Shepard Fairey: Earth Crisis

Shepard Fairey: Earth Crisis

Artist and activist Shepard Fairey this week releases a 2 volume “Earth Crisis” set that commemorates a recent public environmental project and doubles as a collection of plates to jumpstart your collection which you could easily frame and hang. With it comes powerful socio-political messages common to his wheelhouse delivered with the artists often iconic sense of design.
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Shepard Fairey / OBEY. Earth Crisis. Albin Michel Publishers . Galerie Itenerrance. Paris. July 2016

With his enormous “Earth Crisis” globe project mounted at the Eiffel Tower for COP21 last November, Fairey brought his activist history, design history, and sense of timing and location to a stunning crescendo with this project. Suspended 60 meters overhead at the base of the tower while world leaders were gathered to discuss global warming, climate change, and energy policy in the so-called First world and Developing world, the globe incorporated many of the messages that Fairey has been bringing to the streets over the last two decades to provoke discussion.

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Shepard Fairey / OBEY. Earth Crisis. Albin Michel Publishers . Galerie Itenerrance. Paris. July 2016

In addition to thick cardboard plates of details from the Mandela he created for Paris, a second book of posters addressing related themes is included with his signature style incorporating mid-century slogans and advertising design, punk rock culture rage, and word-play that illuminates and hammers.

Topically the plates address themes including only some of those Mr. Fairey has continued to feature front and center in his street work and fine art and design: campaign-finance reform, the oil economy, air and water, corruption in politics, private control of public natural resources, green energy, the seduction of advertising, corporate collusion, fake patriotism and real climate change.

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Shepard Fairey / OBEY. Earth Crisis. Albin Michel Publishers . Galerie Itenerrance. Paris. July 2016

Of particular poignance are some of the artists observations and motivations for making the work, including one particularly reflective statement that may point to an artists own struggle to affecting change. He speaks about reading Rachel Carson’s “Silent Spring” published in 1962 and the effect it had on many.

“The title ‘silent spring’ was intended to force readers to contemplate spring time without the sound of songbirds – a jarring picture but also a reminder that our emotional connection to our environment is mainly just aesthetic,” Fairey writes. “If we stay oblivious to ecological destruction until we notice the aesthetics change by then it will be too late.”

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Shepard Fairey / OBEY. Earth Crisis. Albin Michel Publishers . Galerie Itenerrance. Paris. July 2016

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Shepard Fairey / OBEY. Earth Crisis. Albin Michel Publishers . Galerie Itenerrance. Paris. July 2016

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Shepard Fairey / OBEY. Earth Crisis. Albin Michel Publishers . Galerie Itenerrance. Paris. July 2016

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Shepard Fairey / OBEY. Earth Crisis. Albin Michel Publishers . Galerie Itenerrance. Paris. July 2016

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Shepard Fairey / OBEY. Earth Crisis. Albin Michel Publishers . Galerie Itenerrance. Paris. July 2016

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Shepard Fairey / OBEY. Earth Crisis. Albin Michel Publishers . Galerie Itenerrance. Paris. July 2016

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Shepard Fairey / OBEY. Earth Crisis. Albin Michel Publishers . Galerie Itenerrance. Paris. July 2016

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Shepard Fairey / OBEY. Earth Crisis. Albin Michel Publishers . Galerie Itenerrance. Paris. July 2016

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Shepard Fairey / OBEY. Earth Crisis. Albin Michel Publishers . Galerie Itenerrance. Paris. July 2016

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Shepard Fairey / OBEY. Earth Crisis. Albin Michel Publishers . Galerie Itenerrance. Paris. July 2016

 

All photos of the book’s plates  © Jaime Rojo

Shepard Fairey / OBEY Earth Crisis published by Editions Albin Michel. Paris, France. July 2016.

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BSA Images Of The Week: 07.10.16

BSA Images Of The Week: 07.10.16

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For this Sunday’s edition of BSA Images Of The Week we have decided to publish one image only. It’s a brand new piece and is a portrait of an anonymous African-American man painted by Street Artist Overunder and wheat-pasted somewhere on the streets of Brooklyn.

