecoming” and ἄλγος (álgos), meaning “pain, ache”. The term was coined by a 17th-century medical student to describe the anxieties displayed by Swiss mercenaries fighting away from home. As I discovered my own Swiss heritage I wondered what nostalgia would mean to someone like me – a person not going home but curious about his family’s home.”

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Overunder with help from his brother. “Nostalgia”. The first half of the project goes up for La Voce Del Corpo Festival in Osnago, Italy. (photo © Overunder)

The story of actual research is slightly more complicated, including targeted emails to strangers in Vogorno in search of a possible wall to paint. Erik was already booked to paint a mural for a festival in Osnago (La Voce Del Corpo Festival) so his vision of sharing this bike trip with his brother needed a welcoming person willing to have their building painted at when they arrived in Switzerland.

“After many failed attempts at making contact with Vogorno residents I sent a seemingly unlikely email to a woman I found on the Internet who was running the Rustico Cioss who happened to share the Mozzetti name. Luckily she responded and a dialogue grew,” says Erik of the detective work that finally landed their artwork on the right building. “Her family research unearthed a document for Giuseppe Mozzetti and a few emails later she had secured permission from the municipality for the mural and was allowing us not only to paint on the house of Giuseppe Mozzetti but also stay there!”

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Overunder with help from his brother. “Nostalgia”. The first half of the project goes up for La Voce Del Corpo Festival in Osnago, Italy. (photo © Overunder)

The images form physical and psychological bookends to an immigrant story that both brothers found profound and rewarding. It also raised more questions about the concept of borders and nationality – a search further elucidated by way of painting and meeting new people.

“Many borders presented themselves to us throughout the ride from Osnago to Vogorno in the form of dialect, currency, value, power sources, politics, culture, and physical geography. The painting component also utilizes my own physical borders by taking advantage of moments of fatigue and endurance directly following cycling to paint these works, ” he concludes.

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The route from La Voce Del Corpo Festival in Osnago, Italy to Vogorno, Switzerland.

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Overunder. A road rest to re-charge. (photo © Overunder)

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Overunder. Going up in Vogorno, Switzerland. (photo © Overunder)

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Overunder. Abandoned home. The Bergamo Alps in the background. (photo © Overunder)

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Overunder. Doing tricks because the bike trip wasn’t enough to tire him…why not? (photo © The Bud)

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Overunder. The original photo of Joseph Mozzetti. Photo from Ancestry.

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Overunder. “Nostalgia”. The second half of the project on the original house of Joseph Mozzetti in Vogorno, Switzerland. (photo © Overunder)

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Overunder. “Nostalgia”. The second half of the project on the original house of Joseph Mozzetti in Vogorno, Switzerland. (photo © Overunder)

Erik and Mike would like to extend their great thanks to Mayor Paolo Brivio of Osnago and the many people of Osnago and Vogorno for their hospitality – especially Bruno Freddi, Michele, Frederica, Enrico, Flavio, Fabio, Jacopo, and Valeria for their generous support and friendship.

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BSA Images Of The Week: 08.07.16

BSA Images Of The Week: 08.07.16

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Here’s our weekly interview with the street, this week featuring ABOVE, City Kitty, Corn79, Crisp, D7606, Damien Mitchell, Dee Dee, EC13, Gregos, Hiss, Homo Riot, Imamaker, Invader, Mark Jenkins, MOMO, Olek, OneArt, Savior El Mundo, Stik, Wing, and Zimad.

Our top image: Stik for The L.I.S.A. Project. July 2016. (photo © Jaime Rojo)

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Olek new installation in Avesta, Sweden. August 2016. (photo © OLEK)

We first called her the Christo of Street Art a number of years ago, and this latest project seems to finally confirm it. Olek created a two part installation for the Verket Museum in Avesta – in short it is about destruction and rebuilding. Above is the latest picture of the house she mounted the installation within – wrapped in meters and meters of pink crochet.

“Our pink house is about the journey, not just about the artwork itself.  It’s about us coming together as a community.  It’s about helping each other.  In the small Swedish community of Avesta we proved that we are stronger together, that we can make anything happen together.  People from all walks of life came together to make this project possible.  Someone donated the house, another one fixed the electricity and Red Heart Yarns donated the materials.  The of course, most importantly, many women joined us in the effort to make my dream a reality.