“It’s a portrait of an anonymous black man. So it very well could be a victim, or a future victim,” he told us in an email.

This week has been a horrific one on the streets in this country. Forgive us if we speak too much here or are out of our depth but we are on the street a lot obviously and we think the conversation among all of us needs to continue if we are going to find solutions. The new videos posted online of our citizenry being murdered, some at close range, others in ambush, tell a story of where we are as a nation right now.

After seeing the videos of Philando Castile dying of gun shots by a police officer in Falcon Heights, Minnesota and of Alton Sterling being shot at close range by a police officer while subdued and on the ground in Baton Rouge, Louisiana viewers can walk away from them feeling as if they were being witness of the shootings. Seeing police downed by sniper fire in Dallas has confirmed that violence is not the answer.

We are bigger than this, all of us.

One would have to be either racist or delusional or both to not be angered, outraged, horrified, worried and profoundly saddened by the images coming out of those videos and photographs.

But we’ve inherited the legacy of our past and no one should feign surprise that we are dealing with it nor deny its impact on us today. Americans used to send postcards bragging that they had attended a lynching of a black man or woman, and most of those acts were to punish imaginary transgressions. Picture postcards.

Suddenly the lyrics of “Strange Fruit” sang first by Billy Holiday and later by Nina Simone and others come to mind. Those disturbing, haunting words could be easily applied in today’s America. The “…Black bodies…” are not “…Swinging in the southern Breeze…” -they are being tossed around in the back of a van, or trampled upon, or choked, face down against the hard and dirty concrete of our cities’ sidewalks. They are slumped, bleeding inside their own cars. They are suffocated and piled upon while gasping for air. They are taken down while playing in the playgrounds or just walking down the street, any street. Now we are seeing them on our phones.

The pain and the grief are the same. The sense of injustice is the same. The frustration is the same. The anger is the same.

Sweep it under a rug for a while if you like, but it won’t go away.

The police officers who were murdered in Dallas while on duty and while protecting the people who had gathered peacefully to protest the killings in Baton Rouge and Falcon Heights didn’t deserve to die. Random or targeted killing of police is despicable. Their families were waiting for them to have dinner together and to do what families do at the end of the day. Instead their lives were cut short and now their families have to cope with the loss of their fathers, husbands, brothers, boyfriends, friends.

Violence against police is not going to solve any problems because it assigns collective guilt – and we know the majority of cops are good hard-working everyday people trying to do the right thing. It is also just as morally wrong as violence against citizens. We are collectively smart enough not to allow this complicated scene to be simplified by media needs to polarize us into separate camps like it is a sporting match. Some families have police and protesters sitting at the kitchen table and those families, like our greater American family, find a way to identify common ground.

Many have observed that brutality against people of color is not new – we just have cameras to record it in this modern moment and now the utter pain and injustice is available for us all to see and discuss with each other. It makes you wonder about the complicity of the news organizations over the last decades, doesn’t it? Now that we all are confronting it, let’s do the right thing and work toward a more just society.

It’s racism. It’s systemic. And we can fairly call it a broken system.

That’s why there are demonstrations system-wide;
across the country over the last few days in tens of cities like Philadelphia, Tucson, Oakland, Austin, Portsmouth, Norfolk, Portland, Nashville, New York, Chicago, St. Paul, Birmingham, West Palm Beach, Columbus, San Antonio, Los Angeles, Phoenix, – even Brixton in the UK. Our consciousness has been raised – and we realize there is work to be done.

We have to believe that the majority of people don’t want to go out on the streets and do this marching and yelling – most people would rather be at a swimming pool or in a movie theater or sitting under a tree with a cold drink. But the system is broken, has been for a long time, and the injustice, pain and fears are simply too great and people are demanding solutions.

We just collectively are realizing that we can’t be silent anymore about the evidence that blacks and other minorities are being subjected to the use of force disproportionately than any other group by many police officers around the country. According to The New York Times the data is there to support the assertion in a new study released on Friday titled “The science of Justice: Race, Arrests and Police Use Of Force”

“When force is used, a new study has found, the race of the person being stopped by officers is significant,” the Times says.

Let’s not blame anybody else, let’s not be cynics, or try to deflect. These problems belong to all of us and we have to accept responsibility for improving things in our own back yards, our front yards, our sidewalks, parks, stores, stadiums, museums, laundromats, offices, schools.

What people of color have to endure day-to-day in this country just to run an errand is everyone’s responsibility. Creating an environment where people live in a continuous low-level state of fear is immoral and it’s certainly not in alignment with Christian values, nor those of any organized religion we know of. We all are morally obliged to make certain that we all as people are treated equally and with fairness. That’s the real American way. When there is injustice, we all have to be accountable for a system that corrects the injustice.

We all deserve to go home at night to those whom we love and who are waiting for us to share dinner, to tell a story, say a prayer or be kissed goodnight.

And since it is July and it is hot in NYC and across the country; please brothers and sisters, protesters and police, let our cooler heads prevail. We can do this.

With love.

 

 

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Image above: Overunder (photo © Jaime Rojo)

 

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A New Reka Diptych in Kiev, Ukraine

A New Reka Diptych in Kiev, Ukraine

 “До побачення Київ, я буду повертатися найближчим часом! (Goodbye Kiev. Thanks for the good times and the inspiration),” says Reka as he leaves the Ukrainian capital and celebrates the latest mural for Art United Us, a newly minted global campaign to promote peace through the public display of creativity. This new mural is actually split over two walls and features the abstract signature of the Melbourne born 90s graffiti writer James Reka who has become a globe-trotting muralist and who now lives in Berlin.

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James Reka for ArtUnitedUs in Kiev, Ukraine. (photo © @dronarium)

Conceived of as a diptych when viewed from the correct angle, you can see how Reka relies on a natural flow and rhythm that connects the two walls with one another and each in response to its individual plane and surroundings. It is difficult for an artist to strike a balance in the urban environment and formal plan, particularly one who has traveled far to discover this historic and storied cityscape.

Here Art United Us appears to have a natural predilection for appropriate placement and their aspirations for a global showing of over 200 artists in the next two years looks promising. Begun in response to the shock and pain of war, the international project is celebrating the creative spirit – something BSA has been doing here with you for 8 years – with an eye toward raising “public awareness and attention to the problems of war, aggression and violence.”

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James Reka for ArtUnitedUs in Kiev, Ukraine. (photo © @dronarium)

Congratulations to Reka and the co-founders/curators of Art United Us; Geo Laros,Iryna Kanishcheva, Waone Interesni Kazki, and Ilya Sagaidak. We look forward to seeing more of your heart and creativity at work!

Next up: ROA is finishing his wall, despite dealing with a bad foot and Pastel is researching local botanicals in preparation for his next wall. We know them both and they are up to the job! – and will bring AUU more murals for Kiev to be proud of.

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James Reka for ArtUnitedUs in Kiev, Ukraine. (photo © @dronarium)

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James Reka for ArtUnitedUs in Kiev, Ukraine. (photo © @dronarium)

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GarGar Festival in Small Town Penelles, Spain.

GarGar Festival in Small Town Penelles, Spain.

The influence of Street Art and graffiti continues to disperse through cities, towns and the countryside of many regions in the form of mural festivals. The village of Penelles in Catalonia asks residents if they would like to hand over the walls of their houses to be painted by contemporary artists and many say yes, gladly.

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Run & Igansi Rosés for GarGar Festival 2016 in Penelles, Spain. (photo © Lluis Olive Bulbena)

It is a far cry from the responses of landlords in large cities where the association in the minds of many is graffiti and vandalism.  According to a posting on Facebook, the challenge for attendees of a recent mural festival here was to gather enough money to rent a bus and drive people around to see the new artworks!