After I exploded the house I wanted to create a positive ending for them as a symbol of a brighter future for all people, especially the ones who have been displaced against their own wills.  Women have the ability to recreate themselves.  No matter how low life might bring us, we can get back on our feet and start anew.

We can show everybody that women can build houses, women can make homes. “

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Gregos (photo © Jaime Rojo)

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Mark Jenkins in Montreal. July 2016. (photo © Andre Pace)

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Mark Jenkins in Montreal. July 2016. (photo © Andre Pace)

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MOMO (photo © Jaime Rojo)

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Tavar Zawacki AKA ABOVE (Invader on top) for The L.I.S.A. Project in Manhattan. (photo © Jaime Rojo)

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Corn79 in Mantova, Italy for Without Frontiers. July 2016. (photo © Corny79)

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OneArt (photo © Jaime Rojo)

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Unidentified Artist (photo © Jaime Rojo)

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HISS (photo © Jaime Rojo)

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HISS (photo © Jaime Rojo)

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Zimad in collaboration with Damien Mitchell. (photo © Jaime Rojo)

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Dee Dee (photo © Jaime Rojo)

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Wing (photo © Jaime Rojo)

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City Kitty (photo © Jaime Rojo)

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City Kitty in collaboration with D7606. (photo © Jaime Rojo)

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Homo Riot (photo © Jaime Rojo)

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Savior El Mundo (photo © Jaime Rojo)

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EC13 in Granda, Spain. August 2016. (photo © EC13)

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Unidentified Artist (photo © Jaime Rojo)

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Imamaker (photo © Jaime Rojo)

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Crisp (photo © Jaime Rojo)

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Untitled. Speaking of the Constitution. Wall Street. NYC. (photo © Jaime Rojo)

 

 

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David Walker Contemplates the Role of His Mural in a French City

David Walker Contemplates the Role of His Mural in a French City

“I was conflicted about making the mural in France,” says Street Artist and muralist David Walker about the new sky-gazing countenance of a woman he painted there during the recent terrorist attacks. “I felt it I wasn’t commenting on the current situation there.”

It’s often a point of contention with public art and one that is discussed by city elders, academics, passersby: what role does art in the public have? Is it to advocate, reflect, comment upon, distract, reassure?

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David Walker in Boulogne-sur-Mer, France for Galerie Mathgoth. July 2016. (photo © Galerie Mathgoth)

Commissioned public and private murals and illegal Street Art are all judged by many and assumptions about the artists intent or role are called into question, – even by the artist. “What’s the point of taking up more wall space?,” asks Walker. “Due to the nature of my work, I can have internal conflictions wherever I go,” he says.

Even though Boulogne-sur-Mer is three hours north of Paris, people in the town felt very affected by the attacks, and many conversations touched upon the events – which seemed to be unfolding even as he painted. “During my stay the TV looped with news of another attack in a northern city just a few hours away,” he says.

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David Walker in Boulogne-sur-Mer, France for Galerie Mathgoth. July 2016. (photo © Galerie Mathgoth)

It was a 7-day long installation and he says he enjoyed the conversations that he had with people on the street. Some paid him compliments and he says he even appreciated those who didn’t particularly like his work.

“A few commented that the image was not exactly to their taste, but they appreciated that I worked hard everyday and the gesture.” Not exactly work for the thin-skinned, that’s for sure.

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David Walker in Boulogne-sur-Mer, France for Galerie Mathgoth. July 2016. (photo © Galerie Mathgoth)

Ultimately, Walker says that he decided the new mural plays an important part in the dialogue of the city.

“After painting and seeing and hearing the buzz happening around the wall, in the newspapers and cafes and restaurants we visited, the people made me feel that actually sometimes something simple, hopeful and human can be enough – or even what’s needed from art. I was, at times, taken aback by the positivity I felt towards the work and I was relieved that somehow it did have a place there.”

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David Walker in Boulogne-sur-Mer, France for Galerie Mathgoth. July 2016. (photo © Galerie Mathgoth)

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David Walker in Boulogne-sur-Mer, France for Galerie Mathgoth. July 2016. (photo © Galerie Mathgoth)

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BSA Film Friday: 08.05.16

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

Now screening :

1. “Watching My Name Go By”
2. Nicolas Romero AKA Ever: “Logo II”
3. Gilf! …and counting

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BSA Special Feature: “Watching My Name Go By”

Directed by Julia Cave and originally shown on the BBC documentary series OMNIBUS in December of 1976, this was actually the second half of a program that followed a tour through the art gallery scene of Soho.