GarGar, the festival held in the third week of May, also featured live music, food trucks, beer, workshops, and people milling around taking photos of the artists while they worked and discussing the new pieces. Perhaps taking as a model the same concept as the Spanish town of Fanzara, Penelles is a small sleepy town that is being revitalized with urban art.

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Run & Igansi Rosés for GarGar Festival 2016 in Penelles, Spain. (photo © Lluis Olive Bulbena)

Photographer Luis Olive Bulbena tells us that the town, which is located around 130 km northwest of Barcelona, has about 500 inhabitants and “basically the whole of the municipality revolves around agriculture.”

We thank Mr. Bulbena for sharing these new images with BSA readers.

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Sabotaje Al Montaje for GarGar Festival 2016 in Penelles, Spain. (photo © Lluis Olive Bulbena)

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Sabotaje Al Montaje for GarGar Festival 2016 in Penelles, Spain. (photo © Lluis Olive Bulbena)

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Lily for GarGar Festival 2016 in Penelles, Spain. (photo © Lluis Olive Bulbena)

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Marina Capdevila for GarGar Festival 2016 in Penelles, Spain. (photo © Lluis Olive Bulbena)

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Irving Ramó for GarGar Festival 2016 in Penelles, Spain. (photo © Lluis Olive Bulbena)

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Irving Ramó for GarGar Festival 2016 in Penelles, Spain. (photo © Lluis Olive Bulbena)

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El Niño De Las Pinturas for GarGar Festival 2016 in Penelles, Spain. (photo © Lluis Olive Bulbena)

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Bifido for GarGar Festival 2016 in Penelles, Spain. (photo © Lluis Olive Bulbena)

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Bifido for GarGar Festival 2016 in Penelles, Spain. (photo © Lluis Olive Bulbena)

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Dina Compadre for GarGar Festival 2016 in Penelles, Spain. (photo © Lluis Olive Bulbena)

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Nina Hamada & Zosen for GarGar Festival 2016 in Penelles, Spain. (photo © Lluis Olive Bulbena)

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Nina Hamada & Zosen for GarGar Festival 2016 in Penelles, Spain. (photo © Lluis Olive Bulbena)

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Slim Art for GarGar Festival 2016 in Penelles, Spain. (photo © Lluis Olive Bulbena)

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Txemy for GarGar Festival 2016 in Penelles, Spain. (photo © Lluis Olive Bulbena)

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Faring Purth “As in the Light of Marielle”

Faring Purth “As in the Light of Marielle”

Faring Purth is taking this one lying down in Westville, New Haven Connecticut on a long wall with Marielle. The 150 x 12 foot figure featured in “As in the Light of Marielle” was just completed and feted with an evening celebration that featured light artist Raven Fox, whom Faring says provided “breathtaking illuminations” overlaying her painted figure.

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Faring Purth. New Haven, CT. June 2016. (photo © Mark Jankowski)

Stretching luxuriously from fingertip to pointed toe along the length of a parking lot in a lushly greened neighborhood, the wall was completed as a result of of Farings’ involvement with a local community arts group, the Westville Village Renaissance Alliance.

Seeing the slumber of Marielle and her heavily lidded eyes, we are reminded of this Shakespeare Sonnet XXVII

“WEARY with toil, I haste me to my bed

The dear repose for limbs with travel tired;

But then begins a journey in my head

To work my mind, when body’s work’s expired:”

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Faring Purth. New Haven, CT. June 2016. (photo © Faring Purth)

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Faring Purth. New Haven, CT. June 2016. (photo © Faring Purth)

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Faring Purth. New Haven, CT. June 2016. (photo © Faring Purth)

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Faring Purth. New Haven, CT. June 2016. (photo © Faring Purth)

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Faring Purth. New Haven, CT. June 2016. (photo © Mark Jankowski)

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Icy & Sot in Cincinnati ; “We Need Education, Not Violence”

Icy & Sot in Cincinnati ; “We Need Education, Not Violence”

The July 4th fireworks and bombast is over. The violence on America’s streets is not.

In Cincinnati alone 48 people have been killed by gun violence in the first half of the year a new mural by Street Artists Icy & Sot intends to combat it with this message; “Education and art are key to breaking the cycle of violence.” Using pencils as a symbol of education and self-awareness and power, the brothers say we individually have the power to save youth from gun violence.

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Icy & Sot for ArtWorks in Cincinnati, USA. (photo © Icy & Sot)

The socially conscious stencilists are invoking an image they created after being victims of gun violence themselves and in response to other high-profile episodes of violence on the world stage recent years – a gun with a pencil for a barrel. This 20’ x 24’ mural of individuals toting high-powered pencils imagines what the results of education can do to lift a community, instead of tear it apart.

The new piece is called “We Need Education, Not Violence”, and we have images of the process here for you today.

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Icy & Sot for ArtWorks in Cincinnati, USA. (photo courtesy of Icy & Sot)

Somehow discussion of the gun-violence topic in the sensational and moneyed media always seems to encourage an intractable polarization of thought – simplifying opinions, placing people into only two camps, and trotting out tropes about “liberals” and “conservatives”. The tactics attack people instead of ideas, purposefully clouding the arguments, prolonging inertia.

The Rev. Gail Greenwell of Christ Church Cathedral says that the religious organization “sees public art as one way to generate public reaction, to engage the community in a meaningful dialogue about gun violence and gun violence prevention.” The church worked with Artworks, an award winning visual arts non-profit to solicit artists for the message and the project was completed and installed last week.

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Icy & Sot for ArtWorks in Cincinnati, USA. (photo courtesy of Icy & Sot)

ArtWorks says it is the largest visual employer in the Cincinnati region and “our vision is to be the creative and economic engine that unites citizens to transform our region through public art.”

Can ArtWorks and Icy & Sot propel the conversation forward and cause a meaningful change in a community that is suffering from gun violence? For those who believe in the power of art in the public sphere, there is reason to think that it can.

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Icy & Sot for ArtWorks in Cincinnati, USA. (photo © Icy & Sot)

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Icy & Sot for ArtWorks in Cincinnati, USA. (photo © Icy & Sot)

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Icy & Sot for ArtWorks in Cincinnati, USA. (photo © Icy & Sot)

For more information please visit cincinnaticathedral.com, ArtWorksCincinnati.org.

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Never Crew: Ordering Machine – Grenoble 2016

Never Crew: Ordering Machine – Grenoble 2016

Two whales are suspended from a clothing hanger as if dangling inside “an infinite closet” say Christian and Pablo, the guys who comprise Nevercrew. The glorious intelligent sensitive and graceful beasts of the seas are reduced to mere commodity, just two more options for humans to buy, sell, trade, consume, destroy. Nevercrew are themselves dangling from a basket high atop a cherry picker here in Grenoble for a street art festival in the southeastern French town at the foot of the French Alps.

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Never Crew for Grenoble Festival 2016. France. CLICK ON IMAGE TO ENLARGE (photo © Never Crew)

A sea life animal – a polar bear or whale, for example – is often the central character of the composition for these guys, a majestic free animal that is acted upon instead of in concert with. “This work is called ‘Ordering Machine’ and it focuses on the human attitude regarding the privatizing of natural resources,” Christian says.

“The project was developed around the position of mankind as it is related to nature, where on one side there are our needs and on the other side there are our behavior of consumption and attitude of appropriation.”

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Never Crew for Grenoble Festival 2016. France. (photo © Never Crew)

In their surreal conceptualizations and development of a visual language that is understood principally to the two Swiss nationals, the viewer may benefit from suspending the purely rational and instead allowing for an alternate universe that they have been creating over 20 years of painting together.

Here animal life is majestic and awe-inspiring, perhaps representing the potential for so much more, but at the least something to be revered. Often the protagonist is anchored or overseen by a smaller complex engine or circuit board that seems to be of steam-punkian vintage, silly in its self-importance, only hoping to be useful in the shadow of a natural miracle.