A hidden gem that surveys the variety of opinions held by citizens, historians, police and front stoop sociologists about the graffiti scene on trains and the streets, the story is measured and inquisitive. It’s without glamour, although there may be guile.

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This documentary predates Style Wars by about seven years and you get a surprising understanding about the priorities of the day at a time when New York was financially in a tailspin and socially ready to boil over. You see this resignation in the body language and descriptors about the state of the city, and while there is a stated desire by many to rid the city of graffiti, there are fervent fans of it as art and impassioned allies of the practice as political speech.

Notably, one commenter who is familiar with law enforcement practices says that police were actively encouraged to focus more on violent offenders like muggers and rapists than graffiti writers. The hand style is pretty basic, certainly not wild, and check out the difficulty of painting with those cans; but that doesn’t detract from the ubiquity of the social-art phenomena and the fact that many consider these early writers as pioneers of what became so much more.

“Watching My Name Go By” © Karen Goldman, Philip Bonham-Carter, BBC. 1976

Nicolas Romero AKA Ever: “Logo II”

Nicolas Romero, the Street Artist variously known as EVER or EVERSIEMPRE brings you a conceptual performance from his recent stay in Cordoba, Argentina for the exhibition “Pioneros de un viaje a ningún lado”.

A would-be heroic/holy/handsome businessman/pop star/savior marches through the street buckling under the weight of his brand.

Logo II is a public test”, EVER tells us. “It is a study that I have been conducting on the relationship between the ‘individual’ and the ‘logo’. The logo by definition usually includes some symbol that is associated with almost immediate way what it represents. This means that the individual summarizes his being as a symbol. In this case I wanted to use two logos, one with a political charge and one with a purely economic burden. Both carried in a theoretical context are antagonistic, but in your reality are quite similar.

Based on this, we decided to take this intervention in the most literal way.”

 

 

Gilf! …and counting

Street Artist and political activist GILF! recently created an installation called “And Counting” in Cleveland during the Democratic National Convention there. Focusing purely on the surface data of the persons killed during a police encounter this year, she says that the installation will continue to enlarge as it will eventually cover the entire year.

It presents the facts around each police involved death in America during 2016,” she says. “By presenting only the facts this project gives the viewer an objective and all encompassing opportunity to face our nation’s heartbreaking and ubiquitous problem of death at the hands of police, which will aid in developing solutions.”

 

 

 

 

 

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Dan Witz’s “Breathing Room” Installs Meditating Figures in 10 London Phone Booths

Dan Witz’s “Breathing Room” Installs Meditating Figures in 10 London Phone Booths

“It was an insane install,” says Dan Witz of his London phone booth, “probably one of the most challenging of my career.”

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Dan Witz. “Breathing Room” London, July 2016. (photo © Dan Witz)

The New York Street Artist who began working anonymously putting art on the streets in the late 1970s is sometimes given to hyperbole, but when you see the map of the ground he covered in the city in search of the right homes for his “Breathing Room” guerilla installations, you think he may be hewing to the truth. He’s also got the timing and delivery of a Catskills comedian when describing his efforts to put up these new people deep inside a spiritual practice.

“All 10 of the pieces are up and scattered nicely around greater London,” he says wide-eyed and nearly out of breath as if he had just finished running an interventionist art marathon. “Greater is the word. That place is huge. Vast. Endless. And it seems like I’ve seen every scruffy inch of it now.”

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Dan Witz. “Breathing Room” London, July 2016. (photo © Dan Witz)

“Take my wife, please!” He didn’t actually say that one. Besides, Dan’s wife Tiffaney is the linchpin who helped him realize this project, putting together the video and Kickstarter page that raised money to bring him from New York to glue these paintings to the iconic red phone booths.

As it turns out, these quietly meditating illusionistic figures were measured and created for a size of booth that has fallen into disuse – a fact that he may have liked to know before painted these in his Brooklyn studio. There are two sizes of phone booths in London, Dan tells us; the K2 and the K6.