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Never Crew for Grenoble Festival 2016. France. (photo © Never Crew)

In “Ordering Machine” the clothes hanger and red-striped fabric is the low-tech constriction device, trapping these beasts like a couple of blocks of cheese. “The hanger is also the support of the entire composition,” according to Nevercrew, reminding us about balancing need with greed as well.

“The arrogant use of nature for economic purposes and for the claim of superiority,” says Pablo, “is a view held by those whose same hands could choose to raise a social awareness and to promote environmental good for everyone.”

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Never Crew for Grenoble Festival 2016. France. (photo © Never Crew)

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Never Crew for Grenoble Festival 2016. France. (photo © Never Crew)

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Never Crew for Grenoble Festival 2016. France. (photo © Never Crew)

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BSA Images Of The Week: 07.03.16

BSA Images Of The Week: 07.03.16

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Heading into the 4th of July we reflect upon patriotism, our declaration of independence from England, and Britain’s new declaration of independence from the EU. Are there similarities?

Now, we’re all off the park for a barbecue! Where is the frisbee? Where are those hotdog buns?

And here’s our weekly interview with the street, this week featuring Agostino Iacurci, Alaniz, Aron Belka, Buttsup, Float Art, Gilf!, King, London Kaye, Pixel Pancho, QRST, Reed B More, Sipros, and WK Interact.

Our top image: London Kaye. Peace, please!! (Photo © Jaime Rojo)

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QRST (Photo © Jaime Rojo)

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Agostino Iacurci (Photo © Jaime Rojo)

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Pixel Pancho. The Italian artist was in NYC early in June to participate in a group show and painted this mural in Chelsea in NYC. While the mural appears unfinished by the blotch of white paint on the bottom that is not the case. The artist’s completed piece was tagged and as per the artist’s request the gallery removed the tag with the white paint. (Photo © Jaime Rojo)

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Float Art (Photo © Jaime Rojo)

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WK Interact (Photo © Jaime Rojo)

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Reed B. More has been leaving these translucent pieces suspended about the fray. (Photo © Jaime Rojo)

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Reed B. More (Photo © Jaime Rojo)

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Reed B. More tagging the sky. (Photo © Jaime Rojo)

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Reed B. More (Photo © Jaime Rojo)

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Sipros for the Buschwick Collective. (Photo © Jaime Rojo)

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Gilf! did this piece to honor the victims of the mass shooting in Orlando and debuted it in time for the LGBT Pride weekend in NYC. (Photo © Jaime Rojo)

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Aron Belka did this portrait of jazz pianist and composer Allen Toussaint, who passed away last autumn, for The L.I.S.A. Project NYC in Little Italy/China Town. (Photo © Jaime Rojo)


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Alaniz pointing in every direction at the abandoned NSA spy compound in Teufelsberg Hill in Berlin. Berlin, 2016. (photo © Jaime Rojo)

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Buttsup (Photo © Jaime Rojo)

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King (Photo © Jaime Rojo)

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Untitled. Brooklyn, NY. June 2016. (Photo © Jaime Rojo)

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BSA Film Friday: 07.01.16

BSA Film Friday: 07.01.16

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

Now screening :

1. Chump for Trump. Ron English x The Sutcliffes
2. 100 Persianas by MVIN
3. Street Heroines by Alexandra Henry
4. Der Hampelmann – Naive Street Art in Berlin from Erik & Nils Petter

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BSA Special Feature: Chump for Trump. Ron English x The Sutcliffes

Seeing the new Ron English mural of Donald Trump in Bushwick, Brooklyn last week we were reminded of the video he released in April with a soundtrack by The Sutcliffes, a Beatles tribute band. It uses footage from Trump rallies and commercials interspersed with illustration and animation in an approachable folky way. Once you go down the rabbit hole of Trump satire and parody videos that have been made in the last year, you’ll find enough to begin a film festival.