“The one that I measured for, the K2, is the older, rare and widely dispersed one. Apparently there are only a couple of hundred of them in use at remote and largely undisclosed locations. But, through the deep research skills of Mark Clack of Wood Street Walls  and my ever intrepid wife Tiffaney, we were able to locate enough K2’s for me to put my paintings on.”

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Dan Witz. “Breathing Room” London, July 2016. (photo © Dan Witz)

Witz’s newest work is meant as a response to the terrorist attacks in many cities that have hurt many people psychologically and stirred an atmosphere of fear – now he hopes to encourage a place for people to create “breathing room” for reflection. He has dealt directly with darker issues before, particularly a well-documented street art campaign a couple of years ago in Frankfurt, Germany, of figures caught just behind dark windows and metal grates. It is a guerrilla style he has honed over years to subtly draw attention and unnerve a passerby, perhaps into action.

For that campaign a nearby QR code could be scanned and followed to the Amnesty International campaign in support of political prisoners. Here he hopes to spark individual acts of hope, with these serene images radiating an optimism and focus on more peaceful matters.

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Dan Witz. “Breathing Room” London, July 2016. (photo © Dan Witz)

Mr. Witz says that the whole experience tracking down and installing in London phonebooths was challenging, and fun and rewarding as well. “Fortunately I had the foresight to rent a motorcycle and I figured out how to mount my phone with Google maps on the handlebars,” he says.

“I’m not sure how I would have done any of this without that. But don’t even get me started on how crazy it was to drive on the left side of the road for the first time in my life,” then adds somewhat conspiratorially, “Don’t tell Tiffaney but there were some close calls.”

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Dan Witz. “Breathing Room” London, July 2016. (photo © Dan Witz)

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Dan Witz. “Breathing Room” London, July 2016. (photo © Dan Witz)

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Dan Witz. “Breathing Room” London, July 2016. (photo © Dan Witz)

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Dan Witz. “Breathing Room” London, July 2016. (photo © Dan Witz)

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Dan Witz. “Breathing Room” London, July 2016. (photo © Dan Witz)

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Dan Witz. “Breathing Room” London, July 2016. (photo © Dan Witz)

 

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INO “Instability” in Kiev

INO “Instability” in Kiev

The frank pop symbolism and dark sarcasm of artists like Banksy and the early punk graphics of albums and ‘zines has reached into the monumental public murals of today and this new one of a ballerina balancing on a lit bomb is an apt example. Idealized beauty teetering upon disaster is an image that you’ll understand quickly. Certainly everyone has experienced this feeling at one point in life, if not many points.

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INO. Work in progress for ArtUnitedUs in Kiev, Ukraine. (photo © INO)

Greek artist INO may have familiarity with “Instability”, the name of the piece, which could easily apply to economic matters in that country. The symbolism of paintings will of course be interpreted by the viewer, as ever, and instability often applies to our politics, our trade relations, our warring countries and cities, immigration of refugees, access to clean food and water, our shifting environment, even our our banking systems. Ukraine itself has suffered the crisis of war and division in recent years as well, so this mural may evoke emotions which people in Kiev can relate to.

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INO. Work in progress for ArtUnitedUs in Kiev, Ukraine. (photo © INO)

The monochrome figure, split across the middle and slightly shifted to one side, is a common treatment of the subject by INO, as is the accented splash of a bright hue that rides across the composition as different layer. This blue divination of the sky appears to be melting the celestial sphere and dripping downward into the main piece.

Sponsored by the arts organization called ArtUnitedUS, the new mural is 48 meters above the ground and the group says it is the largest that INO has ever created.

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INO. Detail. For ArtUnitedUs in Kiev, Ukraine. (photo © INO)

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INO. Detail. For ArtUnitedUs in Kiev, Ukraine. (photo © INO)

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INO. Detail. For ArtUnitedUs in Kiev, Ukraine. (photo © INO)

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INO for ArtUnitedUs in Kiev, Ukraine. (photo © INO)

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INO for ArtUnitedUs in Kiev, Ukraine. (photo © INO)

 

Our sincere thank you to co-founders/curators of Art United Us; Geo Leros, Iryna Kanishcheva, and Waone Interesni Kazki for sharing the project with BSA readers.

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