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Ron English brings Donald Trump as Humpty Dumpty on a wall – in collaboration with The Bushwick Collective and Mana Urban Art Projects. (photo © Jaime Rojo)

100 Persianas by MVIN

A few months ago eL Seed created a multi building mural in Cairo that can only be seen in toto from a specific physical vantage point. Here is a similar project where the only way to appreciate a tag in Barcelona from MVIN is to assemble a grid of photos from 100 pull-down gates (persianas)  he painted.

Check out the Instagram account that documents the progress here.

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Street Heroines by Alexandra Henry

BSA has supported many great Kickstarters and this is one that we are truly excited about. Of course we’ve brought you work from many of the women whom Ms. Henry is including in this documentary, but there are faces we haven’t seen before and people whose stories haven’t been told.

She’s almost done filming but the project needs your help and we urge you to help get her over the finish line!

 Please click on the link to help Alexandra Henry complete her project: https://www.kickstarter.com/projects/274344236/street-heroines

Der Hampelmann – Naive Street Art in Berlin from Erik & Nils Petter

Okay, we try to stay away from “cute”. This is a rare exception because it is interactive art on the street and it hearkens back to simple methods of entertaining children and, um, its so damn cute.

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A Selection of Murals from “MURAL” in Montreal 2016

A Selection of Murals from “MURAL” in Montreal 2016

Have a look at some of the murals from this months MURAL festival in Montreal, which began in 2013.

There is no discernible theme among the collection here aside from many of them being technically outstanding. MURAL itself has become a very commercial gathering of food and lifestyle vendors, VIP events, a small art fair, hella-brands and djs and, you know, beards.

Klone Yourself and Phillipe Pantone are a couple of the artists pushing boundaries here, with the latter skillfully reproducing a 90’s computer art that is nostalgic and smartly updated in its 3-D rendering.

Our great thanks to photographer Daniel Esteban Rojas who did an outstanding job capturing these to share with BSA readers.

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Meggs for Mural Festival 2016. Montreal, Canada. (photo © Daniel Esteban Rojas)

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D*Face for Mural Festival 2016. Montreal, Canada. (photo © Daniel Esteban Rojas)

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Fonki for Mural Festival 2016. Montreal, Canada. (photo © Daniel Esteban Rojas)

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Natalia Rak for Mural Festival 2016. Montreal, Canada. (photo © Daniel Esteban Rojas)

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Mateo for Mural Festival 2016. Montreal, Canada. (photo © Daniel Esteban Rojas)

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Buff Monster for Mural Festival 2016. Montreal, Canada. (photo © Daniel Esteban Rojas)

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Jonathan Bergeron for Mural Festival 2016. Montreal, Canada. (photo © Daniel Esteban Rojas)

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Jonathan Bergeron for Mural Festival 2016. Montreal, Canada. (photo © Daniel Esteban Rojas)

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HSix for Mural Festival 2016. Montreal, Canada. (photo © Daniel Esteban Rojas)

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Five Eight for Mural Festival 2016. Montreal, Canada. (photo © Daniel Esteban Rojas)

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Acidum for Mural Festival 2016. Montreal, Canada. (photo © Daniel Esteban Rojas)

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Klone Yourself for Mural Festival 2016. Montreal, Canada. (photo © Daniel Esteban Rojas)

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Felipe Pantone for Mural Festival 2016. Montreal, Canada. (photo © Daniel Esteban Rojas)

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Roadsworth for Mural Festival 2016. Montreal, Canada. (photo © Daniel Esteban Rojas)

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Roadsworth for Mural Festival 2016. Montreal, Canada. (photo © Daniel Esteban Rojas)

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Miss Teri for Mural Festival 2016. Montreal, Canada. (photo © Daniel Esteban Rojas)

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XRay for Mural Festival 2016. Montreal, Canada. (photo © Daniel Esteban Rojas)

 

With our out most gratitude to Daniel Esteban Rojas for his exclusive documentation of the completed murals in Montreal.

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